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"Nova" takes place in a standard space opera setting with many of the features and tropes peculiar to the genre. Conscientiously the novel emulates many earlier and popular science fiction works.
Delany makes an offhand reference to Isaac Asimov's Foundation trilogy (a random planet is named "Trantor"). Additionally, in one scene, a character has a false tooth with poison hidden in it, a classical trope from many espionage stories, which Frank Herbert's "Dune" had employed three years before. (Unlike in "Dune", in "Nova" it doesn't work.)
There is also a strong similarity in names between the scientist, Ashton Clark, who, in "Nova", has invented the cyborg plugs and sockets centuries before, which pervade the novel, and the name of the fantasy and science fiction writer from the 'thirties and 'forties, Clark Ashton Smith.
Prince's ability to squeeze sand into glass and quartz fragments strongly parallels the power of many action heroes (most notably Superman), and the idea of aristocratic families feuding in space is found in numerous other space opera novels. The character of Katin is partially written to resemble the classic "bore" in science fiction literature—a character who constantly gives lectures and explanations to describe the universe of the book. In "Nova", however, Katin is constantly ridiculed for filling this role and on occasion is used for comic relief.
In keeping with this sort of game-playing, in a scene that takes place in a vast museum, the Alkane, in the city of Phoenix on the planet Vorpis, at one point Lorq and Katin hurry through the "FitzGerald Salon," clearly based on the actual "Rubens Salon" in the Louvre Museum in Paris—after the "Mona Lisa" and the "Raft of the Medusa," probably the Louvre's most impressive holdings.
Within the future society, reading the Tarot is considered both scientific and accurate. The Mouse is actually ridiculed as old-fashioned and uneducated for his skepticism about such things.
Much of the story revolves around a tarot reading Tyÿ gives Lorq at the beginning of the second mission, in which she rather successfully predicts the stakes and outcome. For example, "The Tower" appears, indicating that a powerful family (presumably the Reds or Von Rays) will fall, and the large number of pentacles indicates wealth. Prince and Ruby are represented by the "King of Swords" and the "Queen of Swords", respectively. An anomaly in the reading, however, occurs when Tyÿ drops "The Sun"—which Lorq considered to represent a nova—and the Mouse pockets it, thus making it impossible for Tyÿ's reading to include this card.
Smaller Tarot readings dot the rest of the novel. As a young child, Lorq receives a reading indicating a death in his family: within a month, his Uncle Morgan is assassinated. Likewise, Lorq's Aunt Cyana (Morgan's widow) has Lorq choose a single Tarot card for insight: it is "The Hanged Man", reversed, indicating that Lorq will succeed in his quest, but at a very high price.
Delany makes it clear that the Tarot should not be used for outright prediction. As Katin tells the highly skeptical Mouse: "[T]he cards don't actually predict anything. They simply propagate an educated commentary on present situations[.]" ("Nova", 112). "[Tarot cards] only become superstitious when they are abused, employed to direct rather than guide and suggest." ("Nova", 113) But, as the plot develops, sometimes it's difficult to distinguish clearly between useful "guiding" and abusive (superstitious) "directing."
The story of scarred Captain Von Ray's obsessive quest for a nova with his crew of outcasts recalls Melville's tale of wounded Captain Ahab's search for the white whale in "Moby-Dick". (In a 1971 article about the current state of Science Fiction, "Time Magazine" writer R. Z. Shepherd wrote, "["Nova"] suggests "Moby-Dick" at a strobe-light show.") In "Nova", the events are interpreted by Katin as a quest for the Holy Grail, with Illyrion playing the part of the Grail itself. As in the Grail story, there is a failed attempt to gain it, and someone must make a major self-sacrifice (in "Nova", his sanity and senses) in order to succeed.
Katin is constantly trying to find a plot for his novel, and finally decides to use Lorq's adventures with Prince and Ruby—immediately noticing the correspondences with the Grail archetype. By the end of the novel, it becomes clear that "Nova" is the book Katin will eventually write.
Although the novel takes place in the 32nd century, the society within it is described as highly stagnant, even taking into account the spread of interstellar travel and cyborging. Often, however, the book suggests that those minor characters who repeatedly make this judgment are simply looking for symptoms of change and vitality in the wrong parts of society—a theme "Nova" shares with Alfred Bester's "The Stars My Destination".
Cyana Von Ray Morgan, who is Lorq's aunt and a curator at humanity's largest museum, remarks that one-fourth of the displays at her museum are devoted to the Twentieth century, much the way major museums in Europe and the United States for the last hundred or so years might seem—to some—to have devoted a disproportionate amount of their space to Greek and Roman artifacts. She justifies this by saying that, despite all the progress made by mankind, the Twentieth Century encompasses the greatest change in humanity's fundamental situation: "At the beginning of that amazing century, mankind was many societies living on one world; at its end, it was basically what we are now: an informatively unified society that lived on several worlds." ("Nova", 156)
In short, within the fictional future of "Nova", humanity began to colonize space by the end of the Twentieth Century. A few centuries later, and cyborg implants were invented. The combination of increasingly cheap Illyrion (the fuel of starships) and universally adaptable implants has created, by the time of the novel, a highly mobile and transient work force and population.
This mobile population has a drawback, however. In a pseudo-intellectual argument raised throughout the novel, characters make reference to a "lack of cultural solidarity" (a concept that vaguely resembles the idea of cultural capital). Because the population is constantly on the move, there is no shared culture, nor have there been any successful attempts to create new broad-based artistic and cultural movements since the end of the Twentieth Century.
Characters make frequent references to 20th century culture: at Prince's party in Paris (which takes place in the year 3162), a group of entertainers start performing a song by The Mamas & the Papas. Katin makes an offhand remark that indicates the board game Monopoly (which was invented during the early 20th century) is still in existence, and has even been adapted to the future society. When he needs to name a "Renaissance Man," Katin mentions Bertrand Russell, despite the passage of more than a millennium since Russell died.
In Cyana Morgan's museum, in addition to the predominance of Twentieth Century-based exhibits, within a hall of paintings, Katin notices that many of the works share the same subjects—and, in many cases, the same names—even though the tags clearly indicate the paintings were created centuries apart, and on different planets. The most famous art collection in the museum is actually a forgery of an existing set of works, and the forgeries are considered more popular and valuable than the originals.
When the Mouse's approach gets out of control, as the novel dramatizes in one climactic sequence, the instruments of art become murderous weapons. When Katin's approach gets out of hand, the result is paralysis and silence.
The novel refers repeatedly to a historic "Vega Republic," presumably among the worlds circling the star Vega, which flourished several centuries prior to the novel's beginning. At one point, apparently, the Republic staged an uprising and attempted to declare both political and cultural autonomy from Earth. During those years the Vegans created a new and different style in furniture, fabrics, and architecture. Many of their artists, musicians, and writers produced highly distinctive work that, in later years, caught the imagination of intellectuals in both Draco and the Pleiades. Before "Nova" begins, however, the Vega Republic uprising was violently suppressed, and Katin claims that the ability to identify remnants of Vegan culture has become nothing but an intellectual "parlor game."
As the quest continues, soon Lorq drops the rationalizations for the Red/Von Ray vendetta, except for the fact that his actions, for better or worse, will produce a major cultural shift in humanity, even though nobody can tell what that change will be, or if it will be a positive or negative one.
The story's main character, Lorq, is Afropean. His father is of Norwegian descent, and his Earth-born mother is Senegalese.
The residents of the Pleiades Federation (and the Outer Colonies) overall are an extremely mixed racial population. In addition to appearances, characters from the Pleiades sometimes have names that indicate a mixed racial heritage. For example, one of Lorq's childhood friends is named “Yorgos Satsumi,” which contains a clearly Japanese last name, but a first name that is decidedly Greek.
This is in sharp contrast to the Earth-centered Draco society, where the leaders tend to be uniformly Caucasian. Individuals from Earth also tend to have extremely "WASPish" names. For example, a character named "Brian" is eventually revealed (at least, in the 2002 edition) to have the full name "Brian Anthony Sanders." Moreover, according to the Mouse, Earth still has problems with racism: he recalls seeing Gypsies lynched when he was younger.
Ironically, although this racial diversity is considered one of the novel's most innovative features, at the time of its first publication (1968), the inclusion of minority characters proved to be a liability due to the racism ingrained in American culture at the time (see "Publishing Status" below).
The society of "Nova" is in a pre-revolutionary state. Economic tensions have created a feud between the "new money" Von Ray family and the "old money" Red family, both of whom have a large stake in intergalactic transportation. Shortly before the novel's events (within the lifetime of Lorq's father), the Pleiades region achieved political autonomy from Earth/Draco, and is now an independent federation. At the time of the novel, citizens of the Outer Colonies are beginning to support the idea of independence as well.
In a passage in Chapter Three, the elder Von Ray interprets the tensions in terms of social class, with each major galactic region representing one of the three traditional social classes:
One thing all characters have in common is their cyborging. Individuals who cannot or will not accept these implants are effectively removed from society. The Mouse, for instance, mentions that his people (the Gypsies) refused the implants and, as a result, were treated with intolerance and even killed on Earth.
Prince's anger over his artificial arm, while irrational on the surface, is eventually hypothesized to have been caused by its effect on his ability to cyborg. Generally, a person has a total of five implants, two of which are located in the wrists. Since Prince was born with only one arm, he cannot fully connect himself with a machine.
Although the society seems on the edge of a revolution (or some other unspecified major change), the future of the novel is optimistic. As Katin reveals in one of his expository monologues, the problem of labor alienation has been overcome through the use of technology: practically all humans have cyborg socket implants that allow them to interface directly with the machines they use. These sockets are highly adaptable. Characters plug them into everything from small vacuum cleaners to the navigational systems of starships. By directly interfacing with the machines, workers are able to identify with their work, and the result is greater psychological wellbeing and less labor alienation.
"Nova" was written prior to Delany's turn to sexuality as a major focus of his work. Nevertheless, the novel suggests several sexual subtexts. In the same way that a homoerotic current informs the relationship Melville describes between Captain Ahab and the cabin boy Pip in "Moby-Dick", a similar undercurrent vibrates through the scenes between Captain Von Ray and the Mouse.
Throughout the novel, the intelligent and beautiful Ruby remains both loyal and subservient to her brother, Prince, even to the extent of going against her own feelings. Their relationship strongly suggests an incestuous nature. Prince refuses to allow her to interact with Lorq. In turn, Ruby maintains a close emotional attachment to Prince, one that, in a suggestive scene near the novel's end, proves disastrous.
In "Nova", a culturally iconic political assassination has taken place. The advanced technology at the time allowed millions of people throughout the universe to experience the sensations and emotions of the victim (Secretary Morgan, the leader of the Pleiades Federation) as he died—and, directly afterwards, the emotions of his widow (and Lorq Von Ray's aunt), Cyana Von Ray Morgan. The murder was brutal: Morgan was publicly garroted at his second inauguration, and almost decapitated. Although the assassination was eventually revealed to be the work of a single man, ("Underwood"), for a period of time afterwards, many popular conspiracy theories were developed. To deal with her grief—and that of Pleiades citizens—Cyana Morgan adopted an extremely stoic posture and slowly retreated from the public eye.
This death is clearly a dramatic rewriting of the November 1963 "televised" assassination of President John F. Kennedy in Dallas, Texas, which had taken place only five years before "Nova" was published. Cyana Von Ray Morgan, the widow, strongly resembles Kennedy's wife Jacqueline Bauvier Kennedy in her responses, her appearance, and her interest in art.
Lorq, Prince, and Ruby—all heirs of wealthy clans who grew up in luxury—live what Lorq refers to as "meaningless" lives, indulging in sex, expensive hobbies (e.g. space-yacht racing), and partying. Lorq's transformation begins when, in a physical fight, Prince scars Lorq's face deeply with his artificial hand. Later in the novel, both Lorq and the Mouse attack Prince and Ruby, causing them great pain. As the novel nears completion, Ruby remarks that, prior to that event, neither she nor her brother had a true concept of what pain was really like; neither of them truly fathomed the importance of their actions and the feud until they were personally hit by it.
Practically all the socially powerful characters have violent natures, which often they try to hide or repress. Despite the elder Von Rays' attempts to end the feud, make peace with Aaron Red, and have their children become friends, the Von Rays cannot escape the fact that the family wealth and status were based on piracy and murder. Although outwardly Aaron Red appears harmless (he is described as bald, portly, and easily embarrassed) and he seems to be friends with members of the Von Ray family, events can bring out his natural violence and reveal him as an abusively indulgent father.
The novel hints at these buried emotions, when, for example, the Von Ray and Red families meet in the Outer Colonies at a reconciliatory reception. Seven-year-old Prince uses his artificial arm and its strength to kill Lorq's mother's pet bird in front of Lorq and Ruby. Later that night, the adults leave to watch the future equivalent of a cock fight, but with winged reptiles rather than roosters. The novel's violence gathers force in an unexpected eruption from Prince against Lorq at his party in Paris; much of the novel tries to explain the origins of this rage.
Both rage and pain are eventually recognized by the mature characters to have been a necessary component of their lives. Lorq realizes that, without Prince's attack to 'wake him up,' he would have gone on with a carefree life; he maintains his scar as a reminder of this. The successful completion of Lorq's quest has an extremely painful outcome for Lorq personally. As well, now that the need for Illyrion mines is gone, we know, the Outer Colonies will collapse socially and economically. The Red heirs fought for the status quo; only near the end of the novel do they experience the pain that goes along with the realization of what Lorq is trying to do.
"Nova" is considered one of the major forerunners of the cyberpunk movement. It prefigures, for instance, cyberpunk's staple trope of human interfacing with computers via implants.
While the New Wave of science fiction was concentrating on near-future science fiction stories and the highly subjective exploration of "inner space," in 1968, the year it was published, "Nova" seemed a deliberate throw-back to traditional space opera—and space opera at its grandest and most operatic.
While reviews in the American professional science fiction magazines, "The Magazine of Fantasy and Science Fiction" and "Galaxy", by Judith Merril and Algis Budrys, respectively, were highly praiseful, the review in the New Wave outlet, England's "New Worlds", by M. John Harrison, while acknowledging the skill and energy with which it had been written, called the book a "waste of time and talent."
Writer William Gibson claimed to be greatly influenced by Delany, and his novel "Neuromancer" includes allusions to "Nova." While Delany's vision of the future is optimistic, however, the cyberpunk movement has a distinctly dystopic outlook. Gibson's novel includes a character, Peter Riviera, introduced (like the Mouse) in Istanbul, with the same holographic projection powers (although via implants) as the Mouse in "Nova"; but Gibson's character is a psychopath. Likewise, Gibson includes a character who awkwardly wears only one shoe; this character (Ashpool) is an insane killer.
Several episodes of "Futurama" feature the "holophoner," a musical instrument that is very difficult to play, and projects holographic imagery to accompany the music.
Despite its status, reputation, and influence on science-fiction as a genre, for a dozen years after 1990 (the date of Bantam Books' final 14th printing), "Nova" was out of print. Hardcover copies were highly prized. Not until 2002 did Vintage Books rerelease it.
Over the years before "Nova" appeared, Delany had already won the Nebula Award twice for best science fiction novel of the year: "Babel-17" had gained the award in 1967 (in a tie for best novel of 1966 with Daniel Keyes's "Flowers for Algernon", a.k.a. "Charly"). "The Einstein Intersection" won him the award the following year in 1968 (for best novel of 1967).
While awaiting publication by Doubleday, "Nova" was submitted to "Analog" editor John W. Campbell for potential serialization. Campbell rejected the novel, saying in a telephone conversation with Delany's agent that, though he'd enjoyed the book, he did not feel his magazine's readership "would be able to relate to a black main character."
The Vintage edition of the novel corrects some minor mistakes in the original version. It also adds an entire passage that does not appear in any of the older published versions.
In the Vintage edition, Delany includes a passage in which Prince Red brags about how he is responsible for the death of Brian, a character who disappears, in earlier editions, after a single chapter. In the Vintage edition, toward the end of the book Prince describes how, using his wealth and power, and with no more provocation than a careless comment Brian once made about Prince's arm, Prince systematically destroyed Brian's life, until Brian became homeless and died of exposure. Prince claims that he has killed some two dozen others in a similar manner for similar reasons.
This passage significantly alters Prince's characterization. In earlier editions, the worst that could be said of Prince is that he had been "spoiled" and had a violent temper. The new material turns him into a remorseless murderer and adds a moral component to Lorq's quest absent in the earlier versions. If Prince defeats Lorq, the most powerful man in the galaxy will be a psychopathic killer.
The above passage is in the original typescript of "Nova", however. It is also in Delany's handwritten version of the novel in his notebooks from 1967. Both are in the Delany Holdings on store in the Howard Gottlieb Archives at the Mugar Memorial Library of Boston University. Initially the writer omitted it before publication of the first edition, when a friend who had read the manuscript found that section too extreme. In later years Delany decided to return it to the novel, because he felt readers needed to know what happened to Brian, after he seems to vanish from the book.
Additionally, in the first edition of "Nova" it is unclear whether or not Lorq's parents are still alive by the time the novel ends: When Lorq begins his quest, his mother is already dying of a degenerative disorder, but at the end he makes no mention of them, nor does he try to contact them. However, in another (much briefer) passage added in the Vintage Books edition, related to the above, Lorq has a memory that implies both of his parents and Aaron Red (as did Dan and Brian) died during the past ten years. This is in neither the original typescript nor in the notebook version, and is a true addition.
A Scanner Darkly is a science fiction novel by American writer Philip K. Dick, published in 1977. The semi-autobiographical story is set in a dystopian Orange County, California, in the then-future of June 1994, and includes an extensive portrayal of drug culture and drug use (both recreational and abusive). The novel is one of Dick's best-known works and served as the basis for a 2006 film of the same name, directed by Richard Linklater.
The protagonist is Bob Arctor, member of a household of drug users, who is also living a double life as an undercover police agent assigned to spy on Arctor's household. Arctor shields his identity from those in the drug subculture and from the police. (The requirement that narcotics agents remain anonymous, to avoid collusion and other forms of corruption, becomes a critical plot point late in the book.) While posing as a drug user, Arctor becomes addicted to "Substance D" (also referred to as "Slow Death", "Death" or "D"), a powerful psychoactive drug. A conflict is Arctor's love for Donna, a drug dealer, through whom he intends to identify high-level dealers of Substance D.
Donna takes Arctor to "New-Path", a rehabilitation clinic, just as Arctor begins to experience the symptoms of Substance D withdrawal. It is revealed that Donna has been a narcotics agent all along, working as part of a police operation to infiltrate New-Path and determine its funding source. Without his knowledge, Arctor has been selected to penetrate the organization. As part of the rehab program, Arctor is renamed "Bruce" and forced to participate in cruel group-dynamic games, intended to break the will of the patients.
The story ends with Bruce working at a New-Path farming commune, where he is suffering from a serious neurocognitive deficit, after withdrawing from Substance D. Although considered by his handlers to be nothing more than a walking shell of a man, "Bruce" manages to spot rows of blue flowers growing hidden among rows of corn and realizes that the blue flowers are "Mors ontologica", the source of Substance D. The book ends with Bruce hiding a flower in his shoe to give to his "friends"—undercover police agents posing as recovering addicts at the Los Angeles New-Path facility—on Thanksgiving.
"A Scanner Darkly" is a fictionalized account of real events, based on Dick's experiences in the 1970s drug culture. Dick said in an interview, "Everything in "A Scanner Darkly" I actually saw."
Between mid-1970 (when his fourth wife Nancy left him) and mid-1972, Dick lived semi-communally with a rotating group of mostly teenage drug users at his home in Marin County, described in a letter as being located at 707 Hacienda Way, Santa Venetia. Dick explained, "[M]y wife Nancy left me in 1970 ... I got mixed up with a lot of street people, just to have somebody to fill the house. She left me with a four-bedroom, two-bathroom house and nobody living in it but me. So I just filled it with street people and I got mixed up with a lot of people who were into drugs."
During this period, the author ceased writing completely and became fully dependent upon amphetamines, which he had been using intermittently for many years. "I did take amphetamines for years in order to be able to—I was able to produce 68 final pages of copy a day," Dick said.
The character of Donna was inspired by an older teenager who became associated with Dick sometime in 1970; though they never became lovers, the woman was his principal female companion until early 1972, when Dick left for Canada to deliver a speech to a Vancouver science fiction convention. This speech, "The Android and the Human", served as the basis for many of the recurring themes and motifs in the ensuing novel. Another turning point in this timeframe for Dick is the alleged burglary of his home and theft of his papers.
After delivering "The Android and the Human", Dick became a participant in X-Kalay (a Canadian Synanon-type recovery program), effortlessly convincing program caseworkers that he was nursing a heroin addiction to do so. Dick's recovery program participation was portrayed in the posthumously released book "The Dark Haired Girl" (a collection of letters and journals from this period, most of a romantic nature). It was at X-Kalay, while doing publicity for the facility, that he devised the notion of rehab centers being used to secretly harvest drugs (thus inspiring the book's New-Path clinics).
In the afterword Dick dedicates the book to those of his friends—he includes himself—who suffered debilitation or death as a result of their drug use. Mirroring the epilogue are the involuntary goodbyes that occur throughout the story—the constant turnover and burn-out of young people that lived with Dick during those years. In the afterword, he states that the novel is about "some people who were punished entirely too much for what they did", and that "drug misuse is not a disease, it is a decision, like the decision to move out in front of a moving car".
There was also the challenge of transmuting the events into "science fiction", as Dick felt that he could not sell a mainstream or literary novel after several previous failures. Providing invaluable aid in this field was Judy-Lynn del Rey, head of Ballantine Books' SF division, which had optioned the book. Del Rey suggested the timeline change to 1994 and emphasized the more futuristic elements of the novel, such as the "scramble suit" employed by Fred (which, incidentally, emerged from one of the mystical experiences). Yet much of the dialogue spoken by the characters used hippie slang, dating the events of the novel to their "true" time-frame of 1970–72.
Upon its publication in 1977, "A Scanner Darkly" was hailed by ALA Booklist as "his best yet!" Brian Aldiss lauded it as "the best book of the year", while Robert Silverberg praised the novel as "a masterpiece of sorts, full of demonic intensity", but concluded that "it happens also not to be a very successful novel... a failure, but a stunning failure". Spider Robinson panned the novel as "sometimes fascinating, sometimes hilarious, [but] usually deadly boring". Sales were typical for the SF genre in America, but hardcover editions were issued in Europe, where all of Dick's works were warmly received.
It was nominated for neither the Nebula nor the Hugo Award but was awarded the British version (the BSFA) in 1978 and the French equivalent (Graouilly d'Or) upon its publication there in 1979. It also was nominated for the Campbell Award in 1978 and placed sixth in the annual Locus poll.
The title of the novel refers to the Biblical phrase "Through a glass, darkly", from the King James Version of 1 Corinthians 13. Passages from Johann Wolfgang von Goethe's play "Faust" are also referred to throughout the novel. The same-titled film by Ingmar Bergman has also been cited as a reference for the book, the film depicting the similar descent into madness and schizophrenia of its lead character portrayed by Harriet Andersson.
The rotoscoped film "A Scanner Darkly" was authorized by Dick's estate. It was released in July 2006 and stars Keanu Reeves as Fred/Bob Arctor and Winona Ryder as Donna. Rory Cochrane, Robert Downey, Jr., and Woody Harrelson co-star as Arctor's drugged-out housemates and friends. The film was directed by Richard Linklater.
An unabridged audiobook version, read by Paul Giamatti, was released in 2006 by Random House Audio to coincide with the release of the film adaptation. It runs approximately 9.5 hours over eight compact discs. This version is a tie-in, using the film's poster as cover art.
Inexcusable is a 2005 novel written by Chris Lynch in the young adult genre. Through first-person narration, it chronicles the life of high school senior Keir Sarafian. A sequel, "Irreversible", was published on September 6, 2016.
As the novel unfolds, Keir becomes more unpopular because of his substance abuse, school behavior, and his infamous tackle on the football field giving him the nickname "Killer." Keir's self-image dissipates after he accidentally paralyzes an opponent, participates in bullying classmates, and then tries cocaine. First, he leans on Gigi because she listens to him and doesn't judge him. Once he learns about Gigi and her new boyfriend, he is angry and leans on his two sisters, Fran and Mary. Keir's older sisters have mixed feelings about his behavior. He leans on Fran the most because she sees the "good" in Keir despite his terrible actions.
One night close to graduation, after a night of partying and substance abuse, Gigi decides to accompany Keir on a visit to Fran's college and they end up in her dorm room alone. In addition to all of this, Gigi tells Keir that her boyfriend could not go to the dance and she needed him to come with her to the dance. When they were both in that cabin there were two beds and when Keir saw how beautiful Gigi looked he went to her bed and something inexcusable happened. Then, the setting reverts to the opening with the two arguing about what happened while they were sleeping next to each other.
Drug of Choice is a novel written by Michael Crichton, as his eighth published novel, and the sixth to feature his pseudonym John Lange. It was originally published in 1970. Hard Case Crime republished the novel under Crichton's name in November 2013.
Film rights were optioned in 1970 by the actor Robert Forster and his agent David de Silva, to produce a film starring Forster called "High Synch". John Neufeld was hired to write a screenplay. "Unlike the book, our script will not have a happy ending", said Forster. "We think the movie ought to serve as a warning." However, the film was never made.
Mala onda () is a Chilean Bildungsroman novel and social commentary by Alberto Fuguet. It is also Fuguet's debut novel, first published in 1991.
"Mala onda" is set in Chile during a ten-day period in September, 1980, around the time of the Chilean constitutional referendum. The protagonist is Matías Vicuña, a maladjusted, upper class, 17-year-old boy who is jaded and frustrated by what he perceives as the folly and blandness of his family and peers. Matías lives a loveless, meaningless life, and indulges in sex, drugs, alcohol, and rock music.
The novel examines the Chilean emulation of American consumerism and pop culture, in the context of a growing opposition to the dictatorial rule of Augusto Pinochet in Chile.
The novel takes place in 1980 in Santiago, Chile during the political referendum of the country's future with Pinochet. The protagonist visits Rio, Brazil briefly in the beginning of the novel. He also goes to Reñaca, a resort in the region on Valparaiso. Other than these, the main location is the urban setting of Santiago. The neighborhoods mentioned in the novel within Santiago include Providencia, Ñuñoa, and Las Condes.
Matías finds comfort in J.D. Salinger's "The Catcher in the Rye", relating to Holden Caulfield's cynicism and teenage angst. The novel culminates with Matías attempting to replicate Holden's self-inflicted isolation by fleeing his family, friends, and academics. He even purchases a red hunting hat to complete the persona. Ultimately, however, Matías is reunited with his father. Despite familial bouleversements, Matías finds peace and learns to embrace change: symbolizing the trepidation Chile faces as it undergoes a transition of power.
The Coffee Trader is a historical novel by David Liss, set in 17th-century Amsterdam. The story revolves around the activities of commodity trader Miguel Lienzo, who is a Jewish refugee from the Portuguese Inquisition. Recovering from near financial ruin, he embarks on a coffee trading scheme with a Dutch woman, kept secret because it is forbidden by his community council. Miguel navigates the social structures of the Amsterdam business world, the politics of the council, and the plots of competitors bringing this new import to Europe.
The character of Miguel Lienzo is the great-uncle of Benjamin Weaver, the protagonist of Liss's first novel, "A Conspiracy of Paper". This novel is set about 60 years earlier, but is not a prequel; as stated by Liss, Miguel Lienzo is a very different kind of character from the English great-nephew whom he would never meet.
The book has been published in translation into Chinese, Danish, French, German, Hebrew, Hungarian, Italian, Japanese, Korean, Polish, Russian, Spanish, Portuguese and Turkish.
Several intrigues follow. Miguel finds a mutual attraction with his sister-in-law Hannah. Parido catches wind of Miguel's interest in coffee, and appears to have coffee interests of his own. Parido uses his influence with the Jewish ruling council, the Ma'amad, to censure Miguel. Miguel receives threats from creditors still waiting to be paid, even as he is himself waiting to be paid for his profits in the whale oil trade. He begins to have suspicions about Geertruid's trustworthiness and takes some of her coffee-investment money to pay some of his creditors. Miguel and Daniel's relationship is strained by many of these events.
When Nunes's coffee shipment arrives in Amsterdam, it appears that Nunes has promised it to both Parido and Miguel Lienzo. Parido and Lienzo place a wager on the final price of coffee for the day and both attempt to manipulate the price in their favor. Miguel wins the wager and a considerable sum, but betrays Geertruid in the process, believing Geertruid to having been Parido's spy. He repays her initial investment but cuts her out of the profits she was expecting.
Hannah deceives Daniel by informing him that their baby is actually Miguel's and, along with his bankruptcy, he informs her he is leaving the city and will grant her a divorce. She goes to Miguel's house and they plan to marry. Miguel learns that Geertruid was working for Alferonda, not Parido; he tries too late to make amends. Geertruid leaves the city with her companion, Hendrick, but not before Hendrick beats Miguel's sometime-friend Joachim in retribution for Miguel's betrayal. Miguel and Hannah have a son, Samuel, and later another boy. His prosperous future now lies securely in the coffee trade.
"The Coffee Trader" was published in 2003 to generally positive reviews. Several reviewers noted the novel's depth of historical detail, including mention of the three pages of bibliography at the end of the book. Others mention the intricacy of the plot; writing for "The New York Times", Thomas Mallon described "the book's commercial plot to be as complicated as it is expert", requiring occasional narrative recaps to help the reader keep track of its intricacies. Despite the "careful attention" to setting, Mallon wished for a bit more "time and place" as a break from the rapid and intricate plot.
Writing in the "Jewish Quarterly Review", Adam Sutcliffe identified "The Coffee Trader" as among "the underinvestigated emerging genre of the 'port Jew novel,'" citing as other examples "In an Antique Land" by Amitav Ghosh, "The Nature of Blood" by Caryl Phillips, and "The Moor’s Last Sigh" by Salman Rushdie.
Thompson wrote that he concluded their March trip by spending some 36 hours alone in a hotel room "feverishly writing in my notebook" about his experiences. These writings became the genesis of "Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream."
What originally was a 250-word photo caption assignment for "Sports Illustrated" grew to a novel-length feature story for "Rolling Stone"; Thompson said publisher Jann Wenner had "liked the first 20 or so jangled pages enough to take it seriously on its own terms and tentatively scheduled it for publication—which gave me the push I needed to keep working on it." He had first submitted a 2,500-word manuscript to "Sports Illustrated" that was "aggressively rejected."
Weeks later, Thompson and Acosta returned to Las Vegas to report for "Rolling Stone" on the National District Attorneys Association's Conference on Narcotics and Dangerous Drugs being held from April 25–29, 1971, and to add material to the larger "Fear and Loathing" narrative. Besides attending the attorneys' conference, Thompson and Acosta looked for ways in Vegas to explore the theme of the American Dream, which was the basis for the novel's second half, to which Thompson referred at the time as "Vegas II".
On April 29, 1971, Thompson began writing the full manuscript in a hotel room in Arcadia, California, in his spare time while completing "Strange Rumblings in Aztlan," the article chronicling the death of Salazar. Thompson joined the array of Vegas experiences within what he called "an essentially fictional framework" that described a singular free-wheeling trip to Vegas peppered with creative licenses.
In November 1971, "Rolling Stone" published the combined texts of the trips as "Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream" as a two-part story, illustrated by Ralph Steadman, who two years before had worked with Thompson on an article titled "The Kentucky Derby Is Decadent and Depraved". Random House published the hardcover edition in July 1972, with additional illustrations by Steadman; "The New York Times" said it is "by far the best book yet on the decade of dope," with Tom Wolfe describing it as a "scorching epochal sensation."
The basic synopsis revolves around journalist Raoul Duke (Hunter S. Thompson) and his attorney, Dr. Gonzo (Oscar Zeta Acosta), as they arrive in Las Vegas in 1971 to report on the Mint 400 motorcycle race for an unnamed magazine. However, this job is repeatedly obstructed by their constant use of a variety of recreational drugs, including LSD, ether, cocaine, alcohol, mescaline, and cannabis. This leads to a series of bizarre hallucinogenic experiences, during which they destroy hotel rooms, wreck cars, and have visions of anthropomorphic desert animals, all the while ruminating on the decline of both the "American Dream" and the '60s counterculture in a city of greed.
The "wave speech" is an important passage at the end of the eighth chapter that captures the hippie zeitgeist and its end. Thompson often cited this passage during interviews, choosing it when asked to read aloud from the novel.
"Fear and Loathing in Las Vegas" is Thompson's most famous work, and is known as "Fear and Loathing" for short; however, he later used the phrase "Fear and Loathing" in the titles of other books, essays, and magazine articles.
Moreover, "Fear and Loathing", as a phrase, has been used by many writers, the first (possibly) being Friedrich Nietzsche in "The Antichrist". In a "Rolling Stone" magazine interview, Thompson said: "It came out of my own sense of fear, and [is] a perfect description of that situation to me, however, I have been accused of stealing it from Nietzsche or Kafka or something. It seemed like a natural thing."
He first used the phrase in a letter to a friend written after the Kennedy assassination, describing how he felt about whoever had shot President John F. Kennedy. In "The Kentucky Derby is Decadent and Depraved", he used the phrase to describe how people regarded Ralph Steadman upon seeing his caricatures of them.
Jann Wenner claims that the title came from Thomas Wolfe's "The Web and the Rock".
Another possible influence is "Fear and Trembling", a philosophical work by existentialist Søren Kierkegaard published in 1843. The title is a reference to a line from a Bible verse, Philippians 2:12.
When it was published in fall of 1971, many critics did not like the novel's loose plot and the scenes of drug use; however, some reviewers predicted that "Fear and Loathing in Las Vegas" would become an important piece of American literature.
In "The New York Times", Christopher Lehmann-Haupt told readers to not "even bother" trying to understand the novel, and that "what goes on in these pages make[s] Lenny Bruce seem angelic"; instead, he acknowledged that the novel's true importance is in Thompson's literary method: "The whole book boils down to a kind of mad, corrosive prose poetry that picks up where Norman Mailer's "An American Dream" left off and explores what Tom Wolfe left out".
Cormac McCarthy has called the book "a classic of our time" and one of the few great modern novels.
In the book "The Great Shark Hunt", Thompson refers to "Fear and Loathing in Las Vegas" as "a failed experiment in the gonzo journalism" he practiced, which was based on William Faulkner's idea that "the best fiction is far more "true" than any kind of journalism—and the best journalists have always known this". Thompson's style blended the techniques of fictional story-telling and journalism.

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