John Scalzi: Redshirts (German language, 2012)
432 pages
Langue : German
Publié 9 août 2012
Fähnrich Andy Dahl heuert als Redshirt auf der Intrepid, dem Flaggschiff der Universal Union, an. Damit geht für den jungen Mann scheinbar ein Traum in Erfüllung. Bis er feststellt: Die Sterblichkeitsrate unter seinen Kollegen mit der roten Oberbekleidung auf Außeneinsätzen ist erschreckend hoch - und steigert sich noch, wenn ein Führungsoffizier mit dabei ist. Fest entschlossen, dem Geheimnis auf den Grund zu gehen, wagen sich Dahl und seine Kollegen dahin, wohin noch nie zuvor ein Mensch gegangen ist: In die Wartungsschächte der Intrepid ...
Redshifts was funny, goofy, satirical. Definitely a fun read. I went in blind without a synopsis and I'd recommend the same for you.
If you're a fan of lower decks or the Orville you'll probably like it. Or truly hate it. But at 300 pages it is worth the risk.
John Scalzi's dialog crackles with quick banter that makes his books worth reading:
Corey looked down and furrowed his brow. "Where are my pants?" he said. "We took them from you," Dahl said. "Why?" Corey said. "Because we need to talk to you," Dahl said. "You could do that without taking my pants," Corey said. "In a perfect world, yes," Dahl said.
-- John Scalzi, "Redshirts"
The only other Scalzi book I've read, Kiaju Preservation Society, let me down on plot—even when you remove the expected suspension of disbelief required of all sci-fi.
Fortunately, this book's plot holds up throughout the narrative.
The plot falls right out from the title. Think back to season one of "Star Trek: The Next Generation"—when the show was terrible. Think about all the nameless crew members who died on away missions. All those people had lives and families and worries. And their sad fate …
John Scalzi's dialog crackles with quick banter that makes his books worth reading:
Corey looked down and furrowed his brow. "Where are my pants?" he said. "We took them from you," Dahl said. "Why?" Corey said. "Because we need to talk to you," Dahl said. "You could do that without taking my pants," Corey said. "In a perfect world, yes," Dahl said.
-- John Scalzi, "Redshirts"
The only other Scalzi book I've read, Kiaju Preservation Society, let me down on plot—even when you remove the expected suspension of disbelief required of all sci-fi.
Fortunately, this book's plot holds up throughout the narrative.
The plot falls right out from the title. Think back to season one of "Star Trek: The Next Generation"—when the show was terrible. Think about all the nameless crew members who died on away missions. All those people had lives and families and worries. And their sad fate was to be devoured by Borgovian land worms. Now imagine those people get wise to the narrative, and you can piece together most of the plot from there.
I enjoyed the irony that the twist of this novel could ALSO be a throw-away episode of Star Trek. And that Wil Wheaton narrates the audiobook—Ensign Crusher in the flesh.
But this novel is funny, heartening, and lovable in the same way as my previous encounter with Scalzi. Plus it won the Hugo award for best novel back in 2013.
The codas were wonderful thought experiments. Imagine reckoning with all the characters you wrote into sloppy deaths. Or owing your life to a fictional version of yourself. Or living a more meaningful life as a fictional character who wouldn't exist except for you.
The idea of inadvertently spawning a fictional version of myself left me thinking of the lines from Whitman:
What I assume, you shall assume, for every atom belonging to me as good belongs to you.
-- Walt Whitman, "Song of Myself"
I enjoyed this novel. The dialog sparkles, the characters are sympathetic, and the plot is fun and serviceable.
And it gave me a writing gem to take home: you're the general for the army of characters you create.
Sooner or later the Narrative will come for each of us. It'll use us however it wants to use us. And then we'll die from it.
-- John Scalzi, "Redshirts"
Everyone dies. Your characters, if they're mortal, will die. And they may even die in your narrative. But you should never send them into a stupid situation to let them die from a blunder or for a cheap thrill.
If your characters must die, you owe them a good death, at least.
