Hearing a name like that, you’d be forgiven for running for your life. But the thing about Murderbot—the thing that makes it one of the most beloved, iconic characters in modern-day science fiction—is just that: It’s not what it seems. For all its hugeness and energy-weaponized body armor, Murderbot is a softie. It’s socially awkward and appreciates sarcasm. Not only does it detest murdering, it wants to save human lives, and often does (at least when it’s not binge-watching its favorite TV shows). “As a heartless killing machine,” as Murderbot puts it, “I was a terrible failure.”
The character made its debut in Wells’ 2017 novella, All Systems Red. Yes, a novella: not exactly a popular form at the time, but it flew off the shelves, shocking even Wells’ publisher. In short order, more stories and novellas appeared, and then a couple of full-length novels. Wells scooped up every major award in the genre: four Hugos, two Nebulas, and six Locuses. By the time she and I started talking this past spring, Apple TV+ had begun filming a television adaptation starring Alexander Skarsgård.
Lake Tahoe, “the jewel of the Sierra Nevada,” is an unusually clear, deep alpine lake that is twelve miles wide and twenty-two miles long. It straddles two states: California on the west shore, which is damper and greener, and Nevada on the east, which gives way, almost immediately, to high desert. “A kind of heaven,” John Muir called Tahoe, in 1878, after raving about the diameter of its snowflakes and “lusty exercise on snow-shoes.” Tahoe is about a third of the size of Yosemite National Park, yet attracts three times the number of annual visitors. During the pandemic, several thousand people, including a lot of Bay Area tech types, fully relocated to the lake, joining seventy thousand or so locals. Tahoe couldn’t handle it. The traffic, the noise, the illegal parking—the trash. Last year’s Fourth of July crowds left an unprecedented four tons of garbage on the beaches alone. Fodor’s named Lake Tahoe one of the world’s “natural attractions that could use a break in order to heal and rejuvenate,” and suggested that outsiders avoid visiting for a while. The other day in Tahoe, I learned a new word: “touron,” a combination of “tourist” and “moron.”
The Tahoe basin is also home to one of the continent’s densest populations of black bears, Ursus americanus. The species flourished after its chief predator, the grizzly, was extirpated there, in the early twentieth century. Grizzlies are not to be fucked with. Black bears, which can be brown, reddish, or blond, are defensive and lazy, smart and resilient, ravenous and opportunistic. All they really want to do is eat. They lived mostly on grasses, berries, and insects until humans showed up. Why spend all day dismantling a yellow-jacket nest for the paltry reward of larvae when there’s dumpster pizza to be had?
For all their flaws — and they have lots of them — the women in these delectable stories are insanely fun to be with because they are so fully imagined and true to the way we live now.
Most of us tend to consider the Middle Ages and those who inhabited those distant centuries victims of an inferior world that we’re fortunate to relegate to the dustbin of history. Many tarnish the period with the benighted title of the Dark Ages, humans wallowing in the slime of filth and ignorance.
Ian Mortimer, British historian and author, sets out to enlighten us in this book. Rather than dismissing a period essentially wasted to history, “… we fail to realise that the way we live today is largely the result of social developments that took place between the eleventh century and the sixteenth. Many of our contemporary concepts, values and priorities originated in the Middle Ages.” Failing to understand that means we fail to understand ourselves.