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He Walked among Us
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He Walked among Us

4.5 6
by Norman Spinrad

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When hack agent Jimmy “Tex” Balaban discovers Ralf on a Borscht Belt stage, his act appears to be a clever joke. Ralf claims to be from the future, shouting foul-mouthed prophecies of where we went wrong. And he delivers a harrowing message.

The world is in chaos. Our biosphere has been devastated, our air is unbreathable and the final stalwarts of


When hack agent Jimmy “Tex” Balaban discovers Ralf on a Borscht Belt stage, his act appears to be a clever joke. Ralf claims to be from the future, shouting foul-mouthed prophecies of where we went wrong. And he delivers a harrowing message.

The world is in chaos. Our biosphere has been devastated, our air is unbreathable and the final stalwarts of mankind have taken refuge in pressurized shopping malls. Humanity clings to the last mediocre vestiges of life on a dead planet that we did not know how to save. But it might not be too late. Has Ralf returned to the past to awaken our consciences? Is he who he says he is or is he insane? And if we have one last chance to save the world, does any of this matter?

Then Dexter D. Lampkin, a fading science fiction writer, and Amanda Robin, a New Age guru-wannabe, magnificently transform Ralf into what the world really needs: a messenger sent from the future to save us from ourselves. Together with Tex they polish Ralf’s television persona to captivate America. The problem is that Ralf never goes out of character. He truly believes he is a prophet.

Editorial Reviews

Publishers Weekly
Spinrad's shrill messianic novel reaches the U.S. eight years after its first publication in French. Texas Jimmy Balaban is convinced that stand-up comedian Ralf, a self-proclaimed refugee from a horrific world of tomorrow, could be a megastar. Jimmy drafts jaded SF writer Dexter Lambkin and New Age guru Amanda Robin to effect this transformation. Amanda eagerly accepts Ralf at face value, and cynical Dexter is surprised to find himself also falling under Ralf's spell even as the new role takes a terrible toll on the comedian. Spinrad alternates between revulsion at overweight SF fans, whom Dexter shamelessly manipulates for “egoboo pussy” and joke fodder, and an unshakable conviction that these “Monkey People” can change the world if they just apply themselves. Even Spinrad's venerable name won't sell this book to the readers he so palpably despises, leaving it without an audience. (Apr.)
Library Journal
When talent agent Jimmy Balaban discovers an ad lib comic named Ralf who claims to be from the future, he recognizes a potential moneymaker. Together with a once-famous sf writer and a New Age guru, the trio transform Ralf into a messiah-like figure who brings a message about a desolate future and the need to transform the world in order to avert disaster. When Ralf refuses to break character, his handlers wonder whether he is their creation or whether his message from the future is in fact real. VERDICT First published in France, this latest novel by one of sf's most distinguished authors (Bug Jack Barron, The Iron Dream) presents a cautionary tale that is at once sardonically witty and intellectually thought-provoking. A big book in more than pagination, this meaty saga of a contemporary prophet is essential for sf fans.

Product Details

Doherty, Tom Associates, LLC
Publication date:
Edition description:
First Edition
Product dimensions:
6.10(w) x 9.20(h) x 1.00(d)

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Read an Excerpt

He Walked Among Us

By Spinrad, Norman

Tor Books

Copyright © 2010 Spinrad, Norman
All right reserved.

ISBN: 9780765325846


“Have fun saving the world, Dex,� Ellie said dryly. “But do try not to get too beered out.�

“Must you rain on my parade?� Dexter Lampkin muttered sourly.

She pecked him on the cheek. “I just don’t want you to wrap that damned thing around a tree, is that asking too much?� said Ellie. “Peace?�

“Peace,� Dexter grunted and closed the door behind him. He had been going to these first Wednesday things for three years now. A dozen or so fans of his out-of-print novel, drinking beer, sneaking the occasional joint, calling themselves “Transformationalists,� and convincing themselves that they were somehow going to save the world in the process.

Each first Thursday, he swore he would never go to one of these things again. Each first Wednesday, he went anyway.


Because a few of these people were real scientists?

Because they believed in Dexter D. Lampkin even though he found them ludicrous?

Or because, God help him, some part of him still believed in “The Transformation� too?

Out in the front yard, the Santa Ana wind rattled the sere skeletal palm fronds, set dusty swirls of dead leaves dancing, and dried the back reaches of his throat. Your average Angeleno professed a loathing for the Santa Ana, which ripped shingles from your roof, whipped brushfires up into roaring infernos, and supposedly brought out the homicidal crazies. But Dexter took a great big honk as he walked across the yard to the garage.

Dexter loved the Santa Ana.

He loved those negative ions sweeping in off the desert, stoking up the old endorphins, tingling his dendrites with norepinephrene, boosting the middle-aged biochemical matrix of his consciousness into hyperdrive.

He loved the way the hot desert wind blew the Los Angeles basin clear of smog, perfumed the air with bougainvillea and chaparral instead of undead hydrocarbons, the technicolor blue daytime skies and the nights like this one—crystalline, heated to the temperature of twenty-year-old pussy, redolent with the musk of the California Dream.

And if the acrid tang of far-off smoke all too often spiced the Santa Ana, well, hey, despite Ellie’s endless urging, Dexter hadn’t fallen into the real estate trap, now had he?

As he kept telling her, any writer who sunk his freedom money into a house and a mortgage was a prize schmuck. And anyone who thought it was a cagey investment to do so in a venue famous for earthquakes, brushfires, and mud slides, where affordable insurance usually covered everything else but, deserved what he was sooner or later going to get.

For truth be told, Dexter also loved the Santa Ana just because loving the Devil Wind was somehow a finger held high in the air to the face of LA.

Not that Dexter hated Los Angeles with the provincial chauvinism of his former Bay Area compatriots, who believed anything south of the fog bank they were so cleverly fortunate to have chosen to inhabit was nothing but Orange County roadside ticky-tacky and brain-dead yahoos.

Indeed, one of the charms of Los Angeles was the very lack of a local equivalent of that smarmy Northern California boosterism. While the Bay Area brooded endlessly over its supposed rivalry with La-La Land, people down here were only dimly aware of San Francisco’s existence, crappy climate but great Italian and Chinese restaurants, right, ought to fly up for a three-day weekend sometime, we get a chance, babes.

LA didn’t take itself seriously at all. In place of chauvinism, what was required of Angelenos was attitude. The attitude that expressed itself in hot-dog stands in the shape of hot dogs, houses built to resemble the Disney versions of Baghdad or Camelot, the Chinese and Egyptian theaters, and the Hollywood Sign itself, an enormous emblem proclaiming the obvious in towering pharonic letters a few molecules thick.

On a personal level, one knew one had achieved the proper LA attitude when, what else, one had found a soul mate of a car.

Dexter flipped up the garage door and smiled a silly boyish hello to his.

When Dexter and Ellie were living in Berkeley, they had had a fairly new Toyota and a late-middle-aged Volvo. Down here in Fairfax their two-car garage contained, in addition to cartons of Dexter’s author’s copies and moldy manuscripts that surely would be worth big bucks as collectors’ items some day, Ellie’s two-year-old Pontiac Firebird coupe and Dexter’s ancient red Alfa-Romeo convertible.

By any rational automotive standard, the Alfa was an unreliable piece of shit. Its leaky gaskets caused it to slurp oil at the rate of a pint every thousand miles, the gearbox made ominous noises, the shift lever now had to be held down in second, and the electrical system had been rewired so many times by amateurs that even new heavy-duty batteries mysteriously died at the usual inopportune moments.

But Dexter loved the Alfa. Not for its all-too-obvious flaws, but because it was an authentic red Italian sports car that whipped around the curves as if on rails, snapped your head back in a satisfying manner when you came out of one and stood on it in second, and it was a hoot to drive back and forth to the mechanic, which was often.

Was it juvenile for a forty-three-year-old writer with an expanded middle and a wife and kid to support to chunk out north of three thousand bucks a year in insurance, repair bills, oil, and expensive imported Italian parts to maintain this decrepit automotive wet dream?

Ellie was certainly of that opinion.

“It’s pathetic, Dex, it’s your midlife crisis on wheels, when are you gonna dump the thing and get a reliable second car?�

“The upkeep on the Alfa’s less than the monthlies on another new car,� Dexter would point out logically.

“You piss away half of that every year in repair bills and oil.�

At which point, Dexter would give her the ghost of the very leer that had lured her once tasty young bod to him across a crowded room more than a decade ago, the glamorous cocksman’s leer of the thirty-one-year-old Dexter D. Lampkin, of a risen young star along the science fiction convention circuit.

“Cheaper than a mistress in a tight dress of the same color,� he would say.

It was an old joke that had long since ceased to be funny, and an old threat that had long since ceased to have bite.

Ellie knew that he might cop one of the readily available quick ones at a science fiction convention from time to time, but she also knew that he was not likely to screw anyone at such scenes that he would care to contemplate in the morning, and he knew that she didn’t really care as long as he respected her need not to know. Both of them knew what went on between writers and fans at these conventions. Both of them knew what it was to be the belle and the beau of such a masquerade ball. Which is what they had been when they met at that publisher’s party at the Seattle Westercon.

Dexter D. Lampkin had won the Hugo for best science fiction novel the year before, a silvery rocketship awarded by the fans who staged these conventions. An appropriately phallic trophy for someone not entirely above using it to add to his reputation as a convention cocksman.

This was more a matter of getting stoned and/or plastered enough to lose one’s sense of sexual aesthetics than honing one’s jejune skills as a seducer. Any published writer who weighed less than three hundred pounds, and some who didn’t, could get laid at these things. The question was, by what?

Why did science fiction fans of both sexes tend to be so overweight? Why did they tend to be pear-shaped and look strange about the eyes? Why did masses of them crammed into convention hotel room parties exude such clouds of antisexual pheromones?

The story that Norman Spinrad told Dexter at some con or other had the awful ring of scientific truth.

“My girlfriend, Terry Champagne, had a theory that allegiance to science fiction fandom is genotypically linked to a minimal distance between the eyes, narrow shoulders, and enormous asses. One time, we were going to a convention in some horrible fleabag on Herald Square in New York, crowds of people going into the subway, your bell-shaped general population curve on the random hoof. As a scientific experiment, we stood across the street from the con hotel trying to predict who would go inside. Terry scored better than seventy-five percent.�

Ellen Douglas, however, would have gone undetected as a science fiction fan by the genetic criteria of Spinrad’s former girlfriend. Dexter had known her by reputation before he ever set eyes on her, for Ellen was what was known in the science fiction world as a Big Name Fan, what in the rock biz would have been called a Super Groupie.

But in the world of science fiction fandom, one did not achieve such status by screwing stars like Dexter D. Lampkin. One got to screw the stars by achieving the status of Big Name Fan. By reputation, Dexter knew Ellen Douglas as a convention organizer, fannish panel personality, and fanzine gossip columnist.

She was also reputed to be a great beauty who knocked ’em dead at masquerades in famous minimalist costumes, but fannish standards of pulchritude being what they were, Dexter had given this a heavy discount for hyperbole until that moment when their eyes met for the first time across that sea of flabby flesh in Seattle.

All right, so this lady might not be quite movie starlet material, but oh yes, she had it, particularly in the usual convention context, and oh boy, did she flaunt it! Natural blond hair permed into an incredible afro, regular features, big green eyes the regulation distance apart, and this wonderful ripe body artfully barely contained in a tight low-cut thigh-slit black dress.

It had been a magic moment, a wild weekend, and a frantic slow-motion cross-country romance, as Dexter and Ellen fucked their way from convention to convention for about six months, before she finally gave up her place in St. Louis and moved into Dexter’s little apartment in San Francisco, and soon thereafter into the house in Berkeley.

For two or three years they were the Golden Couple of the Greater Bay Area Co-Prosperity Sphere, the circle of science fiction writers, their significant others, and the surrounding cloud of fans, hangers-on, fringe scientists, and Big Name Dope Dealers to same who formed what was the largest science fiction community in the United States. Those were the days to be young, and in love, and a science fiction writer in Berkeley, and Dexter D. Lampkin!

The science fiction genre had completed the transformation from lowly pulp publishing backwater, where for a quarter of a century five cents a word for short fiction and $3000 for a novel had been considered hot stuff, into a “major publishing industry profit center.� Meaning that a hot young talent like Dexter D. Lampkin could command thirty or forty thou for a novel. Dexter could take six months or even a year to write a novel. He could afford literary commitment and social idealism and enjoy a life of relative bourgeois ease at the same time.

He could even believe he could change the world.

A lot of science fiction writers did, and some of them had. Arthur C. Clarke had inspired the geosynchronous broadcast satellite, the Apollo astronauts credited science fiction with putting them on the path to the Moon, Dune and Stranger in a Strange Land had created the hippies and the Counterculture, and L. Ron Hubbard had turned an idea for an sf novelette into a multimillion-dollar real-world religious scam.

Dexter had even read a piece by some French intellectual who had opined that science fiction writers should get together, decide the optimal future for the species, and, by setting all their stories in that future, call it into being thereby.

Given the difficulty any three science fiction writers had agreeing on how many letters made up a word at five cents per, this kind of collaborative messianism did not seem entirely practical.

However . . .

Dexter wrestled down the top, looked under the car to see whether the size of the oil puddle demanded a look at the dipstick, decided it didn’t, put the key in the ignition, and heaved the usual sigh of relief, when, after the usual catch and hesitation, the starter managed to turn the engine over.

However . . .

The science fiction community did already accept certain truths as self-evident that had yet to penetrate the obdurate brainpans of the so-called “mundanes,� a.k.a. the rest of the species.

Foremost, that the Earth was the cradle of a future space-going humanity, and in a galaxy containing hundreds of millions of stars similar to our own, it would be ridiculously arrogant to assume that our evolution was unique. And therefore, advanced space-going civilizations who had achieved mastery of matter and energy and long-term stability should abound.

But no less than Enrico Fermi had asked the obvious question: If so, where are they? Why haven’t we detected them? Why haven’t they visited us or at least sent a cosmic postcard?

The answer was not that reassuring. Namely that the natural tendency of sapient species was to do themselves in before evolving to the long-term stable stage.

After all, no species was likely to develop space travel without unlocking the Faustian fires of the atom first. It was hardly guaranteed that any species would develop clean sources of power like fusion or space-born solar power before the necessary precursor technologies like fossil fuels and nuclear fission poisoned the biosphere. And these were only the most obvious means by which our own species seemed likely to expire. So it seemed logical to assume that we were only average dickheads, that the present crisis we had entered, say about the time of Hiroshima, was something that all sapient species must pass through, the historical moment, as Dexter put it, when the lunatics take over the asylum.

Sooner or later any species that developed an evolving technology was going to get its hot little pseudopods on the power of the atom, long before which its activities would have begun doing unpredictable things to the biosphere, both of which were likely to occur long before it had the technology to escape the consequences by colonizing other planets. Or, if the foibles of the human race exhibited only average shitheadedness, before it evolved the necessary wisdom to transform itself into a civilization capable of surviving even another few centuries of its own history.

The human race was going through its transformation crisis right now, and judging by the lack of good news from outer space, the chances of negotiating it successfully seemed something like slim and none.

Scary stuff.

On the other hand, Dexter’s New York agent had little trouble getting him a $40,000 contract for a science fiction novel based on the thirty-page outline he batted out around this material on a hot weekend with the aid of some excellent weed.

Dexter put the Alfa in gear, pulled out of the garage, and headed toward his rendezvous with the rather pathetic latter-day fans of that very visionary novel, a novel which his agent still hadn’t been able to get back in print.

“Transformationalists,� they called themselves. Their bible was The Transformation, Dexter D. Lampkin’s exercise in science fictional messianism, the book with which he really thought at the time he was going to change the world.

NASA picks up a funeral oration from an extraterrestrial civilization by a species not much in advance of ourselves which has destroyed the viability of its planet via atomic war and atmospheric degradation. Worse still, these aliens have received similar messages from several other intelligent species who have also done themselves in by similar assholery. This appears to be the galactic norm. If there are any intelligent species out there who have successfully passed through their transformation crises, they don’t seem to have any interest in foreign aid to Third World planets.

The government tries to sit on it, but a few scientists in the know are horrified, and a secret conspiracy of “Transformationalists� gradually comes together. They know what has to be done to transform the human race into a successful long-lived space-going species. Big bucks have to be poured into fusion, space-born solar energy, the colonization of the solar system, artificial photosynthesis. The burning of fossil fuels and the use of dirty fission reactors must be halted, massive tracts of farmland must be reforested, and complete nuclear disarmament will probably be required too.

But how are they supposed to cram all this down the species’ throat?

They hit upon the idea of creating an alien from outer space, a visitor from a far distant civilization that has survived its own transformation crisis, to serve as their mouthpiece.

So they recruit a sixteen-year-old hippie-dip runaway and go to work. They profile the perfect transnational wet-dream fantasy, and surgery and genetic tinkering transform her into the most stunning woman the world has ever seen, with apple-green skin and purple hair.

They raise her intelligence to super-genius level, program her with the millennial history and scientific knowledge of this imaginary advanced civilization she’s supposed to be from, and erase all memories of her previous incarnation so that she is convinced she is Lura, ambassador from the Galactic Brotherhood of Advanced Civilizations, dispatched to save the Earth.

The Transformationalists sell Lura as the savior from space and begin to effect the great Transformation through her, presenting their visionary program as the tried-and-true path of all those civilizations who have succeeded in passing through their Transformation Crises.

Many plot twists later, the civilization of the Earth is indeed transformed, the final McGuffin being the capture of Lura by a mob of the dispossessed, and her impending martyrdom.

Some of the Transformationalists try to tell the world the truth to save her. But since Lura herself contradicts them, believing that she is a noble being from an advanced civilization, they fail, she is martyred, and the Transformationalists have no pragmatic choice but to turn her into the legend that successfully puts the seal on the great Transformation.

In the epilogue, an immense spaceship then manifests itself in the solar system to welcome humanity into a real Galactic Brotherhood of Advanced Civilizations. Earth has negotiated its Transformation Crisis on its own. That’s the entrance test. That’s why the galactic silence. The Galactic Brotherhood has no interest in communicating with species who have not yet proven themselves worthy.

Dexter poured his heart and soul into this one.

It ended up taking over his life completely, became an obsession, a mission, a cause.

Before he began, he felt he had to travel the convention circuit, pouring booze and dope into scientists of his acquaintance and scientists of their acquaintance; conning them into serving as his brain trust, creating something not unlike the Transformationalist cabal in his unwritten novel, at least in his own mind at the time.

By the time Dexter was ready to write page one, six months had passed in a blur since he had signed the contract, he had gone through about $5000 in travel and entertainment, and he had a dossier of speculative papers from cutting-edge scientists about two thousand pages thick.

The contract called for Dexter to turn in the manuscript in twelve months. He was eight months late. The contract called for about 100,000 words, but Dexter turned in 250,000, and after three months of cutting under editorial supervision, the final version still came in at 220,000. It took harder work over more months to write than anything Dexter had ever done, and by the time he saw the galley proofs, the $40,000 was long gone.

But Dexter knew that The Transformation was his masterpiece, his destiny, the work for which his name would be remembered for a thousand years, the mission he had been born to fulfill.

It came out six months later, and it bombed.

“Too intellectual for the kids who they’re marketing sci-fi to these days, Dex,� his agent told him. “What they want is space opera series, or likewise in wizards and dragons, Star Trek and Star Wars novelizations, role-playing tie-ins, and novels based on the laundry lists of Isaac Asimov and Arthur C. Clarke.�

Broke, devastated, with Ellie now pregnant with Jamie, Dexter spent ten days listening to his wife whine and staring into the black hole his life had become.

His agent had timed it perfectly. On the eleventh day, he called and dropped the other shoe.

“Hey, it’s not like your career’s over, Dex. You get me a strong outline for a trilogy, preferably fantasy, and I’m sure I can get you a contract for $30,000 a book, maybe even more if there’s game potential in it.�

“Fuck you!� Dexter snarled and hung up on him.

“Fuck you, Dexter D. Lampkin!� was Ellie’s take on it when he conveyed the gist of the conversation. “What are we going to live on, your Polish serial rights?�

She kept hammering at him. Bills began to pile up. His American Express card got pulled. Dying inside, Dexter was about to surrender his soul to the inevitable when he ran into Harlan Ellison at a convention in Phoenix.

Ellison, a Los Angeles scenarist and short-story writer who had flourished on a high economic level for decades, set him straight in no uncertain terms.

“Are you nuts, Lampkin, you got to ream out crap to stay alive, don’t piss on the work that really matters to you to do it. Instead of writing three hundred pages of sci-fi bullshit and ruining your reputation for $30,000 a pop, come down to Hollywood and bang out forty-eight-page TV scripts for $15,000 minimum. Buy yourself time to do your real work and keep it separate from what you do to make the rent.�

The Santa Ana ruffled Dexter’s hair as he crossed Sunset and drove Laurel Canyon Boulevard up through the hills. The night was warm, the canyon was heady with vegetal perfume, he kept the tach over three thousand as he whipped through the curves, just to feel those gees, just to hear the double-overhead-cam engine growl, whoo-ee!

So it hadn’t exactly worked out as smoothly as the picture Harlan had painted—prime-time TV script gigs were few and far between—but considering the alternatives, Dexter figured he was doing all right.

The cartoon shows were hot for an sf writer accustomed to writing novellas in the time it took the usual derelicts to write a thirty-page script, and while the money was pretty shitty, it was usually there when needed. There was a certain amount of magazine work, bullshit he could write in his sleep. Dexter even found that he had a knack for writing album cover blurbs, ad copy, even gags for third-rate comics.

He made enough money via the Scam of the Week to be able to spend half his time writing his novels. He was now older and wiser enough to know that most science fiction writers had a book like The Transformation in them, the visionary masterpiece that would express the full brilliance of their genius and enlighten the world. He was older and wiser enough to know that most of them were going to bomb.

Excerpted from He walked among us by .
Copyright © 2009 by Librairie ArthŠme Fayard.
Published in April 2010 by A Tom Doherty Associates Book.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.


Excerpted from He Walked Among Us by Spinrad, Norman Copyright © 2010 by Spinrad, Norman. Excerpted by permission.
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Meet the Author

NORMAN SPINRAD is a science fiction icon and the author of more than twenty novels which have been translated into over a dozen languages. His 1969 novel, Bug Jack Barron, was nominated for the Hugo and Nebula Awards and his short fiction collection, The Star-Spangled Future, was a National Book Award finalist. He has also written screenplays for American television series, including the original Star Trek. He lives in New York.

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He Walked among Us 4.5 out of 5 based on 0 ratings. 6 reviews.
Anonymous More than 1 year ago
DeborahJRoss More than 1 year ago
Can science fiction save a world like ours, torn by violence and on the very brink of ecological disaster? More to the point, can science fiction fans save the world? Norman Spinrad had entirely too much fun answering these questions. The story gimmick goes like this: a middling level theatrical agent stumbles on a relentlessly vitriolic stand-up comic who claims to come from the future, sent back in time to cause us to change our destructive ways before it is too late. The agent enlists a science fiction writer, whose single visionary book still inspires a tiny fan following, and a New Age guru to shape the comic's act. As the comic's success leads him to host a talk show on a tenth-rate network, questions pile upon questions. Is the comic so demented, he never, ever breaks character? Or is he, by some wild chance, telling the truth? If he succeeds, will the paradox of time travel result in his never having appeared? Are science fiction fans, the only people willing to believe in a better future, his only hope? Spinrad's prose is snappy, absorbing, at times poignant or hilarious, usually irreverent, as are his references to iconic figures in science fiction (even himself) and if I did not always agree with his characterizations, I found this an absorbing, thought-provoking read.
Jonathan_Vos_Post More than 1 year ago
Wonderful! The reviewer paulgoatallen hooked me at: "a cynical, wildly divisive writer whose controversial works played a huge role in shaping my life and love of reading." I consider Norman Spinrad cynical in the same way as Jonathan Swift or Mark Twain -- out of idealism and politico-cultural sophistication rather than as a hipster attitude. There are clever lines indeed: "like Obi Wan Kenobi doing Lenny Bruce" is funny in the same way as the line from a recent Big Bang Theory: "Look, a Spock doll with Mr.T's head. I pity the fool who is irrational." The reviewer is right: Spinrad (former President of Science Fiction Writers of America) and Harlan Ellison and others have skewered the dark side of Fandom, but out of tough love for the reader, and in recognition of the glory of great writers who DO change the world. Bravo!
The_Alternative More than 1 year ago
"The Earth is just too small and fragile a basket for the human race to keep all its eggs in." -Robert A. Heinlein Imagine for a moment that the future existence of the planet balanced on your ability to travel back in time and explain the costs and concepts of the depletion of the ozone layer to a subsistence farmer in rural Mesopotamia. Could you do it? Enter Ralf, stand-up comic from about as far up the time-line as you can get. And he comes bearing terrifying news. The future planet is in disarray, biodiversity is as extinct as the carrier pigeon, the air is thick and un-breathable, almost unusable without heavy filtration scrubbers and to make matters worse, the last generations of humankind have taken refuge in pressurized shopping mall domes. Humanity clings to the last remnants of life on a scourged planet that could not be saved. Now take an aging Science Fiction writer named Dexter D. Lampkins who is a flawed but intelligent individual (and Spinrad's pseudo- literary double) with designs of writing the next great social Science Fiction Transformation of mankind, mingle with Amanda Robins, a New Age Wunderkinds seeking total Zen spiritualism, and mix in a whole lot of Ralf "the comic from the future." Blend them all together on the same late-night television show and what do you get? Well, Monkey-Men, let's just say that you may want to read this one yourself to discover all the gory details. Ralf's message is simple and crude. Start cleaning up the environment right now or the future world is going to suffer. Quit mucking up Mother Habitat so the deprived people of the future can take a break from living in constant fear of complete extinction. Whether by accident or design Spinrad does reveal a plethora of Science Fiction Convention lore, anecdotes, behavior, and attitudes. And surprise, the Sci-Fi geeks are no less real than you or I. For some reason the Cons were the most enjoyable scenes in the book for me. Though Spinrad served up many unflattering and sometimes harsh depictions of Science Fiction conventioneers his descriptions lent realism to the story that may have otherwise been lost. Perhaps I felt so close to those scenes because, like Lampkin, I too identify with the weird and geeky, slightly askew, adoring, star-struck fans. I'm one of them! Spinrad's prose and dialogue is superb, humorous, enticing, and real and scans with perfect pace. If there is any real flaw with the story it is with the character known as Loxy Foxy and her strange companion the "machine-rat- from-the-depths-of-the -subway. Not so much the content itself but how long and drawn out it became in the middle of the book. It seemed like we revisited the same scenes over and over again which cluttered up the story line and served no real purpose. I suspect the novel would have stood well on its own in the absence of those characters. [I'm still unsure of what the confrontation between Loxy, the rat, and Ralf meant! Perhaps someone would care to enlighten me?] Much like James Cameron's "Avatar" Spinrad's "He Walked Among Us" is social commentary with a message concerning the current state of our eroding world and until we can, as Heinlein eschewed, figure out a way to distribute our eggs more evenly someone up the stream of time is going to suffer. We need to learn to sustain what we have and become more pro-environmenta
harstan More than 1 year ago
After watching stand-up comic Ralf perform, sleazy agent Jimmy "Texas" Balaban believes the man has the potential to be a messianic superstar in spite of Ralf insisting he is from the future in which the world is horrible grim place to live. Jimmy hires science fiction writer turning hack Dexter Lambkin and New Age wannabe guru Amanda Robin to make it happen. Amanda buys into Ralf's spontaneous rap without challenging him; on the other hand cynical Dexter is shocked that he too is being mesmerized by Ralf. However, Ralf's message of a world dying unless we change today is overwhelming the comedian who wants to vanish like he did once before. This is an easy read, but those readers who enjoy something satirically different will appreciate He Walked Among Us; as Norman Spinrad lampoons capitalist preachers in mega-churches, media, DC and Wall Street, etc. while the world is in crisis. Character driven fans will be reminded of the movie Network as the author also ridicules his fan base for being overly zealous over the wrong segue. With a strong cast including Jimmy Durante's Schnozzola, this convoluted tale will have the audience ponder what is important in life. Harriet Klausner
Anonymous More than 1 year ago
I'm always getting up here and urging you to buy this book, or to go see that movie. Buy a DVD or try a new author. I do it because I'm passionate about this stuff. And I swear to you that, regardless of whether you end up agreeing with me, I am always 100% honest about them. Coming out on March 30th is what I consider to be the book of the year. It's He Walked Among Us, by Norman Spinrad. Maybe you've read some Spinrad. Some pieces here and there. Or maybe you've been trying to make the time to read Bug Jack Barron for decades now. Or maybe you've read some of his books. My own personal favorites are Bug Jack Barron, The Iron Dream, Pictures at 11, Little Heroes, The Mind Game. My previous favorite was probably Norman's mainstream novel of Hollywood, Passing Through the Flame. My favorite now is He Walked Among Us. Spinrad had trouble getting this book published and it boggles my mind. Here is not only one of the finest science fiction writers that ever published, but one of the most important writers of the modern age. I'm not kidding. He Walked Among Us was previously published in a typically overpriced and poorly manufactured POD edition in 2004. Norman Spinrad having to put his work out in what is barely a notch above self publishing. It's criminal. Why did he have such a difficult time getting He Walked Among Us published? For one thing, Spinrad has never been afraid to bite the hand that feeds him. He has been an acerbic critic of organized science fiction fandom for a long time. He paints the community in a harsh light in He Walked Among Us. I have the experience to tell you that his unflattering depictions of SF conventioneers is pretty damned accurate. Also, Spinrad's career has been hard to classify in any one particular genre. He's known as a science fiction writer and many of his book fall solidly in that realm. Russian Spring, Songs From the Stars, The Void Captain's Tale, Greenhouse Summer, for examples. He has also written books that made him a popular figure in the counterculture, like The Children of Hamelin and Passing Through the Flame. There are stories that seem pulled direct from current events, such as The Mind Game and Pictures at 11. Spinrad has even done historical fiction: Mexica and The Druid King. So what, exactly, is He Walked Among Us? Well, that's a hard one. In a way it's science fiction. It's also an acidly satiric satire of show business. The novel is screamingly funny at times. There are New Age aspects to He Walked Among Us. It's philosophical. It might deal with Quantum Physics, but I'm not exactly sure. And it also has some hardcore scenes that might make Edward Lee wince. Jimmy Balaban is an aging, seedy, third rate show biz agent. He meets a dubious comedian named Ralf who claims to be from the future. He's here to save us from ourselves. It's an odd act, but Jimmy is a pro and the nose knows. Maybe there is a little bit of money to be made from this strange act. He takes Ralf on as a client and hires a male science fiction writer and a female New Age guru to turn Ralf into the cash cow that he always wanted. Astonishingly, it works. The question remains: Who, or what, is Ralf? Spinrad has called He Walked Among Us his magnum opus and I definitely agree. He Walked Among Us, however, is a revelation.