Orson Scott Card’s Intergalactic Medicine Show, #8, April 2008

In the fine traditional of Isaac Asimov, Jim Baen and, er, Vargo Statten, the Intergalactic Medicine Show webzine is named after a science fiction author. In some cases, such as Asimov’s, the author merely lends his name, and in others, such as the title under review, the author has a much more hands-on approach. If you are familiar with Orson Scott Card’s work and words, you will already have a fair idea of what to expect. It’s more of an honest approach than an egocentric one, I feel.

About forty percent of this issue is taken up with John Brown’s “From the Clay of His Heart.” Taking place a century or two back in the multiethnic mix of the Balkans, the date is unclear, but the soldiers use bows rather than firearms. It is a familiar setting, for the unfortunate reason that the Mosaic factions are still slugging it out to this day. Orthodox and Roman Catholic Christians are characters here, and Muslim Turks are lurking in the background. The story itself concerns itself with a Jewish spinster, Braslava, who has been adopted by a golem. The silent golem does not seem to be a sinister creature but, with its gifts of stolen objects, can be a bit of a pest. The rest of the villagers put up with it and communicate to Braslava (and the reader) mostly through Anja, her Christian friend. Their biggest concern seems to be the golem’s nudity. The villagers tolerate each other, despite their religious differences, and the presence of a God in this universe is implicit through the existence of the golem.

Conflict arises when the Croatian authorities learn of the existence of the creature and send soldiers to capture it for study. The soldiers are led by a volhov—apparently a sort of black magician. It is unclear as to whether he actually possesses any supernatural powers to begin with, but he will certainly have them if he can gain control of the golem. An ambitious and ruthless man, his cruelty soon impacts Braslava’s life. The golem, on the other hand, is an honourable being, despite its petty thievery, and that may be its undoing. An intriguing story, carefully researched, and one that justifies the space that it’s been given.

By way of contrast, the presence of a God in Dennis Danvers’s “The Angel’s Touch” is explicit, although he remains offscreen. Brian Stark is about to enter his apartment when an angel steps into his life. His ex, Melanie—the love of his life—is attempting to commit suicide, and Brian is the only person who can save her from damnation. Apparently Melanie’s own moral status is pretty much irrelevant (fortunately for her, as she is portrayed as something of a slut), but if Brian still loves her, she will be saved—in reality as well as theologically. The smirking, supercilious angel proceeds, with great relish, to tell Brian of all her past infidelities as a test of his love. He passes, barely, and wins her back. Unfortunately, the course of true love is not smooth, and Brian accidentally summons the angel again, only to hear of further infidelities. This story leaves a bad taste in the mouth while failing to address the big issues that it dangles in front of the reader. Further attempts to play with the concept of free will, for example, would have been welcomed. It finishes on a curiously ambiguous last line that it would be unfair to quote, but it either means that Brian has learned a lesson or has just made the biggest mistake of his life.

Eric James Stone’s story may be slight indeed, but it comes very much as a relief after the previous one. “Accounting For Dragons” does pretty much what it says on the can. It’s a humorous, occasionally laboured, guide to accounting, tax avoidance, and the like for your typical medieval dragon. Near the end, we discover that a human is reading it to a dragon. A short plot appears and heads straight for the finish line in a linear manner.

It is a shock to realise that Scott Emerson Bull’s “End Time” is set in 2010. The climatic obsessions of the characters surrounding hit man Jacob suggest that we are in an if-this-goes-on story set some decades in the future. Jacob has been hired by something called Nigel that appears to want to harvest the souls of the good people. Nigel, with his camp mannerisms and linen suits, comes across like Truman Capote. He is unquestionably evil. It feels like one of those post-rapture novels that have managed to carve out a niche market recently, and, indeed, the deity is capitalised throughout—at least, ours is; theirs has to make do with lower case letters. It’s a disturbing story, but not in a good way.

When “Limbo” is full, the dead shall take up dual occupancy with the living. Stephanie Dray’s story is the first person narrative of Adrienne, a modern girl who just wants to find the right man and settle down. However, it’s hard to keep a boyfriend when you’re possessed by the soul of a slightly uptight older Italian relative called Big Ma. Big Ma can take control of Adrienne’s body and administer slaps to anyone she thinks is getting too fresh. This is what happens to Chang, who really doesn’t get this whole thing at all. Kevin, on the other hand, is occupied by the soul of his Irish cop relative who likes beer and baseball. Or is that Kevin? Personalities start to drift in a wonderfully intriguing fashion. DSA (or Displaced Spiritual Ancestor) affects quite a few people, but it does have its upside. Think of all that stored knowledge and ability that Adrienne can call on. Big Ma can make great pasta when she wants. And it could always be worse; her sister shares bodies with a penitent monk with a thing for self-flagellation. “Limbo” is a warm and wonderful treat and is the highlight of this issue.

Aliette de Bodard also scores highly with “Horus Ascending.” Told from the viewpoint of the computer on a crashed colony ship somewhere on a planet orbiting Alpha Centauri, viruses were introduced to the computers that forced the ships to crash, and now, five years later, a woman has returned to the empty vessel. The computer’s first thought is of vengeance, but the morality of the situation may be a little more complicated than that of mere vengeance. It’s one of those stories where to write too much about it would rob the reader of much of the pleasure.