Orson Scott Card – Children of the Mind

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‘Children’ is an appropriate word in the title. As for the ‘Mind’, not so much. Card’s finishes his quadrilogy – which started with two classics – on a ridiculous low. It’s not that the novel is bad, but that the flaws are brand new. Card succumbs to all the flaws he avoided when he first started.

Why did the two books split up? Considering how much Card had to say in Speaker for the Dead, it makes sense. His intelligence and complex philosophy still shines through. Instead of shining through storytelling, it’s one essay after another. Sometimes it’s inside the characters’ heads. Sometimes they ruminate and we get the whole thing, uncensored and unabridged. If this was part of a style, fine. It’s not. Rather, it’s a collection of notes – events, ruminations, extended dialogues that all should’ve been trimmed down.

The quadrilogy has philosophical weight, but in the end these novels aren’t pure philosophy. There is an engaging story beneath them about saving the world and what it means to be human. The constant ruminations are like a decent guitar solo extended for 10 minutes. One or two profound phrase is okay since it helps us focus on the themes. When there are whole paragraphs where nothing happens, that’s when you know the editors were dead.

If Card is so against destroying other species, why are the editors extinct? This is a flaw I encounter a lot when reading works by unpublished writers. They’re confused, not sure entirely what their story is about and afraid the audience won’t get them. The fear is justified considering how everyone loved Fight Club for the wrong reasons. So they fill their stories with character thoughts and speculations.

When I get these stories fresh from the oven, I don’t mind. Nobody has gone over them to trim the unnecessary stuff and what should remain as notes. A story doesn’t come fully formed from our minds. We must write it down, see how it looks like on paper and then play around with the pieces. You don’t really know how your story works until you actually write it down. If I read a story where half of it is notes the author should’ve kept to himself, that’s fine. They needed to write this to get the information out of their heads, to acknowledge it exists.

When I read a story filled with notes by a published author, I get angry. Card doesn’t show ideas. He doesn’t even let characters’ personalities filter them. Philosophies are the main characters now. The novel is filled with philosophical conversations and ruminations, and it’s all so disconnected from the story.

Philosophical essays contain ideas, but fiction is how we imagine them taking from. We need literature because that’s how we imagine the effect philosophies have on our live. I can write an essay about how everyone should have assisted suicide easily available for them, but through fiction I can imagine how such an idea might impact society.

The danger of piling philosophical conversations and ruminations in your novel is this. If they overpower the story, they lose connection. We no longer see the ideas in action, so we no longer see the importance. A good story doesn’t just give me insight into an idea, but makes me care about it. By having an emotionally engaging or thrilling story, I get emotionally invested and see the importance of the idea.

The philosophical conversations have no element of humanity in them. They rarely inform us about the characters or their big worldviews. Watching them is like watching a discussion on CMV-Reddit. You see the ideas isolated from a person dissected, analyzed and evolved. That’s fascinating, but that’s not a story. Moreover, CMV has an abundance of people. This novel written by one person. It’s really one long monologue in disguise, which is a shame. A monologue by a person – especially a talented writer like Card – could’ve been fascinating.

Children of the Mind isn’t an unrestrained novel. It’s a novel without purpose that jumps from topic to topic but in the end goes anywhere. We shouldn’t kill other people. We should try to understand people. Haven’t we heard this all before? Wasn’t it more convincing when characters were either morally grey, or when we saw the weight of heroism? The absence of Ender makes his character duller. Without him to show us the weight of his virtues, everyone just opens up a fanclub.

Everyone also acts like douchebags towards each other. Suddenly 21st-century internet lingo caught on and characters swear. Dirty words don’t offend me, but their sudden appearance is odd. Even more similar to stereotypical internet talk is how many dialogues go. So much belittling, being sarcastic and condescending you have to wonder why these people are doing with each other. Nothing actually happened between this novel and Xenocide, so when did everyone started swaggering like Tarantino?

The basic idea behind the ending couldn’t have been better. It ties the novel directly to the first one, but it’s still anticlimatic. Besides that tie to the first novel, nothing actually happened in that ending. The conflict was solved, events happened but no conclusions reached. The people of Lusitania may feel better and may be able to expand their colony, but I’m in the same place.

Children of the Mind gets by only because it’s a part of the Ender Saga. There are interesting ideas, but Card is trying hard to push himself when he ran out of things to say. It even lacks the occasional outrageous moment of Xenocide. That novel was empty, but you could trim it to a decent novella. A kind editor should’ve told Card that he’s writing a story, not a hodge-podge collection of conversations with self, ruminations and the occasional encounter with aliens. At least the first two books are constructed well enough they stand on their own.

2 children out of 5 minds

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Orson Scott Card – Xenocide

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Don’t we all want to believe in the myth of the free artist? If only we break the chains of record labels and publishing companies! A truly great author doesn’t need a pest of an editor. Their glorious minds just spill diamonds on the page. Really, this is an attractive fantasy. It means we can just write whatever the hell comes to our heads and it might be brilliant. We don’t have to actively seek criticism and feedback, since that will soil our purity.

For every brilliant album like The Fragile, you get a book like Xenocide. Actually, Dr. Dre was invovled in “Even Deeper” so maybe even that album isn’t a product of a single, untamed genius. Human beings are flawd and social animals. Without feedback or criticism, our ideas don’t improve. Becoming intelligent is no different than working out. You have to practice. You have to up the ante and you have to try new things and hear the words people different than you.

Card is clearly intelligent or else he wouldn’t be able to write the two previous novels. They were vastly different in style and were self-contained. There was an overarching story but the books weren’t separated just so it would be easier to sell them. They had a beginning and an end, different prose styles and different structures. That’s all before you get into how Card explores his ideas, how he focuses on characters and refuses to demonize everyone. These things are here too, only Card has no one to restrain him.

Lack of an editor doesn’t mean Card’s good habits can flow freely. It means he sinks to the sin of overwriting, joining the ranks of authors like King and R. R. Martin. He rambles on for most of the books, talking to himself and writing down notes. There so many passages that fit more a stream-of-consciousness narrative but this clearly isn’t one. The narrator is omniscient and the stream of thoughts don’tm provide any psychological insight. It’s a reptition of things we already know.

He’s similar to R. R. Martin not just in the rambling style, but in how the rambling holds the book back. When ramblings aren’t poetic or insightful, all they do is fill up the page and cause build-up. Build-up isn’t a good thing. There’s no reason to tease the readers with ‘something will happen!’ when it’s possible to write interesting things that are happening right now.

Only in the last 100 pages things are actually happening. Until then, people mostly speculate. Although there are many characters, the speculations aren’t patricularly varied. People mostly think about what happened, what may happen and what are the odds of something happening. It’s an author not sure how to move his story, so he writes neutral, meaningless things.

It’s tempting to write these paragraphs. Looking at how many words you wrote brings a feelings of satisfaction, of having done a work. Lying bricks in an order doesn’t automatically lead to a house. Writing a lot of sentences doesn’t automatically lead to a story or an essay or insightful philosophical musings. Card’s prose is more nimble and easy to read than other ramblers, but making it more pleasant doesn’t make it any less of a ramble.

The worst sin Card commits is lacking any purpose to his story. What’s Xenocide about, in the end? What does it add to the world of Ender? We shouldn’t judge other people too hastily. People may seem immoral to us but perhaps their value system is vastly different and we need to find a bridge. There’s no progression of ideas here from the previous novels. For all of its philosophical musings, the novel is empty. The only thing that happens is that the characters confront a virus, discover faster-than-light travel and start to rise against Starways Congress. Does that sound like a story that needs 600 pages?

The novel was apparently meant to go hand-in-hand with Children of the Mind but they were split in two. Whenever a book needs to split up because it’s too long a red flag rises. That’s a sign the story doesn’t actually end in the book itself (Here, it hardly concludes) and that the author found themselves writing a little too much.

The usual strengths are here. Although Starways Congress are the first actual antagonist in the series, Card generally refuses to paint people as wholly evil or wholly good. Characters are conflicted. People do horrible stuff and later Card makes us understand them without justifying it. The idea of ‘varlese’ is pretty brilliant – accepting that sometimes we have to kill a different species because we fail to communicate but not because they’re evil. The novel never develops these. We don’t get anything like the piggies’ radical view of death.

There’s also more techno-babble this time around. Expect a lot of ramblings in the last 100 pages about Outspace and Inspace. It’s good he doesn’t pretend this is hard science and the philotes are more of a philosophical concept than a scientific one. But Card spends more time telling us how it works and none of it is barely cool enough for Stoner Rock lyrics. Again, it’s an author whose pen are getting away from them. No editor was here to cut off the fat and leave the substance.

Normally these are the worst flaws a book can commit. Offend the reader, but at least be interesting. Boredom cannot be forgiven. Boredom merely kills the reader’s time and no one lives forever. Yet Xenocide is, overall, a bearable book. It’s not very enjoyable, but it’s never offensively boring. The rambling prose fattens the novel, but it never becomes a struggle to read. When things do happen, they’re interesting.

That’s thanks to Card’s great foundation. He always comes off as a compassionate, wise person in his novels instead of a homophobic conservative. The world is still dominated by concepts and ideas, rather than trying to predict hard science. There is still no main character, but a wide cast. Some get more focus than others, but each is given a rational basis for their actions (Although Quara is a bit dramatic). Card never demonizes anyone.

Such tiny merits manage to make the book fairly pleasant, if not great. It’s a huge step-down from Speaker for the Dead and makes me wonder if this is where the series ran out of steam. Still, Card manages to ramble and focus too much about build-up and avoid writing a horrible book. That takes some skill. There’s nothing here unless you really loved the first books, but if youd did the ride may be pleasant. Hopefully the sequel is worth it.

2.5 xenocides out of 5