It’s credibility of a sort, I guess. The Sydney Morning Herald has just published a John Birmingham piece which jumps off from the teenybopper suckfest “Twilight” to dip its toes in the whole pop-culture vampire mystique. And what should appear, mixed in with all the Buffy and True Blood callouts, but a whole paragraph devoted to the vampires of Blindsight:
In author Peter Watts’s hard-science space opera, Blindsight, Dracula’s children aren’t disguised at all; they’re reborn from ancient DNA samples and put to work by humanity, which needs their superior physical and intellectual skills to face off a universe full of even scarier monsters. It all sounds like a low-brow spook’n’shoot, an ill-advised cocktail of the undead and laser beams. But it’s high-concept low-brow, with Watts providing reams of credible-sounding scientific “research” in a “Notes and References” section that recalls nothing so much as the early work of the recently departed Michael Crichton.
Birmingham evidently didn’t realize that those “references” are real, but that’s cool. I don’t even mind being compared to Crichton; I actually quite like a lot of Mikey’s “early work”— and hey, if a critic in a mainstream newspaper thinks the shoe fits, maybe some publisher might notice a vacant niche waiting to be filled…
What I do find a bit odd, though, is that Blindsight got as much attention it did (not that I’m complaining). Beyond the obligatory commentary on the Twilight novels, the article focuses almost entirely on cinevision: Buffy, True Blood, even some pretty strained references to Borgs and zombies. The only non-Stoker, non-Meyer book to get any attention is some vampire-gumshoe novel by Charlie Huston. And while I’m never one to turn down free publicity, I seem to remember some guy called Matheson doing something along the same lines a while back— something that can hardly have fallen out of the public eye so soon after Will Smith poked it back in there — not to mention a more recent vampire riff by that Butler chick. And there’s no way I wield a fraction of the influence of either of those authors, even on their bad days. So I’m wondering why Blindsight made Birmingham’s cut, when I am Legend and Fledgling didn’t. It obviously isn’t a function of either literary quality or sales.
You know what that leaves. Cover art.