Review: The Natural

The Natural

Sports fiction strangely suffers from the exact same problem that political fiction does. Because there’s so much available in the true world, both past and present, fiction has to be either an obviously forced and exaggerated version or often come across as feeling simply redundant. While success is not impossible, it’s an uphill climb.

One of the classic sports novels is Bernard Malamud’s The Natural, famous for its enduring reputation and movie version that sits alongside Starship Troopers in the field of “movies completely different from the book”. Having read the original book, I have to say: I don’t like it.

There’s one big problem with this book about baseball, which is that Malamud didn’t know that much about the sport. While others have gone into more detail, I’ll say this. There’s some errors like talk of a past World Series between the A’s and White Sox (two AL teams), but the bigger issue is simple. Hobbs comes across as what someone who doesn’t know that much about baseball would think a great player is.

Hobbs is good (unless the plot calls for him not to be) and good in a very boring way, simply hitting and hitting and hitting, not even rising to the level of classic Paul Bunyan baseball stories like how Cool Papa Bell supposedly got hit in the back by his own line drive simply because he ran so fast. Nope, it’s just four home runs in a game and “wondrous averages”. This isn’t a John Rourke or Blaine McCracken of the diamond, it’s a guy skilled in the baseball equivalent of “Special Forces, Ranger, SEAL, and gutter-fighting”.

Without that frame of reference, a lot of it is just references to various baseball legends-Babe Ruth, in the form of the Whammer. Fred Merkle’s baserunning fail, in the form of Fisher’s Flop, the Black Sox (in the form of the ending), and so much more (as the Gerry O’Connor article points out). A modern version would incorporate versions of Bill Buckner, Steve Bartman, and the 2004 lunar eclipse, to give you an idea of how blatant it all is to anyone who knows the slightest bit about early 20th century baseball.

So why am I suddenly so hard on realism and accuracy, when I’m clearly not when it comes to other books? Because the book is self-serious, for one. It’s like trying to write a literary novel about the life of a man who was a soldier, making the battle scenes right out of a stereotypical John Wayne movie, and sometimes descending to Ian Slater levels of technical inaccuracy. Would that interfere with the tone? Definitely.

Especially since, with the benefit of hindsight, this just looks like an exaggerated version (remember the introduction) of the Capital N Narrative approach to sportswriting, the clumsy and inaccurate reduction of a game into a tale of personal morality and internal struggle, applied constantly to real games by sportswriters of dubious quality (sometimes with extra crass humor).

Finally, the prose simply isn’t very good. It’s blocky, incredibly “lush”, and everything is either overdescribed or underdescribed. None of the characters are particularly interesting. And to be honest, in many ways the book feels just as shallow as the movie, only with a different morality. Give me saccharine goo that knows it’s saccharine goo over pretentiousness that doesn’t know its own subject any time.

Review: HMS Ulysses

HMS Ulysses

A rightful classic, HMS Ulysses is, in my opinion, the greatest naval action novel of all time. Author Alistair MacLean, a veteran of the Royal Navy in World War II, could draw on a lot of personal experience, and it shows in this masterpiece. People who know their naval history can look at the obvious parallels between the actions of the book and the ill-fated Convoy PQ-17 (which MacLean served on), but that doesn’t change its effectiveness.

The way MacLean sets a tone is hard to describe, but he succeeds brilliantly. The travails of the convoy, in no small part thanks to the PQ-17 historical experience, are both dramatic and plausible-seeming. The feat of squaring the circle cannot be applauded enough. Historical military fiction, at least to me, has had the issue of “it’s going to be either realistically dull and un-dramatic, in which case I’ll read a history book that makes no pretense at narrative, or it’s going to be exaggerated, in which case I’ll read a cheap thriller that doesn’t have to be bound to an existing war.”

This avoids both of them by throwing one (plausible) German threat after another at the convoy and emphasizing the wear and tear the climate and stress imposes on the sailors. I cannot recommend this book enough.

Review: Foundation



Now I can add Isaac Asimov to the list of famous authors reviewed on Fuldapocalypse, and what better book than his masterpiece, Foundation?

I’m somewhat leery of reviewing massively successful books by famous authors. A part of me has this guarded “it can’t possibly be as good as they say” feeling, and I like giving more obscure stories a platform. But I felt I had to.

The story of the decaying empire and genuis Hari Seldon’s plan is very Shakespearean. By which I mean it’s a well-done story that nonetheless has gotten retroactively treated as something a lot more highbrow than it was upon first release. This isn’t a mere spacesuit commando book, but it’s still much closer to Ken Bulmer than it is to Stephen Baxter.

And while this isn’t Asimov’s fault, a lot of this is dated. There’s the obvious, like treating “nuclear power” as some kind of super-technology. There’s the historical conceits, like taking Edward Gibbon’s view of ancient Rome too closely. Then there’s the central premise of a triumphant technocratic process, the sort of thing embodied most by… Robert McNamara.

Yet I don’t want to come across as too negative. This is very readable, and it’s been so influential for science fiction that seeing where a lot of the tropes became popularized is also fun. This is a “classic” I do recommend.

Review: Starship Troopers

Starship Troopers


Ah, this book. Starship Troopers is a misunderstood classic. It’s also something where the influence is worse-considerably worse- than the content of the book itself. Heinlein’s famous tale of the Mobile Infantry deserves a lot of scrutiny, and it’s very, very hard to give a “conventional” score.

For the book itself, if the average military sci-fi cheap thriller is an apple, this is definitely an orange. Viewed as a coming of age story, a training story with realistic drudgery, and (however worthy or unworthy the politics) a political piece, Rico’s story is better than it would seem from the perspective of “how many explosions are there?”. If I had to give a critique of the orange that’s independent of that, I’d say the writing tone is a major problem.

The book is written in a sort of, for lack of a better word, “Gee-whiz” style that I recognized from another Heinlein book of the time I read, Tunnel in the Sky. This style happens to not go well with any of the elements. Not the “Space Herman Melville”, not the politics, and not what action there is.

If it was just an orange,  I’d feel better about it. It’d just be a type of orange that I could personally dislike to a degree, but still understand why others would like the taste. However, it’s an orange that influenced a whole lot of apple farmers.


When reading military sci-fi and then reading what I call “contemporary action”, there are differences that drag the former down. Perhaps the most obvious, and the most obviously taken from Starship Troopers, is filling every first part of the first installment with training. Contemporary action heroes, in contrast, tend to just stride in wholly trained. There are exceptions, but those are the trends I’ve seen.

Imagine if, somehow, the romantic-ish Vigdis subplot of Red Storm Rising made the book popular to readers of romance fiction (let’s just assume the zombie sorceress mind control was particularly effective that day). Now imagine that what sometimes feels like every fluffy romance novel you read adopts the structure of a technothriller, with a lot of viewpoint characters, a lot of sitting in conference rooms giving details of little particular relevance to the (crowded out) main characters, and a general “big-picture” scope that doesn’t seem to fit the small, intimate story you’d expect from a romance. And you just stand there going “no, no, Red Storm Rising wasn’t a romance, it was the story of a third world war! It didn’t really fit but people are copying it anyway!”

That’s what Starship Troopers has done to military science fiction. I don’t want to put too much blame on it or any one book, but it’s a definite influence in that negative direction, and, apple or orange, I don’t see the original as being good enough to make up for the way it pushed its genre down the road of the (pun very much intended) “spacesuit commando.”