Category: Kate Wilhelm

Staras Flonderans by Kate Wilhelm

Staras Flonderans by Kate Wilhelm (Orbit #1, 1966) opens with two humans and a long-lived alien called Staeen closing in on a wrecked and tumbling spaceship that appears to be abandoned. Throughout their craft’s approach to the wreck, which they intend to investigate, we learn various things about Staeen, including the fact that he is tulip-shaped, is very long lived, can survive unsuited in space, and is able to sense the men’s emotions. Staeen also, in common with the rest of his race, feels a paternalistic concern for the men (who they call Flonderans):

When the Flonderans had come to Chlaesan, they had been greeted with friendliness and amusement. So eager, so impulsive, so childlike. The name Earthmen was rarely used for them; they remained the Flonderans, the children. It amused Staeen to think that when they had still been huddling in caves, more animal than man, his people already had mapped the galaxy; when they had been floundering with sails on rough seas, engrossed in mapping their small world, his people already had populated hundreds of planets, light-years away from one another.  p. 14

When the three of them go aboard the wreck they come to realise that the missing crew used all the lifeboats to abandon the ship, a course of action that would only have kept them alive for a few hours longer because of the limited oxygen carried. Mystified, they leave. However, when they return on a further search, Staeen picks up various vibes that make him realise that the crew left the ship “in the madness of fear,” but he does not tell the humans as he thinks they will not accept his discovery.
The final act of the story involves the three of them subsequently encountering a Thosar spaceship, a race who only pass through the galaxy every twelve thousand years, and who mankind have never come into contact with. Staeen explains to the men that the Thosars are huge creatures, and that they will send representatives to the ship but stay outside. When they get close enough to be seen (spoiler) the humans go into a blind panic and accelerate their ship away at a pace that almost kills the three of them. Staeen eventually manages to turn off the drive but, when the men come around, they get into their suits and flee through the airlock, dragging Staeen with them.
Staeen then floats in space contemplating his demise, and concludes that the human’s panic response must be down to a previous visit to Earth by the Thosars in prehistoric times, where they inadvertently terrified the primitive humans and some sort of genetic or race memory was laid down.
There is much to like in the first part of this story—it is a readable example of a traditional SF tale, the kind of thing you could easily imagine finding in Analog—but the ending is just ridiculous. Apart from the fact that the reason for the human’s terror is never specified (the Thosars have one eye and there is a brief mention of “Bi—”), you would hide in the ship if something terrified you, not jump out the airlock to a place you are even more exposed. And the generational chicken-fleeing-from-chickenhawk response that Staeen uses to explain the human’s behaviour could not have been imprinted on mankind in one visit. It all just falls apart.
PS According to Staeen, Staras eku Flonderans means “poor, short-lived Earthmen.”
* (Mediocre). 5,800 words.

Baby, You Were Great by Kate Wilhelm

Baby, you Were Great by Kate Wilhelm (Orbit #2, 1967) opens with John Lewisohn going to an audition studio where his partner, Herb Javits, is auditioning actresses. Lewisohn (the passive viewpoint character of the piece) dons a VR helmet and watches the first audition, which starts with a young woman alone in a room:

She took a hesitant step toward the couch, and a wire showed trailing behind her. It was attached to her head. At the same time a second door opened. A young man ran inside, slamming the door behind him; he looked wild and frantic. The girl registered surprise, mounting nervousness; she felt behind her for the door handle, found it and tried to open the door again. It was locked. John could hear nothing that was being said in the room; he only felt the girl’s reaction to the unexpected interruption. The wild-eyed man was approaching her, his hands slashing through the air, his eyes darting glances all about them constantly. Suddenly he pounced on her and pulled her to him, kissing her face and neck roughly. She seemed paralyzed with fear for several seconds, then there was something else, a bland nothing kind of feeling that accompanied boredom sometimes, or too-complete self-assurance. As the man’s hands fastened on her blouse in the back and ripped it, she threw her arms about him, her face showing passion that was not felt anywhere in her mind or in her blood.
“Cut!” Herb Javits said quietly.  p. 20

They subsequently audition a few more women until they get one who provides the emotional output they require for their virtual reality productions (this is why the lead is attached to their heads). After this set-up scene, the two men then discuss the problems they are having with the current star of their VR reality show, Anne Beaumont.
The rest of the piece involves the men flying out to meet Beaumont and, as they interact, we see Javits’ manipulative behaviour. When she threatens to quit, we learn that Javits has been paying the current love of her life to perform that role. We also discover that they have been recording her life and emotions on a 24 hour basis for the last month or so.
The story closes with Lewisohn scuttling back to his room to experience her feed, which underlines his role in the story as a passive observer, similar to that of Anne Beaumont’s fans, or the reader of this story.
This is a little on the dull side to be honest, and a rather too earnest examination of media power dynamics and the possible downsides of new technology. I also thought that Javits’ character was a little over-egged (yes, even after Weinstien).
There were a number of stories like this in the seventies (which is why perhaps it didn’t grab me), and they generally took a dystopian view of people being “plugged in” for extended periods of time. But if your quality of life is poor due to your physical health, poverty, age, or even a lack of imagination, what would be so bad about living a vicarious life? Isn’t that one of the reasons we read?
** (Average)