Rifters 1 - Starfish

by Peter Watts

Deepwater biology

  The deep-sea creatures I described pretty much as they exist; if you don't believe me read "Light in the Ocean's Midwaters", by B. H. Robison, in the July 1995 Scientific American. Or Deep-Sea Biology by J.D. Gage & P.A. Taylor (Cambridge University Press, 1992). Or Abyss by C.P. Idyll (Crowell Co., 1971); it's old, but it's the book that hooked me back in Grade 9. Although the fish we drag up from great depths are generally pretty small in real life, gigantism is not unheard of among some species of deepwater fish. Back in the 1930s, for example, the deepwater pioneer William Beebe claimed to have spotted a seven-foot viperfish from a bathysphere.

  I found lots of interesting stuff in The Sea - Ideas and Observations on Progress in the Study of the Seas. Vol. 7: Deep-Sea Biology (G. T. Rowe, ed., 1983 from John Wiley and Sons). In particular, the chapter on biochemical and physiological adaptations of deep-sea animals (by Somero et al.)—as well as Biochemical Adaptation, a 1983 book from Princeton University Press (Hochachka and Somero, Eds.)—got me started on deep-sea physiology, the effects of high pressure on neuronal firing thresholds, and the adaptation of enzymes to high pressure/temperature regimes.

  Spreading-zone tectonics/geology

  A good layperson's introduction to the coastal geology of the Pacific northwest, including a discussion of midocean ridges such as Juan de Fuca, can be found in Cycles of Rock and Water by K. A. Brown (1993, HarperCollins West). "The Quantum Event of Oceanic Crustal Accretion: Impacts of Diking at Mid-Ocean Ridges" (J.R. Delaney et al., Science 281, pp222-230, 1998) nicely conveys the nastiness and frequency of earthquakes and eruptions along the Juan de Fuca Rift, although it's a bit heavy on the technobabble.

  The idea that the Pacific Northwest is overdue for a major earthquake is reviewed in "Giant Earthquakes of the Pacific Northwest", by R. D. Hyndman (Scientific American, Dec. 1995). "Forearc deformation and great subduction earthquakes: implications for Cascadia offshore earthquake potential" by McCaffrey and Goldfinger (Science v267, 1995) and "Earthquakes cannot be predicted" (Geller et al., Science v275, 1997) discuss the issue in somewhat greater detail. I used to live quite happily in Vancouver. After reading these items, I moved to Toronto.

  The absolute coolest source for up-to-the-minute information on hydrothermal vents, however, is the National Oceanic and Atmospheric Administration's (NOAA's) web pages. Everything's there: raw survey data, research schedules, live maps, three-dimensional seaquake animations, and recent publications. To name but a few. Start at http://www.pmel.noaa.gov/vents and go from there.

  Psionics/Ganzfeld Effects

  The rudimentary telepathy I describe actually made it into the peer-reviewed technical literature back in 1994. Check out Does Psi Exist? Replicable evidence for an anomalous process of information transfer by Bem and Honorton, pages 4-18 in Vol 15 of the Psychological Bulletin. They got statistical significance and everything. Speculations on the quantum nature of human consciousess come from the books of Roger Penrose, The Emporer's New Mind (Oxford University Press, 1989) and Shadows of the Mind (Oxford, 1994).

  Smart gels

  The smart gels that screw everything up were inspired by the research of Masuo Aizawa, a Professor at the Tokyo Institute of Technology, profiled in the August 1992 issue of Discover magazine. At that time, he'd got a few neurons hooked together into the precursors of simple logic gates. I shudder to think where he's got to now.

  The application of neural nets to navigating through complex terrain is described in "Robocar" by B. Daviss (Discover, July 1992.), which describes work being done by Charles Thorpe of (where else) Carnegie-Mellon University.

  ßehemoth

  The theory that life originated in hydrothermal vents hails from "A hydrothermally precipitated catalytic iron sulphide membrane as a first step towards life", by M.J. Russel et al. (Journal of Molecular Evolution, v39, 1994). Throwaway bits on the evolution of life, including the viability of ribosomal RNA as an alternative genetic template, I cadged from "The origin of life on earth" by L.E. Orgel (Scientific American, October 1994). ßehemoth's symbiotic presence within the cells of deepwater fish steals from the work of Lynn Margulis, who first suggested that cellular organelles were once free-living organisms in their own right (an idea that went from heresy to canon in the space of about ten years). Once I'd stuck that idea into the book, I found vindication in "Parasites shed light on cellular evolution" (G. Vogel, Science 275, p1422, 1997) and "Thanks to a parasite, asexual reproduction catches on" (M. Enserinck, Science 275, p1743, 1997).

  Sexual abuse as an addictive stimulus

  I first encountered the idea that chronic abuse could be physiologically addictive in Psychological Trauma (B. van der Kolk, ed,, American Psychiatric Press 1987). False Memory Syndrome is explored in The Myth of Repressed Memory : False Memories and Allegations of Sexual Abuse by E. Loftus & K. Ketcham (St. Martin's Press 1996).

  * * *

  Acknowledgments

  I put all these words together myself. However, I shamelessly exploited anyone I could to put them together properly.

  At the start: Starfish began as a short story. Barbara MacGregor, then of the Domestic Violence Lab at the University of British Columbia, critiqued early drafts of that story.

  At the end: David Hartwell bought the manuscript; he and Jim Minz editted it. Of course they have my gratitude, but I hope their reward extends beyond such cheap verbiage; I hope Starfish sells well and makes all of us lots of money. (The copy you're holding is a start. Why not pick up others and hand them out to Jehovah's Witnesses at street corners?)

  In between:

  Glenn Grant took it upon himself to approach David Hartwell on my behalf when I was too chickenshit to do it myself. Major David Buck of the New Zealand Army gave me the benefit of his expertise on explosives, nuclear and otherwise. I was a bit disturbed to learn just how much thought some people have put into the effects of nuclear explosions on the seabed.

  When I wanted to check out the geology of spreading and earthquake zones, I posted a question to a couple of geological Usenet groups in lieu of actual research. This netted me a lot of advice from people I've never met and probably never will: Ellin Beltz, Hayden Chasteen, Joe Davis, Keith Morrison, and Carl Schaefer gave me pointers and references on vulcanism, plate tectonics, and (in one case) the length of time it would take a nuclear submarine to get shot zit-like from the mouth of an active volcano after being swallowed into a deep-sea subduction zone. John Stockwell of the Center for Wave Phenomena (Colorado School of Mines) was especially forthcoming, sharing formulae and tables that described earthquakes in nice, graspable, "Hiroshima equivalents". I'm tempted to never do my own research again.

  I'm also tempted to blame all these nice people for any technical mistakes you find in the following document, but of course, I can't. It's my book. I guess that means they're my mistakes too.

  * * *

  Creative Commons Licensing Information

  Attribution-NonCommercial-ShareAlike 2.5

  License

  THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS CREATIVE COMMONS PUBLIC LICENSE ("CCPL" OR "LICENSE"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS AUTHORIZED UNDER THIS LICENSE OR COPYRIGHT LAW IS PROHIBITED.

  BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS LICENSE. THE LICENSOR GRANTS YOU THE RIGHTS CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS.

  1. Definitions

  "Collective Work" means a work, such as a periodical issue, anthology or encyclopedia, in which the Work in its entirety in unmodified form, along with a number of other contributions, constituting separate and independent works in themselves, are assembled into a collective whole. A work that constitutes a Collective Work will not be considered a Derivative Work (as defined below) for the purposes of this License.

  "Derivative Work" means a work based upon the Work or upon the Work and other pre-existing wor
ks, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast, transformed, or adapted, except that a work that constitutes a Collective Work will not be considered a Derivative Work for the purpose of this License. For the avoidance of doubt, where the Work is a musical composition or sound recording, the synchronization of the Work in timed-relation with a moving image ("synching") will be considered a Derivative Work for the purpose of this License.

  "Licensor" means the individual or entity that offers the Work under the terms of this License.

  "Original Author" means the individual or entity who created the Work.

  "Work" means the copyrightable work of authorship offered under the terms of this License.

  "You" means an individual or entity exercising rights under this License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor to exercise rights under this License despite a previous violation.

  "License Elements" means the following high-level license attributes as selected by Licensor and indicated in the title of this License: Attribution, Noncommercial, ShareAlike.

  2. Fair Use Rights. Nothing in this license is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the exclusive rights of the copyright owner under copyright law or other applicable laws.

  3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicable copyright) license to exercise the rights in the Work as stated below:

  to reproduce the Work, to incorporate the Work into one or more Collective Works, and to reproduce the Work as incorporated in the Collective Works;

  to create and reproduce Derivative Works;

  to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission the Work including as incorporated in Collective Works;

  to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission Derivative Works;

  The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights in other media and formats. All rights not expressly granted by Licensor are hereby reserved, including but not limited to the rights set forth in Sections 4(e) and 4(f).

  4. Restrictions.The license granted in Section 3 above is expressly made subject to and limited by the following restrictions:

  You may distribute, publicly display, publicly perform, or publicly digitally perform the Work only under the terms of this License, and You must include a copy of, or the Uniform Resource Identifier for, this License with every copy or phonorecord of the Work You distribute, publicly display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Work that alter or restrict the terms of this License or the recipients' exercise of the rights granted hereunder. You may not sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties. You may not distribute, publicly display, publicly perform, or publicly digitally perform the Work with any technological measures that control access or use of the Work in a manner inconsistent with the terms of this License Agreement. The above applies to the Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Work itself to be made subject to the terms of this License. If You create a Collective Work, upon notice from any Licensor You must, to the extent practicable, remove from the Collective Work any credit as required by clause 4(d), as requested. If You create a Derivative Work, upon notice from any Licensor You must, to the extent practicable, remove from the Derivative Work any credit as required by clause 4(d), as requested.

  You may distribute, publicly display, publicly perform, or publicly digitally perform a Derivative Work only under the terms of this License, a later version of this License with the same License Elements as this License, or a Creative Commons iCommons license that contains the same License Elements as this License (e.g. Attribution-NonCommercial-ShareAlike 2.5 Japan). You must include a copy of, or the Uniform Resource Identifier for, this License or other license specified in the previous sentence with every copy or phonorecord of each Derivative Work You distribute, publicly display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Derivative Works that alter or restrict the terms of this License or the recipients' exercise of the rights granted hereunder, and You must keep intact all notices that refer to this License and to the disclaimer of warranties. You may not distribute, publicly display, publicly perform, or publicly digitally perform the Derivative Work with any technological measures that control access or use of the Work in a manner inconsistent with the terms of this License Agreement. The above applies to the Derivative Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Derivative Work itself to be made subject to the terms of this License.

  You may not exercise any of the rights granted to You in Section 3 above in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation. The exchange of the Work for other copyrighted works by means of digital file-sharing or otherwise shall not be considered to be intended for or directed toward commercial advantage or private monetary compensation, provided there is no payment of any monetary compensation in connection with the exchange of copyrighted works.

  If you distribute, publicly display, publicly perform, or publicly digitally perform the Work or any Derivative Works or Collective Works, You must keep intact all copyright notices for the Work and provide, reasonable to the medium or means You are utilizing: (i) the name of the Original Author (or pseudonym, if applicable) if supplied, and/or (ii) if the Original Author and/or Licensor designate another party or parties (e.g. a sponsor institute, publishing entity, journal) for attribution in Licensor's copyright notice, terms of service or by other reasonable means, the name of such party or parties; the title of the Work if supplied; to the extent reasonably practicable, the Uniform Resource Identifier, if any, that Licensor specifies to be associated with the Work, unless such URI does not refer to the copyright notice or licensing information for the Work; and in the case of a Derivative Work, a credit identifying the use of the Work in the Derivative Work (e.g., "French translation of the Work by Original Author," or "Screenplay based on original Work by Original Author"). Such credit may be implemented in any reasonable manner; provided, however, that in the case of a Derivative Work or Collective Work, at a minimum such credit will appear where any other comparable authorship credit appears and in a manner at least as prominent as such other comparable authorship credit.

  For the avoidance of doubt, where the Work is a musical composition:

  Performance Royalties Under Blanket Licenses. Licensor reserves the exclusive right to collect, whether individually or via a performance rights society (e.g. ASCAP, BMI, SESAC), royalties for the public performance or public digital performance (e.g. webcast) of the Work if that performance is primarily intended for or directed toward commercial advantage or private monetary compensation.

  Mechanical Rights and Statutory Royalties. Licensor reserves the exclusive right to collect, whether individually or via a music rights agency or designated agent (e.g. Harry Fox Agency), royalties for any phonorecord You create from the Work ("cover version") and distribute, subject to the compulsory license created by 17 USC Section 115 of the US Copyright Act (or the equivalent in other jurisdictions), if Your distribution of such cover version is primarily intended for or directed toward commercial advantage or private monetary compen
sation.

  Webcasting Rights and Statutory Royalties. For the avoidance of doubt, where the Work is a sound recording, Licensor reserves the exclusive right to collect, whether individually or via a performance-rights society (e.g. SoundExchange), royalties for the public digital performance (e.g. webcast) of the Work, subject to the compulsory license created by 17 USC Section 114 of the US Copyright Act (or the equivalent in other jurisdictions), if Your public digital performance is primarily intended for or directed toward commercial advantage or private monetary compensation.

  5. Representations, Warranties and Disclaimer

  UNLESS OTHERWISE MUTUALLY AGREED TO BY THE PARTIES IN WRITING, LICENSOR OFFERS THE WORK AS-IS AND MAKES NO REPRESENTATIONS OR WARRANTIES OF ANY KIND CONCERNING THE WORK, EXPRESS, IMPLIED, STATUTORY OR OTHERWISE, INCLUDING, WITHOUT LIMITATION, WARRANTIES OF TITLE, MERCHANTIBILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT, OR THE ABSENCE OF LATENT OR OTHER DEFECTS, ACCURACY, OR THE PRESENCE OF ABSENCE OF ERRORS, WHETHER OR NOT DISCOVERABLE. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO SUCH EXCLUSION MAY NOT APPLY TO YOU.

  6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARY DAMAGES ARISING OUT OF THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.