John LeCarré’s MISSION SONG is the most disappointing novel of his since The Naive and Sentimental Lover. The protagonist, Bruno Salvo, is a Congolese/Irish mixed-race translator with a flair for African languages. A client in British intelligence hires Salvo to attend a conference at which a visionary Congolese leader will build an alliance with Western power players to unite his war-torn country and restore Freedom and Democracy … eventually. When Salvo realizes the conference does not have his people’s interest at heart (which I’m pretty sure anyone who’s read it figured out as fast as I did) he tries to do something about it but runs headlong into the corrupt British forces involved. Just as the last third of Absolute Friends recycled war on terror cliches, this book feels like a Cold War thriller of 60 years ago (just switch out the corrupt business interests for Commies). Even LeCarré’s writing couldn’t hold me on this one.
Robert Bloch’s THIS CROWDED EARTH is set in a dystopian late 20th century world where curing disease and age has led to massive overpopulation: skyscrapers are hundreds of stories high, elevators can take an hour to deliver you (to say nothing of how crowded they are) and having one room to live in is luxurious. The protagonist finally snaps and gets sent to a mental hospital — but with space at such a premium, why does it have private rooms and spacious grounds? Why do the nurses keep jumping his bones? It turns out he’s part of the big and secret plan to save the world, but there are a few bumps along the way … This comes off less as the dystopian fiction I expected and more a metacommentary on dystopian SF, showing the usual solutions won’t work (we can’t colonize the Solar System to drain off the crowds), the Resistance is half-assed and incompetent and all the predictions about dystopia from the 1950s (this was a late-1950s novel) turned out wrong. Given Bloch’s usual cynicism, I’m surprised he actually offered a happy ending; overall this was more interesting than good, and it’s very sausage fest-ish (two hot nurses and one mom in one scene are all the female presence we get).
In the Silver Age, spelunking adventurer Cave Carson headed an adventure team on the lines of the Sea Devils or the Time Masters but he never got his own series. Nevertheless, he has popped up several times since that era, and finally landed a starring slot with Gerard Way, Jon Rivera and Michael Avon Oeming’s CAVE CARSON HAS A CYBERNETIC EYE: Underground. His glory days over, Cave now works on underground drilling vehicles for the powerful EBX tech and struggles to rein in his rebellious daughter Chloe (Mom, a subterranean princess, has passed away). When it turns out EBX is up to no good, Cave, Chloe and the obscure superhero Wild Dog (yes, the prototype for the guy in Arrow) must work together to save the lost race of Muldoog and stop EBX from unleashing a demonic monster. Hardly up to the level of Way’s Umbrella Academy, but fun as a weird pulpish underground adventure (certainly better than Paul Chadwick’s The World Below).
#SFWApro. Art by Bernard Bailey, all rights remain with current holder.