Hammerfall (C. J. Cherryh) Chapters 15-20

Here’s Sci-Fi doing what it does best: presenting the reader with a situation so unlikely, so utterly bizarre and, yes, alien from anything we’ve ever imagined, that at some point in the narrative, we experience a shift in our own perceptions of reality.  Philip K. Dick was a master at this, including in almost every novel a perspective shift that suddenly revealed that the situation was not at all what we thought we understood.  Not that we’d been lied to:  just that we’ve had one or more of our automatic assumptions challenged, or shown to be founded on shaky premises.  Cherryh’s depiction of a gigantic caravan of displaced tribes and villages trudging through a harsh desert environment is “otherworldly” enough.  To have our hero weaving in and out of it, desperately searching for the murderer of his mother – his estranged father, no less – while sand-filled wind blows under an unnaturally overcast sky, and the tail of the caravan is beset by bizarre scavenger-type creatures, going after living people – I, for one, experienced that “mind twist.”

The subtext of the novel – the history behind the unlikely situation our characters find themselves in – continues to be gradually exposed to the reader, as Marak himself is given more information.  His “telepathic” communication (created technologically, through the nanoceles) has been spotty and unreliable throughout most of the action, leading everyone else who has it or witnesses it to think of it as the “madness.”  When he’s nearly fatally wounded, he goes into a semi-conscious state while the nanoceles “repair” his body from within.  In this state, Luz finds she can communicate more clearly and directly with him.  We still don’t have a clear picture of who or what the Ondat are, but there seem to be implications that they are beings that are psychologically very unlike humans.  I’m still hoping Marak (and, by extension, we) will meet them in “person” at some point, but … there is at least one sequel to this book.  Maybe the author is saving that moment for later, if ever.

The polygamy angle in this book continues to be explored in subtle ways.  On Marak’s manhunt back through the caravan he stumbles onto Norit’s tribe – “ex-tribe,” as they have excommunicated her for her “madness.”  There he finds her “ex-husband” with her baby, which the man and his new wife (Norit is “dead to him”) don’t really want.  When he brings the baby back, it’s Hati, not Norit, these being Marak’s two “wives” – there hasn’t been any kind of official marriage here, but the concept is rather shaky on this world, anyway, it seems – Hati who seems to take over the fundamental nurturing of the child.

Hati is described as very beautiful; Norit, not so much.  Keep in mind, this story was written by a woman, so not all the female “leads” have to be beautiful!  I came to this book directly after reading “Ivanhoe,” by Sir Walter Scott.  The females there were all young and beautiful: or old and haggish, but once were young and beautiful.  Why do male authors seem to think that only beautiful female characters will be found interesting?  Maybe they know that’s what readers respond to.  If so, it’s sad commentary.

The other secondary characters in this book are much more than bit-part players.  Tofi, the caravan master’s son who took over when his father died, is heroic in his own right.  Memnanan, the Ila’s right hand man, is complex enough to remain absolutely loyal to her, while advising Marak on the best way to deal with her, after having judged his former sworn enemy to be a good man.  Andisak, warrior from a tribe friendly to Marak’s, is shown to be a true-blooded ally.  All these characters are given very individualistic personalities by our author, a huge plus in top-flight fiction-writing.

 

 Next week: “Conclusion”



And join us next month for April’s book of the month (April is Dean Koontz month!):

“Innocence,” by Dean Koontz!


“A thriller that’s both chilling and fulfilling.”—People (four stars)

“Laced with fantastical mysticism, it’s an allegory of nonviolence, acceptance and love in the face of adversity. . . . The narrative is intense, with an old-fashioned ominousness and artistically crafted descriptions. . . . An optimistic and unexpected conclusion [mirrors] his theme. Something different this way comes from Mr. Koontz’s imagination. Enjoy.”—Kirkus Reviews
 
“Mystery and terror, the paranormal and romance—all combine to make Innocence a challenging and emotional experience.”—New York Journal of Books

“Entrancing . . . as speedy a chase-thriller as any Koontz . . . has ever constructed. Written in Koontz’ late mellifluent and reflective manner . . . [Innocence is] fueled by deep disgust with the world’s evils [and] hope for redemption.”—Booklist (starred review)
 
“[An] imaginative, mystical thriller from bestseller Koontz . . . This is the most satisfying Koontz standalone in a while.”—Publishers Weekly
 
“Masterful storyteller Koontz delivers perhaps his most eerie and unusual tale to date. The timeline in this amazing story is compact, and readers will be swept along as they try to unravel hints and clues as to the true nature of both the protagonists and the unfolding drama. Unpredictably spine-chilling and terrifying, this is a story readers won’t soon forget.”—RT Book Reviews