Lords of the Middle Dark, part 1 of a four-part saga, is... ...well, it's INTERESTING. It is certainly interesting.
Let me take this step by step. (A WARNING, for sexual content!)
THE PREMISE
For a while I've been on a kick with short little pulp books, two Robert Howard collections included, so I'd decided that, finally, I might like to read a full book again. Enter 'Lords of the Middle Dark', a book with an intriguing premise: A mastercomputer has taken over the world in the post-apocalypse, and regressed humanity back to its pre-industrial state, for its own good. The only way to break the computer and allow humanity to once again evolve? To find five golden rings, into which were hidden the kill-commands that could shut the master-computer down. It's a quest by the story's character, a native american man named Hawks and a chinese woman named Song, to find those rings!
The premise sounded intriguing; sort of like if AM from 'I have no mouth and I must scream' was more (but only a little more) benevolent, and that this was going to be some sort of fantasy romp with 'magic explained as secret super science'.
The book very swiftly establishes that this is only peripherally the case; yes, most of humanity WOULD think of mastercomputer and its devices as sorcery, but this is never a perspective we the reader have for even a moment, going in upon the shoulders of characters who are part of the select, elite class who are privvy to the secrets of world, being humans chosen to work behind the scenes, managing technology. Think of it like if King Richard of medieval times secretly had a television rumpus room hidden under his castle, and took regular trips in a space-ship up to his real house, with air-conditioning, plumbing, and a microwave for heating up his tv dinners.
A little disappointing, but not a deal-breaker.
THE CHARACTERS
What is easily the weakest part of the book are the characters. But first, before I get into them, I think I needs must mention a few of the...
...WORLD CONCEPTS
What made me finish reading the book (but would also become one of its weaknesses) was the inventiveness of ideas. Chief among all of the super-science tech going on was the notion that technology for mind control was common. Need to learn a new language? Step into a mind-printer for a second or two and you'll be fluent in ancient latin! Need a crash-course in wilderness survival? Mind-print it on in! Does your boss want to make sure you weren't making personal calls on company time? He'll make an entire read-out of your mind and go over it all to see for himself. And if you've been very very naughty, the master-computer will send a killer robot after you that's been fitted with your own personality and memories, making it think just like you would think.
This was all interesting, but, keeping this in mind, let's go back to...
...THE CHARACTERS (CONTINUED).
The characters are dullsville. There is absolutely no voice or personality to any of them. They act like logic-bots with little in the way of any will of their own. Hawks and Song at least tend to drive the plot by going out and doing things, but every other protagonist (with one or two exceptions) is just a lovingly supportive aid, there to assist, and... ...well, let's put a pin in that (we'll return to that in a section I'll call 'WOMEN IN THIS BOOK')
The problem however, with a world where mind-control technology seems to be spilling out of every nook and cranny, is the concept of characters seemed to fade away. What's the point of any one person when every other chapter they're imprinted with a new personality? Sometimes this was presented as an interesting idea: Hawks, who spent most of his time in a technological environment, but would occasionally have to re-immerse himself in a primitive, tribal world, would receive personality tweaks to help him adjust. That's an interesting sci-fi-concept.
...less interesting was when a survival-guide mindprint seemed to turn him (and his two wives) into deadly survivalists, who were ready to abandon their quest because suddenly going off into the woods to have some fuck sounded more important to their new personalities. ...Followed by when a bad-guy decided to give them all ape-personalities for a little bit. ...and then Hawks two wives were given personality tweaks that made them more... ah, shall I say 'domestic'?
And then hoo boy, let's get into Song. Captured by her evil father who wanted to turn her from a spoiled brat into a docile good-girl, she escaped by chemically shutting off her emotions, turning herself into a logic-machine, THEN giving herself the personality of a boy-prisoner who she wanted to impersonate to escape. Following this she was assaulted (repeatedly, and extensively) by a badman who, through torture, broke her of the 'male' personality she'd adopted, turning her into his sex-slave, after which some scientists then quirked her personality to make her super horny to have babies, and to be maternally over-protective of any children she would have. (If you're feeling a little odd reading all that don't worry, I'll get to it!)
The result of all this personality-swapping and mind-alteration was that characters just seemed to fade away into a blur. No personality-trait seemed to matter, because a casual line of dialogue would explain how "Well sure, this bounty hunter WAS a bit of a crazy psychopath, but hey it's cool, the scientists decided to smooth out her rough edges". In better hands this could have been a truly brilliant point made upon the idea of "What is a person? Who are we? Are we our memories, our actions, our genetics?" But for the purposes of THIS story, where characters were wooden and bland to begin with, all characters started to become interchangeable, and I started wondering why anyone was significant when anyone could become anyone.
WOMEN IN THIS BOOK
Alright, here we go.
So we have, essentially, two story-lines in this book that only converge at the very end: One is about a native American man named Hawks who discovers the secret of the five gold rings, and is on the run from mastercomputer, going out to search for a way to find them. The second is about a chinese girl named Song who has to escape her father's machinations to make her into a servile pawn in his plan to breed genetically-engineered super-geniuses.
Hawks, in the course of his adventures, gets two wives: One of them a reliable and capable sort of woman, and the other a tortured mute, rescued from her enslavers. They tend to go around naked, eschewing clothing for various meticulously-explained reasons. Hawks' two wives are devoted and loyal to him, he being a technological genius, while they are but simple people of the primitive world. Yet, they are capable hunter/gatherers and killers.
Song, after turning herself into a boy (sort of) meets up with a pair of twin sisters, who were both sexually and physically abused. They become devoted and loyal to Song (who, I'll say again, was at this point in the book pretending to be a man so much that she herself thought she was a man), she/he being a technological genius, while they are but simple people of the primitive world. Yet, they are capable escape-artists and assistants.
"Huh." I said to myself, whilst in the middle of reading all of this. "So... ...both of our protagonists- one a man, and one who has sort of BECOME a man, each have a pair of emotionally/physically abused, yet willingly loyal and sexually available women. ...Huh."
By the end of the book Hawks wives AND the two chinese twins have both had medical alterations, giving them bigger boobs, bigger hips, and making them more horny, and have undergone mental conditioning to make them obsessed with babies and taking care of babies.
Poor, poor Song (who, by the end of the book has been renamed China), has likewise had medical alterations making her boobs and hips bigger, and making her 'go into heat' whenever she's not pregnant. ...and oh yeah, her lips are bigger and sexier too. Very important.
So... ...there's all of that.
Having just come off of a bunch of old pulpy stories from the '20's and '30's, the treatment of women in this book is, comparatively, interesting. On the one hand they're often very capable, possessed of genius and skills that make them invaluable, and often far more capable than their male c0-stars. Yet, at the same time, the book has ended with every single female character having been transformed into a bunch of nymphomaniac bombshells, INCLUDING the main character, Song, whose setup and motivation was to escape her father's plans to have her transformed into a nymphomaniac bombshell whose only purpose in life was to make babies.
PRISON FETISH
In a brilliant flash of insight, everything made sense to me about halfway through the book when it became apparent that Song/China's half of the novel consisted of lengthy, LENGTHY segments of detailed exposition about the various manners of imprisonment she was undergoing. Upon every stage of her journey, all the way from earth to the science-prison-asteroid (where she would eventually be transformed into a nymphomaniac bombshell who goes into heat whenever she's not pregnant, I shall repeat), every method of how she is restrained and imprisoned is meticulously described by prison guards.
"Ohhhhhhhh," I suddenly realized, in the middle of one of these scenes, "This is a fetish book. The author is into prison scenarios, multiple wives, mind-control, and turning women into nymphomaniac bombshells."
Maybe I would have realized it sooner, but by god if everything wasn't so dang CLINICAL, without a hint of passion or eroticism.
CONCLUSION
So there it is. Lords of the Middle Dark is a book about weird sci-fi concepts and fetishes disguised as weird sci-fi-concepts by the sheer dryness in which they're related to the reader.
And I just don't know how to feel about it.
On the one hand I'm intrigued by the bizarre ideas. The world is fascinating and thought-provoking in its premise, and throws a lot of strange ideas into my head. But on the other, those ideas are sometimes simply underutilized, and other times betrayed in favor of becoming fetish-fuel. So often it felt like characters were betrayed just to be transformed (literally) into fetish-fuel; but at the same time those character just kind of kept marching on. Sure Song/China, who wanted to be recognized for her brains and not her potential as a fertile mother DID end up changed into a literal baby-maker (also she was blinded by a booby-trapped mindprint machine, because why not), but at the same time she finishes as the biggest expert on star-ships, and has a new development in that she can link-up with the space-ship's AI and merge her mind into the ship, BECOMING the ship and transcending her violated body, so...? *shrug*.
I feel like there's a lot more I could talk about with this book. It FRUSTRATED me, but also INTRIGUED me. It often repulsed me, but also made me turn the page, hoping to find out that things would get better. The sheer dryness of the characters and the narrative was so boring, but also saved all the sexual torture from being so revolting I had to throw the book away.
I had books 2-4 bought along with this one, so, maybe I'll see how things fare for our strange, STRANGE cast of characters in the next one. Though I may take a break and read something more pleasant first. Digging into some sci fi by CJ Cherryh might feel light and joyful by comparison.