Probably one of the first things that will cross your mind when you finish reading this book will be something along the lines of, 'gee, I never read a foreign film before.' And you won't be far from wrong, either.

Hal Duncan's Vellum is a roller coaster ride through an infinite skein of ever changing dimensions that are bound together by converging lines of reality. (So, are you confused yet?) Within the Vellum, the map of the greater reality (and realities) that exist beyond all we know, our infinite universe is nothing more than a dot on the page, no larger than the period at the end of this sentence. But at the very same time the Vellum, the Book of All Hours, is also the cant, the song that gave shape to our very existence, and whose words can actually change the very fabric of reality. (Are you still with me?) And this, the sum of everything that is, becomes the setting for a series of ever repeating pageants, shadow plays taking place in a multitude of separate realities that are simultaneously converging upon some hidden point of resolution. (Okay, so it really was easier than I made it sound, right?)

This is not, of course, the first such venture into the greater reality which lies beyond our own. Twentieth century writers such as Lovecraft, Zelazny, Farmer, King, and even Carlos Casteneda (to name but a few) have been taking readers there for most of the last century. And now Scottish writer Hal Duncan tosses his hat into the metaphysical ring. Duncan's prose has a decidedly continental flair, and his writing style is both fresh and frenetic. He has a very compelling 'stream of consciousness' form of expression that is uniquely his own. And while the influences of many of the aforementioned writers are reflected, in one way or another, in much of Duncan's work, at the same time The Book of All Hours also succeeds in forging new (and, up until now, previously unexplored) ground in the realms of metaphysical science fiction. (In fact, this novel may even raise the bar a couple of notches.)

Ultimately, Vellum is a book about freedom, and all its various meanings. And yet it is also a tale of oppression, and the age-old struggle between order and chaos; a multi-layered story which takes place on many levels, and in many forms. (Vellum is reality shaken and then stirred.) Vellum, part one of two part Book of All Hours series, should gain its widest following amongst fans of metaphysical science fiction, although it is recommended to anybody who just happens to be in the market for a truly unique and different read.

However, it should be noted (especially when dealing with American audiences), that Vellum is a very hardcore novel, and not for the faint of heart. The storyline is presented in a very mature fashion, and definitely does not qualify as potential bedtime fodder for the little ones. As for everybody else, might as well go ahead and buckle up, because you are in for one helluva ride. You may want to pack yourself a lunch, though and toss in a change of clothes while you're at it, because a journey into the Vellum only lasts forever! (Well, almost forever!) Don't worry; it's worth the trip. Pick up a copy of this novel and see if you agree!

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First and foremost, it should be said that Battlestar Galactica is an adult show which deals with adult issues in a mature fashion. So put the kids to bed before you tune in, or you may find yourself having to answer some very interesting (and also uncomfortable) questions.

That being said-Battlestar Galactica consistently delivers in every facet of production and presentation. The writing is top notch, the acting is superb, and the visuals are well conceived and executed.

As was noted in the original Scifi Horizons review, the strength of this series resides mainly in the three dimensional nature of its characters. Battlestar Galactica’s portrayal of its characters goes against the established vein of virtually every science fiction show which has preceded it. These characters are not intellectual giants, invested with limitless reams of scientific knowledge, nor are they epic heroes, that are capable of defeating near impossible odds. They are real people. They are neither all good, nor all bad, but instead are very, very human. The characters of BSG are not shiny role models which the viewer can aspire too; rather, their faults and frailties make them realistic people that the viewer can recognize and identify with. They can be hurt, both physically and emotionally, and their problems cannot be solved in just one hour, but often persist over many episodes, or even seasons. And they can die (unless they’re Cylons, of course).

The grittiness of the situations which the characters are thrust into only serves to give the show a more heightened sense of realism. In the gloomy corridors of the Galactican universe there are no easy answers. Life is hard, sometimes dangerous, and often painful. And it can be deadly, as well. Most surprisingly (and refreshingly) there are no clearly defined choices between right and wrong. In this show the road ahead is always murky, and the consequences of all decisions, both good and bad, have far reaching effects.

Galactica is truly carving its own niche in the science fiction universe (although it may take years for BSG to receive the recognition that it truly deserves). Still, if there is one element which Battlestar Galactica shares in common with such illustrious predecessors as the original Star Trek, and The Twilight Zone, then that would have to be its approach to the political and social issues of the day. BSG has volumes to say, and it does so with an eloquence which is unmatched by any of its contemporaries. Sliders and Babylon 5 aside, such insightful political and social commentary as this has not graced the airwaves for nearly half a century.

BSG is an hour well spent. Tune in (and catch up, via reruns or DVDs) and see if you agree.

(Battlestar Galactica was originally reviewed in issue three of Scifi Horizons. To go to that review, click here.)

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