The kind folks at Goodreads featured two of my books, one fantasy and one science fiction, as their November choices for the Science Fiction and Fantasy Club members to read and comment on, if they wished. The books were The Magic of Recluce and Haze. As I suspected, I took a certain amount of flak on one aspect of The Magic of Recluce, and that was my “creative” use of textual sound effects. This was something I’ve known for years, especially since Dave Langford’s “poem” created solely from the sound effects in the first few Recluce books. Needless to say, the later Recluce books have far, far, fewer sound effects. And some Goodreads readers also noted that I was a bit too elliptical in areas, a tendency I think I’ve largely corrected in later fantasy books [after all, The Magic of Recluce was my very first fantasy book, written over twenty years ago, and I have learned a few things more about writing in the years since].
The negative comments about Haze, however, bothered me more, not because a number of readers didn’t like the book, because that’s to be expected. Any book by any author will find some readers who don’t like it. What bothered me was why these readers didn’t like the book. Almost all of those who posted negative comments made the observation that they couldn’t connect with Keir Roget, the main character, because he showed no emotion. In point of fact, that is not true. He shows no overt emotion beyond politeness and tactfulness, or a quiet reserve, even when his life is threatened. It’s not that he has no emotions; it’s that they’re kept under tight rein, because in both his culture and his profession [security agent] revealing emotions can be dangerous, if not fatal, particularly when you’re already under suspicion, as Roget is. The safest way not to reveal emotions is to repress them so that you don’t feel them strongly yourself, and this is exactly what Roget does. There are numerous clues in Roget’s small actions as to what he feels in his actions, but these are subtle.
From a reader’s point of view, this clearly presented a challenge, and that difficulty was magnified because the “culture” is future Earth, and future southwestern Utah in one series of events. That’s a future where at least some U.S. readers “expect” a certain emotional pattern from the character, and Roget didn’t deliver. Of course, if he had, he wouldn’t have survived even to the point where the book actually begins. I suspect that, had I made the entire culture more Sinese and the main character had been identified as of Chinese heritage and genetics, readers would have had less difficulty, but perhaps not.
But what all the comments underline is that at least a certain percentage of readers are so isolated in their own culture that they have great difficulty in getting “outside” their own cultural and personal expectations, in particular when the setting “looks” familiar. Yet that was actually one of the basic points of the book, shown in many ways – that what looks familiar may not be at all and that our own future may be far more alien to us than many could possibly imagine. The problem of course, was that, for some readers, I succeeded in making that seemingly familiar future so alien that they could neither accept nor identify with it… and that doesn’t help sales a great deal.
What I’ve experienced with Haze may also reflect why comparatively few SF books, especially those with high sales levels, depict heroes or heroines with emotional complexions more than slightly different from those in current western society. Emotional differences are far more alien than physical differences, it would seem, at least in current SF, and that’s why so many aliens are really just humans in disguise.




