Continuing, after quite some delay, my series of reviews of Treklit, we come to Alan Dean Foster’s Star Trek Log Three, another in his series of novContinuing, after quite some delay, my series of reviews of Treklit, we come to Alan Dean Foster’s Star Trek Log Three, another in his series of novelizations of Star Trek: The Animated Series. This volume contains adaptations of “Once Upon a Planet”, “Mudd’s Passion”, and “The Magicks of Megas-Tu”.
Once Upon a Planet
This story is a sequel to the TOS episode “Shore Leave”, in which the Enterprise happens upon a ‘shore leave planet’ that is designed just to satisfy, as Kirk noted, the need of complex minds for the simplicity of play.
The Enterprise has been overtaxed, lately (the stories in these novelizations are written as taking place in sequence), so Kirk asks for something special in the way of reward for the crew, and he gets it: approval for shore leave on the Shore Leave Planet, in the Omicron region.
Upon arriving, Uhura, Sulu, and McCoy beam down together and note that everything seems to be as it was when last they saw the planet, down to the appearance of Alice and the White Rabbit. They go their separate ways in order to enjoy their own–private–fantasies, but McCoy has scarcely come into view of the Southern mansion he dreamed up when he is set upon by armed playing cards, straight out of Alice, who attack him in deadly earnest. He manages to call for an emergency beam-up just in time to escape them.
Shore leave is canceled as the crew of the Enterprise strive to determine why the planet is attacking, why the Keeper didn’t intervene, and what has happened to Uhura, who has vanished without a trace.
This story is pretty good, and translated well by Foster.
Cutting shore leave somewhat short, the Enterprise is ordered to investigate the activity of an old ‘friend’, Harry Mudd, who we last saw in “I, Mudd”. He is up to his old tricks, swindling people far and wide. This time, he’s selling a love potion.
This story is very thin and no better for Foster’s efforts.
The Magicks of Megas-Tu
The Enterprise is sent to investigate the unusual phenomena at the center of the galaxy, including a ‘negative black hole’ busily ejecting matter, which they presume to be the source of all matter in the galaxy, drawing its energy from a multitude of other universes. Then they begin to be drawn into a cone-shaped vortex which is drawing in–and destroying–matter, from which the Enterprise cannot escape. They gamble that it may be safer in the center of the vortex, and, passing through it, they find themselves in another place, strange to them, operating by no known laws.
The delicate equipment of the Enterprise does not take kindly to this lawlessness, and begins to fail. The crew, dependent on this equipment, begin to fail as well. When the situation has grown most desperate, the Enterprise is suddenly saved by a strange alien–half man, half goat–who appears on the bridge. He restores their environment with what appears to be magic, then introduces himself:
“Who am I? Oh, you want a name! Call me Baal.” He paused thoughtfully. “Or Lucien. Yes, Lucien. But above all, call me friend.” One finger fluttered skyward as he declaimed, “Never could I abandon those who have come so far to frolic with me . . . for such purpose you must have been sent.”
Lucien introduces the to the planet Megas-Tu, where the physical laws correspond to what the humans would call magic. His people had ventured out of their own universe before and encountered Earth, but their welcome had not been so warm. When others of Lucien’s people discover the humans, they quickly put them on trial for the crimes of their species, as exemplified by the Salem witch trials, in which, weakened by the distance from their own world, the Megans were persecuted and even burned.
Kirk argues that if humans were once so savage, they have changed, and continue to strive to change, to be better and more noble. The Megans accept that this may be so, but declare that Lucien still must be punished for bringing the humans to Megas-Tu. Kirk defends him, as well, accusing the Megans of being as cruel as they accused the humans of being. In so doing, he passes a secret test, proving by his concern for Lucien, known also as Lucifer, that humans truly have changed. Should humans again visit Megas-Tu, they would find a warmer welcome.
Where to begin with this one? The adaptation is good–superior to the original. It spends too long on the setup and not enough on the resolution, but it’s still well done. As for the story, it was obvious to anyone just who a goat man named Lucien would turn out to be, but it was satisfying, all the same. Kirk and McCoy question whether Lucien was really the Lucifer of myth, and McCoy concedes that it doesn’t really matter, except:
“It’s just that–if he was, Jim–this would be the second time he was on the verge of being cast out. But thanks to you, this is the first time he was saved.”
The author of this episode, Larry Brody, indicated that originally, the Enterprise was to meet God out in space, but that idea was nixed by the censors. But meeting the Devil in space was fine, and so the episode was born. This episode must have been influential, indeed. In the first episode of Star Trek: The Next Generation, “Encounter at Farpoint”, Q puts the crew of the Enterprise on trial for the crimes of humanity, and Picard, too, argues that Q should consider whether humanity is presently as savage as in times past. Then in “Where No One Has Gone Before”, the Enterprise is taken to the edge of the universe, and find it a strange place where reality is impacted by thought. Then, in Star Trek V: The Final Frontier, the Enterprise (under Kirk’s command, this time) visits the center of the galaxy, where they find a godlike being who turns out to be evil.
The first and last stories in this are quite good, though the middle one is forgettable. That’s a pretty good ratio for novelizations of television episodes. “Once Upon a Planet” is perfectly like any Trek episode you’ve ever seen, and “Mudd’s Passion” is like most of the bad ones. “The Magicks of Megas-Tu” isn’t a top-tier story, but it’s pleasant enough, and interesting in how it presages later Trek. If you’re a Trek fan looking for a little light reading, this book isn’t bad....more
Time for another step back in the Trek schedule. Today, we’ll take a look at David Gerrold’s The Trouble WithThis review was also posted on my blog.
Time for another step back in the Trek schedule. Today, we’ll take a look at David Gerrold’s The Trouble With Tribbles, published on 12 April 1973.
This book goes into some detail about how Gerrold came to write the titular episode, and includes several drafts as well as the final script, each annotated with information about how and why some of the earlier concepts were changed for the final script. In addition to describing the writing process, Gerrold gives a bit of information about how the props were made and how shooting went, and finally reflects on the impact the episode has had, both on him and others. He concludes the book with an anecdote about sending a spare tribble to a hospital to encourage a girl, paralyzed by meningitis, in her recovery.
This isn’t the first time I’ve mentioned this book–I noted it last year, when I wrote about Gerrold’s The World of Star Trek (published simultaneously), but I’ve only recently acquired a copy. Was it worth the wait?
Not really. It’s well written, of course, and amusing enough to read, but by the time I got through the final draft of “The Trouble With Tribbles”, I was pretty well sick of the story. Whitfield’s The Making of Star Trek goes into more interesting detail about the production aspects, and Gerrold’s own The World of Star Trek is a more interesting look at the writing. The form of the book is basically autobiographical, but it’s rather scant of details. There’s a little talk at the beginning on how Gerrold has always been a fan of science fiction, and a few more anecdotes scattered throughout, but otherwise the focus is very much on the revision of the script.
My suggestion: unless you’re a particularly big fan of “The Trouble With Tribbles”, read The World of Star Trek, instead....more
In July 1975, five months after the publication of the previous volume, was published Star Trek Log Five by AlThis review is also posted on my blog.
In July 1975, five months after the publication of the previous volume, was published Star Trek Log Five by Alan Dean Foster. This volume, as usual, adapts three episodes from Star Trek: The Animated Series: “The Ambergris Element”, “The Pirates of Orion”, and “Jihad”.
The Ambergris Element
The blurb on the back of the book for this story reads: “Marooned on the strange water world of Argo, Kirk and Spock are in incredible danger . . . pursued by a hideous sea monster!” That is only accurate in the most approximate sense. There is a water world, and a sea monster, but Kirk and Spock aren’t marooned and the story isn’t about a sea monster chasing them. Rather, a sea monster attacks their submarine and they’re injured. The water-breathing natives find and heal them, mutating Kirk and Spock into water-breathers as part of the process. The story is about Kirk and Spock attempting to return to normal, hindered by the cultural traditions of the aliens, but aided by some of the younger aliens, who are willing to ignore the old traditions to do what’s right. The blurb does not do the story justice.
This is a good story, and Foster improves on the episode. An altogether satisfying adaptation.
The Pirates of Orion
Spock has contracted a deadly illness, and the only cure has been stolen by pirates. Kirk must catch them and retrieve the medicine before it is too late.
Like many of these stories, the tension is provided by what amounts to a timer counting down. In this case, Spock’s life is on the line, and to be fair it is interesting to see how affected Kirk is by the situation, but ultimately the plot isn’t interesting.
Kirk and Spock, along with several others of various species, are tasked with retrieving a religious artifact stolen from the Skorr before they declare war on the rest of the galaxy. The group must work together in a hostile environment where all previous efforts have failed.
The plot of this story is unsatisfying. It feels like the group just wanders around, stumbling from danger to danger, until finally they discover the artifact, survive the climactic encounter, and the story ends. There’s no particular buildup; the story doesn’t go anywhere so much as it churns in place for fifty pages and then spits everyone out the other side.
“The Ambergris Element” is the only worthwhile story in this one. The writing is good, as usual (though my edition, at least, is positively riddled with typographical errors), but it isn’t enough to save the other two stories....more
Published in April 1975, Star Trek 11 was the last entry in that series completed before Blish’s death. Star TreThis review is also posted on my blog.
Published in April 1975, Star Trek 11 was the last entry in that series completed before Blish’s death. Star Trek 11 contains adaptations of six episodes: “What Are Little Girls Made Of?”, “The Squire of Gothos”, “Wink of an Eye”, “Bread and Circuses”, “Day of the Dove”, and “Plato’s Stepchildren”.
What Are Little Girls Made Of?
The Enterprise investigates the planet where Dr. Roger Korby, who incidentally was Christine Chapel’s fiance, disappeared several years ago. They find him working on a technology that can make lifelike androids and even transfer a human’s consciousness into an android. He wishes to use this technology to build a better society, free from want or hate–but is it really better?
Michael Strong’s performance as Korby in this episode was quite good, but Blish eliminates some unfortunate things like Ruk’s “That was the equation!”. I’d say this is of comparable quality to the episode, overall. An enjoyable adaptation of a good story.
The Squire of Gothos
The Enterprise finds a planet on which resides a strange and powerful alien, Trelane, who is very taken with Earth–the Earth of nine hundred years prior, that is. Trelane, styling himself the Squire of Gothos, forces them to dance to his tune for his amusement, while Kirk searches for a way to escape his power.
Surprisingly, this is pretty good even without William Campbell’s excellent performance–perhaps because I’m reading all of Trelane’s lines in his voice.
Wink of an Eye
The Enterprise, responding to a distress call, finds an empty planet. It turns out to be populated by people who experience time at a fantastic rate, making their movements far too quick for the crew of the Enterprise to perceive. The same disaster that caused their immense acceleration also rendered their men all sterile, so their queen, Deela, has taken the Enterprise in order to have Kirk as a mate.
Not too bad, but not great. A substantial part of the appeal of the episode was in seeing the non-accelerated members of the crew frozen in time, but the adaptation doesn’t convey the same feeling.
Bread and Circuses
The Enterprise finds a planet that has developed remarkably similarly to Earth, except that it is ruled by a modern version of the Roman empire. This is cited as an example of Hodgkin’s Law of Parallel Planetary Development–utter nonsense, of course, and not even consistent with other episodes.
As with “Wink of an Eye”, above, and as I said of “A Piece of the Action” in my review of Star Trek 4, much of the good in this episode was in the seeing, so the adaptation isn’t as interesting.
Day of the Dove
The crew of the Enterprise and of a Klingon ship are brought together by an energy being that feeds on hatred. They eventually drive it off by laughing at it.
That summary sounds pretty bad, but it’s a fairly good story, really. Incidentally, this is the first appearance of Kang, who later figures into stories in DS9 and Voyager.
The Enterprise, responding to a distress call, finds a planet where the thirty-eight inhabitants have psychokinetic powers. Their leader Parmen, who is gifted with the strongest power, is ill, and McCoy must save him. Once restored, Parmen is unwilling to let McCoy go–and in any case secretly intends to destroy the Enterprise rather than allow them to leave with knowledge of the planet’s location.
This episode didn’t have much going for it other than watching the actors pretend to be moved by external forces–including the famous kiss between Uhura and Kirk. The theme is simple: power corrupts. The plot resolves conveniently and Kirk rides off into the sunset.
This volume has a few good stories, and a few middling ones. I don’t know if Blish’s writing is stronger in this one, or if absence has made my heart grow fonder (it has been about two years since my review of Star Trek 10, after all), but I think even the lesser stories were pretty enjoyable. If novelizations are your thing, Star Trek 11 is a good entry in the series....more
Another day, another book of adapted cartoons. In February 1975 was published Alan Dean Foster's fourth bookThis review is also published on my blog.
Another day, another book of adapted cartoons. In February 1975 was published Alan Dean Foster's fourth book of Star Trek: The Animated Series novelizations, imaginatively titled Star Trek Log Four. This volume contains adaptations of "The Terratin Incident", "Time Trap", and "More Tribbles, More Troubles".
If there's one unifying theme to these stories, it's that they have very little plot to speak of. Just oops, here's a bit of trouble for five dozen pages, and then they turn the crank or whatever and the trouble is resolved. For a bit more detail...
The Terratin Incident
The Enterprise receives a strange transmission in a long-obsolete code, the only intelligible word of which being 'Terratin'. When they go to investigate, they are hit by a strange light, which destroys their dilithium crystals and--it turns out--causes the crew and all organic material on board to begin to shrink. They must find some way to fix things before they become too small to operate the ship.
This story is filled with interesting asides, satisfying bits of trivia about the characters, and an utter lack of developing plot. Just page after page of "and they got a bit smaller, so they had to rig up an extra-long pole to reach the coffee pot", until finally they get to the end of the story and things are explained, and they solve the problem by sending everyone through the transporter to return them to their natural size.
Exploring a weird section of space, the "Delta Triangle", a futuristic analog of the Bermuda Triangle, the Enterprise is attacked by a Klingon ship which promptly vanishes. Then they escape from that ship's compatriots by following it through a pothole in space to a pocket dimension called Elysia where, for some reason, people don't age and dilithium quickly degrades to uselessness (unreliable stuff, apparently).
This is another story in which there is precious little plot. The Enterprise gets stuck, so they glue it to the Klingon ship for an extra boost, and the problem is solved. The people living in Elysia exist pretty much solely for the sake of communicating to Kirk a last minute warning about a Klingon plot.
More Tribbles, More Troubles
The Enterprise, escorting ships carrying grain, encounters a Klingon ship chasing a small Federation vessel. They beam the pilot aboard just as his ship is destroyed, and what do you know, it's Cyrano Jones, out selling tribbles again. This time, instead of reproducing rapidly, they just grow to immense proportions. Oh, but actually they still breed explosively, too. So... yeah. Tribbles, again. They beam them over to the Klingon ship, again.
This is just not a good selection of stories. If it'd been just one or even two of them that were very light on plot, it'd be bearable, but for all three to be so mindless? It's pretty bad. The writing is as good as usual, though, and Arex gets a fair bit of 'screen time' throughout, which is nice. The show could really have done with some more focus on the non-human (and non-vulcan) crew, so it's good to see the novelizations correcting that. Even so, I wouldn't recommend reading this one unless you're a completionist....more
This review is also published, with images, on my blog.
I've received a lovely children's book, today: When a Wolf is Hungry, written by Christine NaumThis review is also published, with images, on my blog.
I've received a lovely children's book, today: When a Wolf is Hungry, written by Christine Naumann-Villemin and illustrated by Kris Di Giacomo. It opens:
One Sunday morning, Edmond Bigsnout, lone wolf, left his home in the woods with a great big knife in his paw.
Edmond had a hankering for some rabbit.
Not just any ordinary cottontail, though. What he craved was a grain-fed, silky-haired rabbit, one with just a hint of sweetness. A city bunny.
Edmond finds an apartment building where a likely meal lives, but forgets his knife in the elevator (where it's found by another resident of the building, who was in need of a knife). No matter, he thinks, and returns to his home, this time retrieving a chainsaw. But when he gets back to the apartment building, he encounters a bear who mistakes him for a new tenant, and just so happens to need a chainsaw. Edmond lends the bear his chainsaw and returns home for yet another tool... and so it goes.
Eventually, Edmond has provided all the necessary tools for a rooftop party. If you can't beat them, join them, so Edmond moves to the city and becomes a vegetarian--and president of the Good Neighbor Association.
When a Wolf is Hungry a a fun little story. I think I've usually enjoyed stories with wolves--Walter the Wolf by Marjorie Weinman Sharmat, or The True Story of the 3 Little Pigs by Jon Scieszka, for example--I wonder if there's some connection? The art is very nice (you can see some more samples of it on the artist's web site)--it reminds me of I Want My Hat Back, a bit--and the story is satisfying.
When a Wolf is Hungry was originally published in France in 2011, and will be published in English by Eerdmans Books for Young Readers on 2017-08-07. It is recommended for ages 4 to 8.
Disclosure: I received this book for free in exchange for a review....more
Though I'm generally reading these books in publication order, for the next book in our Trek journey, we need to step back in time about a year. Today
Though I'm generally reading these books in publication order, for the next book in our Trek journey, we need to step back in time about a year. Today's book is the second non-fiction Trek book we're looking at, David Gerrold's The World of Star Trek, published April 12, 1973.
The prologue describes the approximate outline of the book:
Actually, there are three worlds of STAR TREK. First, there's the STAR TREK that Gene Roddenberry conceived--the original dream of a television series about an interstellar starship. Then there's the STAR TREK behind the scenes, how the cast and crew made Gene Roddenberry's ideas come true, how they were realized and sometimes altered in the realization. And finally, there's the STAR TREK Phenomenon, the world that the fans of the show created, the reality that they built in response.
All three of these worlds are fascinating, and all three of them are dealt with in this book. Each of the worlds of STAR TREK created the next; and like interlocking rings, each had its effects on the others. The show created the stars, the stars engendered a fandom, and the fans kept the show on the air.
This book would seem to be in the vein of Whitfield's 1968 book, The Making of Star Trek, though its focus is somewhat different. As Gerrold himself notes, Whitfield's book more than adequately covers the details of the production of the series, so Gerrold does not spend too many words repeating these details. The book's opening ("Part One: The First World of Star Trek--Gene Roddenberry's Dream") repeats the familiar details from The Star Trek Guide and the original series format, much like Whitfield's. But where The Making of Star Trek examines how the series's premise works to make a show that could be produced within the constraints of a television budget, The World of Star Trek considers how it enables interesting stories:
[Kirk] would be explorer, ambassador, soldier, and peacekeeper. He would be the sole arbiter of Federation law wherever he traveled--he would be a law unto himself.
The implication here is that there are no other channels of intersteller communication. At least, none as fast as the Enterprise.
If Kirk could check back with Starfleet Command every time he was in trouble, he would never have any conflicts at all. He would simply be a crewman following orders. He wouldn't be an explorer or an ambassador--just the Captain of the local gunboat on the scene.
Gerrold has some definite ideas about the way stories ought to be told. For example:
The single dramatic element which provokes excitement in a play is this: your identity is in danger. All others are merely variations: your life is in danger, your country is in danger, your girl friend might leave you, your wife might find out, your brother might die, the police might catch you. Something threatens to prevent you from being the person you already are or want to be.
But if you endanger the hero's identity week after week, not only do you run the risk of melodrama--you also run the risk of falling into a formula kind of storytelling. This week Kirk is menaced by the jello monster, he kills it by freezing it to death; next week Kirk is menaced by the slime monster and kills it by drying it out; the week after that he is threatened by the mud monster and defeats it by watering it down; the following week Kirk meets the mucous monster . . . Again, the ho hum reaction. Or even the ha ha reaction.
The second part of the book ("The Star Trek Family--The People Who Made The Enterprise Fly) generally avoids focusing on the production aspects of the show, considering them adequately covered by Whitfield's book. Instead, the bulk of the text is made up of extended excerpts from interviews with some of the principal figures in Trek: Leonard Nimoy, William Shatner, DeForest Kelley, James Doohan, Walter Koenig, George Takei, and Nichelle Nichols; also included is an interview with William Campbell, who played Trelane in "The Squire of Gothos".
The interviews are very interesting, giving a look at how the actors felt about the show and the characters they played. Since these interviews were conducted at a distance of a few years from the show, they make a nice complement to the interviews in The Making of Star Trek, which was published while the show was still in production.
Following the interviews is a complete listing of each Star Trek episode, its writers, and its guest stars. A handy reference, in the days before the internet!
The third part of the book ("The Star Trek Phenomenon") discusses the well-known letter-writing campaign to save Star Trek, organized by Bjo Trimble, then discusses the fandom more generally, touching on fanzines, conventions, and other details. A very interesting look at how scifi fandom--and especially Trek fandom--was organized at the time, and how it was viewed.
In fourth part of the book ("Star Trek Analyzed--The Unfulfilled Potential"), Gerrold examines some of the specific elements that make up Trek episodes, both good and bad. For example, he criticizes Kirk and Spock always going out on dangerous away missions:
...this is the most deadly of all criticisms that have ever been leveled against STAR TREK:
A Captain, whether he be the Captain of a starship or an aircraft carrier, simply does not place himself in danger. Ever.
This is one major problem in the STAR TREK format, the one difficulty that forces the show into a set of formula situations week after week--the focusing of attention on two characters who should not logically be placing themselves in physical danger, but must do so regularly.
Gerrold suggests a specially trainted "Contact Team" should be sent on away missions instead. Actually, his idea is a good one, and was vindicated in The Next Generation, years later: Riker was not at all interested in allowing Picard to go out on dangerous away missions, and when Riker was himself in command of the ship he too was reminded by the crew that he was too important to be risked in that way. Better late than never, eh?
The final section of the book ("The return of Star Trek...?") looks at the possibility of the show's return, and gives details on some of Gene Roddenberry's then-upcoming projects: "Spectre", "Questor", "The Tribunes", and "Genesis II". And finally:
Oh, yes. One more thing. What if STAR TREK doesn't come back . . . ?
"Well," says Gene. "I have a lot of notes on a new concept, a planet-travel show. Not for this season, but for the next one. I'm going to start putting it together . . . "
You see, the fans are right. STAR TREK lives!
I think that the foregoing excerpts give evidence enough that, even if you don't entirely agree with Gerrold's ideas about drama, he has plenty of insightful things to say about Star Trek. And besides being informative, the book is entertaining. The excellent little parody of bad Star Trek plots, "Green Priestesses of the Cosmic Computer", is not to be missed. I know that I gave a pretty strong recommendation of Whitfield's book before, but if you are more interested in the stories of Trek than the production of TV episodes, you might prefer to give that one a miss and read The World of Star Trek instead.
Like Blish's Star Trek series, Foster's Star Trek Log series adapts television episodes. There, though, the similarities end. Blish adapted hour-long episodes into roughly twenty-five page short stories. Foster adapts half-hour episodes into (in this book) roughly sixty-page short stories. And oh, but the extra pages are well-used.
I hate to be too hard on Blish, but reading his adaptations is very like reading scripts re-arranged as prose. Plenty of dialogue, some stage directions, and a bit of description to set the scene. But unless Kirk says it out loud, we have no idea what he's thinking, and twenty-five pages is too short for the narrator to spend any time musing on events, either.
By contrast, Foster adapts much shorter episodes into much longer stories, so he can take time to comment and expand on events, to give things some flavor, and to let us know how the characters are affected. It's interesting and, after reading ten volumes of Blish's spartan prose, refreshing.
A digression, here, on the subject of The Animated Series.
In my experience, TAS has not got a very good reputation--which is perhaps a recent development, as it was fairly well received when originally aired. I can understand some reasons why: like TOS, the stories can be far less serious than those told in later Trek, and it suffered from some very subpar animation, from time to time.
For the first point, however, TAS is, after all, intended as a direct followup to TOS--essentially a fourth season. That it has a similar style is no flaw. As to the second: putting aside quality, the use of animation allowed the Enterprise to have regular alien crew members (other than Spock, of course) and to accomplish any desired effects without blowing a whole season's budget. If you ask me, it's better to suffer some low-quality animation than the sameness in a Federation crew.
Back to the book, then.
One thing to note about these adaptations is that Foster ties the stories together chronologically. The first story begins as they are on their way to the Time Planet, the second takes place there, and the third begins two days after they leave. It doesn't really impact the plot--a few minor references to the previous events aside--but it does provide a good sense of continuity. Here, it feels like the Enterprise really is out and about, encountering danger after danger, where in the television series the events felt much more isolated. It's a nice touch.
Star Trek Log One is a worthwhile read, particularly if you find the animation in The Animated Series offputting. No need to miss out on good stories on account of poor presentation! "Yesteryear" is a great character-focused story, bookended by two rather average adventures. All three are quite readable, though, and the book is worth it for "Yesteryear" alone....more
February 1974 brings another entry in Blish's series of Star Trek novelizations, Star Trek 10. This volume adapts "The Alternative Factor", "The EmpFebruary 1974 brings another entry in Blish's series of Star Trek novelizations, Star Trek 10. This volume adapts "The Alternative Factor", "The Empath", "The Galileo Seven", "Is There in Truth No Beauty?", "A Private Little War", and "The Omega Glory".
In his introduction to this volume, Blish confirms what I suspected (and mentioned in my review of Star Trek 7): he has done as little to change the scripts he was working from as possible. In his words:
Up to that point, I'd regarded my role as nothing but that of a pipeline between the scripts and all the rest of you who can't forget the series.
...in this series it was obviously my duty to the originals to keep myself out of them as much as possible.
This is a shame, since Blish isn't a bad author and the scripts could really use some tweaking for the page. Well, it's too late now.
In "The Alternative Factor", the Enterprise encounters a strange disturbance in space, and finds a madman on an otherwise dead world who demands that they help him to defeat the monstrous man who destroyed his civilization. This story is just a mess. It was worse on screen, but this adaptation can't cure what ails it. A number of events transpire with some urgency, but fail to make any impression on the reader, until the story comes to its pat, supposedly-dramatic end.
In "The Empath", Kirk, Spock, and McCoy have their loyalty to one another tested by some aliens who hope to teach an empathic girl certain positive emotions, as a prerequisite to saving her planet from destruction. This is far from my favorite story, but it's well worth seeing the episode for the very different style--minimalist sets, shots heavily focused on the actors. The adaptation isn't bad, but the episode was better.
In "The Galileo Seven", Spock's logical style of command is put to the test when the expedition he leads is forced to crash land on an inhospitable planet. Meanwhile the Enterprise has only a limited time to search for them before they must abandon them for a greater duty. This isn't a bad story, but it feels like they were trying to force a conflict between logical and emotional choices that just didn't have to be there. Even in the end, when Spock makes the supposedly emotional decision to burn up their shuttlecraft's fuel as a flare, it doesn't seem a particularly illogical choice--either the Enterprise was nearby, and might see it, or it had already left, and conserving fuel would do no good. Whatever my disagreement with the story's interpretation, though, it's still good to see Spock in a command situation, and to see him interacting with McCoy.
In "Is There in Truth No Beauty?", the Enterprise plays host to an alien ambassador so ugly that the sight of him will drive a man mad. I liked this story because it's focused on the characters. There are unique dynamics between Miranda and each of Spock, Kirk, and Marvick, and we get a good look at Kirk and Spock's friendship, too.
"A Private Little War" is a metaphor (explicitly stated, even) for the Vietnam War. The Klingons have given one faction on a previously idyllic planet weapons with which to subjugate another faction (coincidentally favored by Kirk). Kirk ultimately determines to arm 'his' side equally to the other, maintaining a careful balance of power, to prevent either side from being totally destroyed. Is his decision correct? I wonder. It's a great story.
"The Omega Glory", frankly, is just embarrassing. It's all very rah-rah about the superiority of the United States, as depicted by a society with a truly unbelievable degree of parallel evolution with Earth, in which the communists took over the world. Don't worry, though, because the Good Guys win in the end, and Kirk recites the Pledge of Allegiance and the Preamble to the Constitution. Because America!
Star Trek 10 features several quite good stories. It's surely one of the best volumes in this series. Maybe I was just in a good mood, but even the writing seemed better in this book. Do check it out, fans of classic Trek....more
If 1972 had a torrent of James Blish's adaptations (four!), 1973 had a drought. In August 1973 was published that year's sole entry in the series, S If 1972 had a torrent of James Blish's adaptations (four!), 1973 had a drought. In August 1973 was published that year's sole entry in the series, Star Trek 9. This volume adapts "Return to Tomorrow", "The Ultimate Computer", "That Which Survives", "Obsession", "The Return of the Archons", and "The Immunity Syndrome".
In "Return to Tomorrow", the Enterprise encounters three aliens, survivors of an ancient war, who wish to borrow a few of their bodies to build android bodies for themselves. This adaptation isn't bad, but it's really another story that got most of its value from seeing the characters acting unlike themselves, which works much better on television. Reading of the doings of 'Sargon-Kirk' just isn't the same as watching William Shatner, after all.
In "The Ultimate Computer", Dr. Richard Daystrom, the brilliant scientist who built the Enterprise's computer, has invented a new kind of computer, the M-5 multitronic unit, which promises to be so capable as to replace a starship's entire crew, and the Enterprise has been given the honor of testing it. When the computer malfunctions, it's up to the skeleton crew that remains on the Enterprise to regain control of their vessel before their comrades in Starfleet are forced to destroy them. An entertaining story.
In "That Which Survives", the Enterprise and a landing party are attacked by the image of a woman, who is actually a computer-controlled replica defending a dead planet. A threadbare story, indeed. We're meant to feel some sympathy for the woman, and it works a little in the TV episode, but I just don't feel it in the short story. Forgettable.
In "Obsession", the Enterprise encounters a murderous cloud creature that, eleven years ago, killed many members of the crew of the Farragut, on which Kirk served as a lieutenant. As they investigate, the clock is ticking, since the Enterprise must rendezvous with the Yorktown to transport some highly perishable and desperately needed medical supplies. This story works out far too well for Kirk--he clearly is simply obsessed (as the title indicates) with the creature, and his decision to put off meeting up with the Yorktown is clearly a dangerous one, but since he's friends with the writers it turns out he was right all along. I'm not a fan of this one.
"The Return of the Archons" tells the story of yet another society made stagnant by a ruling godlike computer, Landru. And once again Kirk convinces it to kill itself. A fairly entertaining story. I'd like to get some more information on the creation of the computer, its original purpose, whether it was immediately tyrannical or became thus over time, but there's never enough time in an episode for much detail, and these adaptations aren't any different. It's still worth a read, though.
In "The Immunity Syndrome", the Enterprise encounters a giant space amoeba. Which they blow up. The end.
Star Trek 9 is another middling entry in Blish's series of adaptations. A few of the stores are reasonably entertaining, but "That Which Survives" and "The Immunity Syndrome" are rather dull. I admit that at this point I'm really looking forward to the end of this series. Fortunately, there's just one more to go before Alan Dean Foster's Star Trek Log series begins, and then a couple more later on. I can stick with it that far. My advice for this one is just as usual: only get it if you particularly liked one of the episodes adapted in this volume....more
A few more months brings us to the final Trek book of the year: James Blish's Star Trek 8, published in November 1972. This volume adapts "Spock's BA few more months brings us to the final Trek book of the year: James Blish's Star Trek 8, published in November 1972. This volume adapts "Spock's Brain", "The Enemy Within", "Catspaw", "Where No Man Has Gone Before", "Wolf in the Fold", and "For the World Is Hollow and I Have Touched the Sky".
The first story in this book is the execrable "Spock's Brain". Good news, though! If you've seen the episode, then you'll recall that they wire Spock's body up and drive him around like an RC car. None of that in the adaptation--the body remains safely in sickbay for the duration. Blish deserves a medal for that.
It's still not a very good story, unfortunately. Although Blish reduced the story's stupidity substantially, he didn't do anything to improve its women-in-power-are-evil-and-incompetent message. If anything, he exacerbated that problem. Some choice quotes:
The five male bodies, helplessly stretched at her feet, pleased the lady. When the girl Luma joined her, the spectacle pleased her, too.
Beside each woman knelt a man, sleek, well fed, docile as a eunuch. Occasionally a woman stroked a man as one pats a well-housebroken pet.
They are retardates, Kirk thought. Getting through to whatever gray matter existed in that beautiful head was going to be tough.
The women around her, infected by her panic, twittered like birds at the approach of a snake.
To be fair, the thrust of the last two is that the women were helpless because the machinery cared for them too well. It's unfortunate, all the same.
Of course, if you know Trek, you can guess what happens. Kirk's solution to his present dilemma is to disable the miraculous, life-giving machinery and encourage the women to survive by trading sex for food. Really. McCoy and Scott explain:
"[...] However, the aid parties have provided the ladies with a tool for procuring food, furs and fuel from the men."
"Oh?" Kirk turned from one to the other. "Money?"
"No, sir," Scott said. "Perfume."
"I'm not given to predictions, gentlemen, but I'll venture one now," Kirk told them. "The sexual conflict on Planet 7 will be a short one."
"The Enemy Within" has a point, but I was never sure that it was a very good one. Kirk is split by a transporter accident into an exaggerated evil version and a uselessly indecisive 'nice' version. It is, apparently, the opinion of Trek that the strength to act decisively springs from the same source as violent, base urges and that we therefore need these darker impulses. And also transporters are magic. Anyway, the main interest of this one, as with "Turnabout Intruder", was in seeing Shatner playing a different kind of Kirk, so it's not as interesting on the page. Tolerable, but nothing to write home about. Yeoman Rand's "I don't want to get you into trouble. I wouldn't even have mentioned it if technician Fisher hadn't seen you, too, and..." is as disturbing and unfortunate here as it was on the screen. The fact that this passes without comment shows the age of the story, indeed. And need I even mention how stupid it is to have her providing this testimony while Kirk is standing there protesting?
"Catspaw" and "Wolf in the Fold" are both rather bad. The former has little else going for it than being set in a castle, of all things, which worked better on the screen. As for the latter: it features our heroes deciding that a small series of murders must have been committed by Jack the Ripper, who must have been some kind of alien that feeds on emotions. This theory is considered to be logical by almost everyone, and Jack the Ripper is taken as a serious suspect, even when placed up against the woman-hating man who was found with the bloody murder weapon in his hands. Of course, that man was Scotty, so Jack the Ripper seems a more likely suspect to the readers, too. Naturally, the theory is correct, and said evil alien is conveniently on hand to be despatched by a combination of absurd computer handwaving and drugs followed by a one-way trip through the transporter. A deeply stupid story.
"Where No Man Has Gone Before" has a concept with potential. But it, like its television counterpart, fails to convince me. Gary Mitchell, granted enormous mental powers, succumbs to extreme megalomania and Kirk is forced to kill him. The most unbelievable part of this is that everyone simply acts as though this insanity is an absolutely normal and expected reaction to gaining a new ability. Mitchell, a day or two after learning that he can get a drink of water without standing up, decides that he wants to play god and possibly squash his former friends like bugs. Why? Because he's insane, obviously. But no one is particularly surprised by this. It mystifies me.
"For the World Is Hollow and I Have Touched the Sky" is the best story in this volume. Like most Trek, it doesn't fully explore its premises, but it's entertaining. It is startling how quickly the characters can fall in love, though. Five minutes around any reasonably attractive alien woman is all it takes.
Star Trek 8 is a thoroughly average entry in the series. Some bad stories and some good, and generally readable if not gripping. ...more
Keeping up the pace, in July 1972 James Blish released his seventh volume of novelizations, Star Trek 7. In this volume are adapted "Who Mourns forKeeping up the pace, in July 1972 James Blish released his seventh volume of novelizations, Star Trek 7. In this volume are adapted "Who Mourns for Adonais?", "The Changeling", "The Paradise Syndrome", "Metamorphosis", "The Deadly Years", and "Elaan of Troyius".
"Who Mourns for Adonais?" reminds me once again how shockingly often Kirk's first response to a problem is to kill it. Apollo, jealous god that he is, was certainly being obstinate, but except for his severe reactions to Scotty's aggression, he wasn't really doing anything too objectionable. They were all more or less held hostage, sure, but Apollo seemed pretty reasonable, and if Kirk had been willing to try something other than shooting the ship's phasers to get out of the situation, they might have all made it through.
Not much to say about "The Changeling". It wasn't my favorite episode--frankly, I'd rather read Star Trek: The Motion Picture. Well, that's coming up--the novelization was published in 1979.
"The Paradise Syndrome" was an interesting episode, since we get a lot of passage of time, plus we see Kirk develop a relationship with Miramanee. He's in a habit of falling suddenly in love, of course, but I believe this is the very longest relationship we ever see Kirk engaged in. A nice change of pace. It is a shame that Miramanee's people are shown as not having advanced in many hundreds of years, though. Necessary, to let Kirk fit in where he did, but not exactly the most positive portrayal of Native Americans. I understand that in the original script Miramanee and the (unborn) child survive, but Blish's adaptation follows the episode as aired to its tragic (if very convenient) end.
"Metamorphosis" is in some ways a good story and in others a dreadful one. We meet Zefram Cochrane (am I the only one who is reminded of Trip from Enterprise?), alive, young, and immortal (for the moment), plus a (temporarily) inscrutable alien energy being, and we get to see love conquer all. Very entertaining. On the other hand, we get to hear Kirk (bizarrely) proclaim "The ideas of male and female are universal constants, Cochrane. The Companion is definitely female." No, Kirk, it's some kind of alien energy being. That doesn't stop it from loving Cochrane, though. Even for the sixties, this seems an astonishingly absolute statement. The character of Hedford exists pretty much exclusively to be shrewish and then to give Cochrane a more acceptable body for his slavishly devoted alien lover. Not the best of Trek. What I said regarding "Who Mourns for Adonais?" about Kirk first trying to kill any problem he encounters goes for this story, too.
"The Deadly Years" was in some ways better in this adaptation than on television. It felt to me that in the episode, the actors were making something of a mockery of age. Without the overdone 'senile old man' performances from the main cast, it's easier to sympathize with Kirk's loss of control over his ship and, by extension, his life. It's still not great, but it has its high points.
"Elaan of Troyius"... as progressive as Trek wanted to be, it took most every opportunity to get it wrong. As anti-slavery as Kirk has shown himself to be in, for example, "Who Mourns for Adonais?", he is here perfectly happy to serve as the enforcer to a woman's being property (never mind the political justification). He even says it himself: "My orders--and yours--say you belong to that other man." And Kirk's only problem with the situation is that he would prefer if she belonged to him, instead. And I need do no more than mention the awful 'taming the savage woman' plot to show just what is wrong with that part of the story. Elaan goes from fiercely independent (and just generally fierce) to utterly submissive in the space of a page or two, for no justifiable reason.
As usual, this volume has its good and its bad parts. I can't fault Blish--much--for the quality of the stories. I presume he wasn't entirely free to simply rewrite them as he saw fit, and at any rate that wasn't in his job description. Star Trek 7 contains enough good to be worth reading, even if it doesn't deliver on the full potential of the stories....more
Close on the heels of his previous book, James Blish published another entry in his series of Trek novelizations, Star Trek 6. This one includes adaClose on the heels of his previous book, James Blish published another entry in his series of Trek novelizations, Star Trek 6. This one includes adaptations of "The Savage Curtain", "The Lights of Zetar", "The Apple", "By Any Other Name", "The Cloud Minders", and "The Mark of Gideon".
Blish's introduction to this volume is amusing; he reprints a substantial selection from a letter he received from a real Captain Kirk:
By an interesting coincidence I happen to be Captain [Pierre D.] Kirk. This being the case, the men of my last command built a rather elaborate "organization with an organization" based on the series. My jeep was slightly altered so that its registration numbers appeared as NCC-1701. Our weapons were referred to as phasers...
He goes on, recounting an interesting anecdote from his time in Vietnam.
As for the stories: they're the usual fare, I'm afraid. "The Savage Curtain", if you'll recall, involves simulacra of Abraham Lincoln and Surak fighting alongside Kirk and Spock for the entertainment and edification of some inscrutable alien species. Here was a great chance for Blish to elaborate on Kirk's identification with and admiration of Lincoln, or to give us more insight into Vulcan culture. Alas, he only wrote a straight adaptation of the script, and reading about Abraham Lincoln engaging in a wrestling match isn't as entertaining as seeing it happen.
"The Lights of Zetar" is simply not an interesting story. The most interesting thing about it is that it was co-written by Shari Lewis, famous puppeteer--and thus we learn that television writing is not her strong suit. It's all right; I still like Lamb Chop.
"The Apple", too, is as uninspiring as its counterpart on television. Here Blish might have considered in more detail whether Kirk really did right by essentially destroying a utopian society, but no. Best to rush back to the ship in time for the 'Spock looks like Satan' joke. A terrible pity.
"By Any Other Name" was fairly amusing on television. The short story suffers without James Doohan's very entertaining performance as Scotty trying to get an alien drunk--and succeeding, but being too drunk himself to do anything about it. This story has another example of Kirk's predisposition to solving every problem with alien women by kissing them. "Oh. You are trying to seduce me," says the woman in question. "Go on then," she does not say, but that's how it happens anyway. Kirk really only has one diplomatic skill. It's fortunate he rarely has to negotiate with men.
Both "The Cloud Minders" and "The Mark of Gideon" were stories with, I feel, a great deal of potential, but neither was explored in any real depth, so each ends up being fairly forgettable. The former addresses class issues, and the latter some tangle of overpopulation, birth control, and suicide. Plenty of room to tell interesting stories, but instead they just rush from scene to scene without wasting any time contemplating the issues at hand. It's a shame.
Star Trek 6 is another set of average adaptations of an average mix of episodes. If you particularly enjoyed "The Savage Curtain", it'd be worth a read, but that's really the only bright spot here. And to think, there are five more of these books! What horrors will the next volume unleash?...more
With 1972 came another entry in Blish's series of Star Trek adaptations, Star Trek 5. This volume includes adaptations of seven episodes: "Whom GodsWith 1972 came another entry in Blish's series of Star Trek adaptations, Star Trek 5. This volume includes adaptations of seven episodes: "Whom Gods Destroy", "The Tholian Web", "Let That Be Your Last Battlefield", "This Side of Paradise", "Turnabout Intruder", "Requiem for Methuselah", an "The Way to Eden".
The stories adapted in this volume are, I think, fairly average Trek fare. The adaptation of "Whom Gods Destroy" is the most interesting, but even it was better for being on screen. Meanwhile, most of the others are dull, and "Let That Be Your Last Battlefield" is positively tedious.
Several adaptations throughout this series suffer from a common flaw: certain episodes are really only interesting on account of being acted out. "Turnabout Intruder" has a rather weak plot (to say nothing of its unfortunately anti-feminist dimensions), but to the extent that it was entertaining, it was all down to Shatner's overacting as Dr. Lester. Blish's condensed prose captures none of that, while retaining the cringe-worthy story ("And most of all she wanted to murder the man who might have loved her--had her intense hatred of her own womanhood not made life with her impossible."--lovely.)
The above goes equally for "The Way to Eden", another very weak episode propped up (poorly) by songs, on which small support the book cannot rely.
Star Trek 5 was saddled with several very unfortunate episodes, and it didn't make any more of them than the TV series did. If you've got this one, read "Whom Gods Destroy" and ignore the rest. If not, I wouldn't go out of my way to get it. Your time will be better spent elsewhere....more
James Blish's novelizations of Star Trek episodes continue in Star Trek 2, published in February 1968. This volumeThis review also appears on my blog.
James Blish's novelizations of Star Trek episodes continue in Star Trek 2, published in February 1968. This volume includes novelizations of "Arena", "A Taste of Armageddon", "Tomorrow is Yesterday", "Errand of Mercy", "Court Martial", "Operation--Annihilate!", "The City on the Edge of Forever", and "Space Seed".
Each short story is typically quite similar to the episode being adapted, though there are some differences. Notably, the ending of "Operation--Annihilate!" is very different. In the episode, they expose Spock to a massive blast of electromagnetic radiation, including visible light, and believe that they have blinded him. Upon discovering that the visible light was unnecessary, they regret that they have needlessly blinded him. In the end, though, he recovers, and they save the planet using the same procedure, on a larger scale.
In the short story, the Enterprise instead seeks out the central concentration of the mind-controlling creatures and destroys it with missiles, which leaves the creatures directionless and easily dealt with.
I like the writing in this volume better than that in its predecessor, though I couldn't point at a definite reason why. It still suffers from the problem that the episodes on which the stories are based relied heavily on the visual element, and so are somewhat lacking as short stories. They don't generally have any big ideas behind them, and if they do they don't explore them very thoroughly.
I do think that some of the stories here have merit. Not much can be done for "Arena" or "Court Martial", but I can certainly see "A Taste of Armageddon" being worked into something more substantial and interesting, and of course that has already been done for "Space Seed" in Greg Cox's Eugenics Wars series, not to mention Star Trek II: The Wrath of Khan.
Not to be too negative, I did have a pleasant surprise when reading "Tomorrow is Yesterday". After their time-traveling adventure, Spock comments, "And so we have revised Omar." Upon Kirk's request for clarification, he specifies that he means "the verse about the moving finger." This refers to The Rubáiyát of Omar Khayyám, as translated by Edward FitzGerald:
The Moving Finger writes; and, having writ, Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a Line, Nor all they Tears wash out a Word of it.
I've only just read the Rubáiyát about a year ago (highly recommended, incidentally), so seeing this reference by Spock is a treat. Sadly, I don't recall him being quite so literary in the episode.
Given its general improvement over its predecessor, I can recommend Star Trek 2 to fans looking for a quick read, or another perspective on the episodes, and the new ending to "Operation--Annihilate!" and the incorporation of content from Heinlein's original script in "The City on the Edge of Forever" provide a little added value....more
I've read a good number of Star Trek books, over the years. Since I came rather late to the Star Trek universe, I'This review also appears on my blog.
I've read a good number of Star Trek books, over the years. Since I came rather late to the Star Trek universe, I'm quite used to thinking of the expanded universe as a sprawling thing, composed of many books by a similarly vast number of authors. Of course, it wasn't always this way. Once, there were no Star Trek books at all.
And then, there was one: Star Trek by James Blish.
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Star Trek is a collection of seven short story adaptations of television episodes, namely "Charlie's Law" (aired as "Charlie X"), "Dagger of the Mind", "The Unreal McCoy" (aired as "The Man Trap"), "Balance of Terror", "The Naked Time", "Miri", and "The Conscience of the King".
Blish's adaptations were based on early draft scripts of the episodes, so the stories in this collection are not exactly the same as those that aired, though the differences tend to be minor.
The quality of the stories varies. For the most part, they are clearly uninspired adaptions of television scripts: lots of dialogue, limited description, and very little of anything else. They serve well enough as summaries of the episodes, but they're not particularly engaging, and I don't think they give enough detail for readers who haven't already seen the episodes.
The stories are inferior to the television episodes, too, in those cases where the acting is particularly noteworthy: Morgan Woodward's performance as Simon van Gelder in "Dagger of the Mind" and Arnold Moss's performance as Karidian in "The Conscience of the King" brought the characters to life in a way the lifeless dialogue in the short stories cannot match.
The book does have one good point, however: the adaptation of "Balance of Terror" is substantially better than the other stories. Indeed, it's so different that I'd have guessed it was written by another author entirely. Where the other adaptations are soulless collections of dialogue and stage direction, "Balance of Terror" takes some time to consider the import of events and the relationships between the characters, and gives more detail than is strictly required to understand the events. This added flavor places it head and shoulders above the rest: it's a satisfying and entertaining short story.
Blish's book was apparently very popular. Published in January 1967, it was in its fifth printing by June of that year, and in its eighth printing by June 1968. My copy is from a 25th printing in February 1977 and claims "Over 8 million copies in print.", though that might possibly be including the later books in the series. At any rate, it was popular enough that the series was gathered into two different omnibus sets.
However interesting this book may be as a window into the past, I cannot recommend it. I don't regret the time spent reading it, but those simply interested in reading a work of science fiction should probably choose a different book....more
Another day, another collection of Trek novelizations. Today I'm looking at James Blish's Star Trek 3, published iThis review also appears on my blog.
Another day, another collection of Trek novelizations. Today I'm looking at James Blish's Star Trek 3, published in April 1969. It collects seven adaptations: "The Trouble with Tribbles", "The Last Gunfight" (an adaptation of "Spectre of the Gun"), "The Doomsday Machine", "Assignment: Earth", "Mirror, Mirror", "Friday's Child", and "Amok Time".
I didn't notice any substantial departures from the episodes in any of the stories except "Friday's Child", which treats the character of Eleen rather differently. "The Doomsday Machine" and "The Last Gunfight" have some small changes, as well.
This book is, like its predecessor, fairly enjoyable. Although I've not found the series to be exceptional, it seems that contemporary readers were more impressed: in the introduction, James Blish describes some of his previous work (twenty-seven novels and short story collections, including a Hugo winner). Then:
I note these figures not to brag--well, not entirely, anyhow--but as background for one astonishing fact: I have received more mail about my two previous Star Trek books than I have about all my other work put together.
He had been receiving letters "at an average rate of two a day ever since January 1967." Of note is that "most of [the letter writers] say that they have never read, or seen, any science fiction before Star Trek, or if they have, that they hadn't liked it." To fans looking for more information, he recommends The Making of Star Trek by Stephen E. Whitfield. I'm reading that book, now, and it's fairly interesting (with some caveats--review forthcoming).
Finally, at the end of the introduction, he very casually reveals his next project:
Thanks, too, to those who asked that I write an original Star Trek novel. Both the studio and Bantam agreed, somewhat to my surprise, that this was a good idea, so it's in the works.
The book in question, Spock Must Die!, would be published in February 1970, nearly a year later, and Blish's next volume of adaptations would not be published until July 1971.
I admit that I'm really looking forward to Spock Must Die! giving me a break from these adaptations. All the same, with adaptations of popular episodes like "Mirror, Mirror" and "Amok Time" (and even "The Trouble with Tribbles", if you're in a less serious mood), Star Trek 3 is a nice afternoon's diversion....more