I'm keenly interested in community. Some of my fictional cultures have interesting ways of connectings people. In the Whispering Sands desert, that can get pretty diverse. Waterjewel has a "tent family" grouping in addition to genetic family: the people who choose to live together, who may or may not also be tied by genes or romance. The bandit tribes have two peer bonds, one for men and one for women. The other men on a boy's first raid become his kin. The other women who are menstruating when a girl gets her first period become her kin. I'm intrigued by these two, especially, because they are close and permanent ties made between non-relatives (usually) and thus somewhat similar to marriage in terms of creating primary bonds. The mutual support obligations, while different in detail, are equivalent in weight.
Another favorite bond is between mount and rider. Amusingly, in the desert, when someone says "monogamous" it's a reference to horse and rider, not sexual partners. (The desert culture at large is polyamorous, details varying, though one can have a pair-marriage if desired.) But moving outside the desert, the same thing happens with centaurs. They're very fussy about it, and many won't allow a rider at all. When they do, they draw a very firm line between "just this once" for emergency's sake, and a permanent rider with whom the tie is as tight as marriage is for hominids. (Centaurs don't really have a marriage custom of their own, though occasionally they'll borrow it if they have a hominid lover.) Also worth noting is that, for centaurs, the personality unit is the herd, not the individual. A centaur alone is not a whole person, and they rarely travel alone unless they're insane. Outcast centaurs tend to gravitate to some other group as a replacement herd.
One of my not-yet-published stories, "To Know Sorrow," features a group of 12 adolescent humans raised by aliens. They are "the Other Creche" -- always apart from those who bore them and those who raised them. But it also shows how the Tramahandi society is organized, where unrelated infants are bundled together to be raised as peers; when they become adults, the creche chooses collectively whether to specialize as a Fight Unit or a Work Unit. They can't be split up, because they don't think of themselves as individuals except for rank within the group; they always relate to society as a team. That shapes a lot of the challenges between the Other Creche and the human culture when they come back into contact.
Outside my own writing, I highly recommend "The Aphorisms of Kherishdar" (complete) for a lovely rendition of community in an alien culture. In the military SF "Spots the Space Marine" the combat teams, and other work groups, form very close bonds; the thematic nicknames are really amusing too. "Diary of a Necromancer" (complete) had an exceptionally good rendition of guilds and families, in terms of anchoring the culture with its supports and rivalries and influences. The superhero soap opera "Wonder City Stories" (ongoing) focuses on teams and other small groups, the way superheroes often sort themselves out, plus the intricate interpersonal webbing of daytime drama.
What some of your favorite examples of community, in your own writing or someone else's?
November 27 2010, 21:53:57 UTC 10 years ago
It seems like the Duenicallo, one of the sentient carnivore species on Traipah, is a little different. There are a variety of different patterns on their home continent, Ah'Bahss, depending on where they live. Ah'Bahss has vast plainslands, and also has forests, mountains, and other ecosystems. On the plains, there are tribes. Even some of the Ah'Koi Bahnis live on the Ah'Bahss plains in tribes, riding animals filling a similar role to horses (which Duenicallo do not need and couldn't ride if they wanted to).
Meanwhile, the other carnivorous sentient species, the Shao'Kennah, live in small groups in the jungles and nest in the trees. They have tribes, but they're spaced out more, Shao'kennah being more territorial than AKB or Duenicallo.
In my Mindeodean universe, the Joquari live their whole lives on a single spaceship, since they are adapted to zero-g and would die on a planet. These ships often travel together in convoys, wandering through space like some kind of space Roma, trading at the different stops.
In "Carbon and Silicon," Fiomi's people, the Zedaleph, are replicated in yearly batches in factories around the world (they are a machine race, replication is their reproduction), and how many are thus replicated depends on a number of factors, like how many Zedaleph have died or moved to other planets, or moved *from* other planets. They are named by the order they were made and their batch number. (I think Fiomi's name meant something like "30 of 50".) These yearly batches are raised together, in something resembling a cross among an orphanage, a school, and a family, with yearly batches from previous years and later years. Though they try to keep these family batches small, often requiring many of these Learning Centers around the world. Once they've been assigned their family, that doesn't change. But for all the mechanistic way they reproduce and decide who raises the kids, Zedaleph are pretty human-like in personality despite the fact they were not made by humans and meet one for the first time ever in "Carbon and Silicon."
In fact, the whole notion of sentient organics is new to them and extremely controversial. It had previously been dogma that organics were too stupid and primitive a lifeform to develop sentience, a dogma based on the fact they'd never before seen organics as anything other than a pest, as literal vermin disrupting important systems. Other silicon races had eliminated organic life altogether on their planets. The Zedaleph put up with the organic lifeforms on their world because they thought the sky was much prettier when it was blue, and were fond of the ocean. (They also use the ocean for power.)
Oh, and of course, there's dark sorceress Lyria Spellspinner and her family. Having been exiled from her tribe, she moved to Vraygrotta after wandering around a lot learning different magics, including the forbidden art of soul magic (the art of changing the soul of a person or object) and DNA manipulation. She has 4 very close "children" who are her creations, only one of which actually looks related to her (the only one to look human). Her servants are all "flesh golems," meaning they were reanimated corpses whose appearance was altered and given new minds. (But more than that, flesh golems may be magically reanimated, but they don't depend on magic to keep living. They were dead, but are human once again.) Lyria is very protective of her family. She can be sweet and kind and do great feats of good, but threaten or hurt her family, and she can be truly terrifying, killing the threat without remorse if the threat is lucky. I'm having loads of fun with these characters!
Wow!
November 28 2010, 06:52:07 UTC 10 years ago
Re: Wow!
November 28 2010, 07:07:09 UTC 10 years ago
December 2 2010, 17:22:09 UTC 10 years ago
In Addergoole, my web-serial, students are grouped by Cohort (year in school), cy'ree (Students of the same Mentor), and crew (a group of like-minded individuals, often sharing a suite of rooms), as well as coupling off in short- or (rarely) long-term relationships. I thought, at one time, of designing school scarves (nevermind that the school is climate-controlled & underground) but the complexity would be a bit maddening.
Ooo...
December 2 2010, 20:05:35 UTC 10 years ago
That reminds me, in Torn World the Northern culture raises children collectively. Everyone belongs to a particular "age-set" and that's the primary bond. (Adults form romantic attachments, but those are rarely permanent; and parents have the option of raising their children personally, but most leave them to the raisers whose job that is.) So the peer connections are extremely important, and that plays into many of the stories about that culture.
If you want to see a fun example, my story "Fala the Leader" shows Fala as a young girl, just beginning to reveal her talents and a not-entirely-conventional role within her age-set. Another good one is "Odds and Ends" about Karavai and Ularki shortly before their adulthood tests. This one really highlights the closeness and permanence of the agemate relationship.
Re: Ooo...
December 2 2010, 21:49:58 UTC 10 years ago
Child-raisers as a concept has always intrigued me; it's one think I like about Sherri S. Tepper's book The Fresco, the alien culture the Pistach (I think) are task/career differentiated.
I'll check out your stories tonight at home! :-)
Re: Ooo...
December 2 2010, 22:00:20 UTC 10 years ago
One of my other Torn World characters, Tekura, is a raiser. He is really sweet. Marai, one of the earliest established characters (and still adoptable) is another. "These Teeth, Like Stars" shows them in the Raiser Day celebration.
Re: Ooo...
December 2 2010, 23:16:10 UTC 10 years ago
Thank you!
December 2 2010, 23:21:02 UTC 10 years ago
Re: Thank you!
December 2 2010, 23:24:34 UTC 10 years ago
Re: Thank you!
December 3 2010, 02:15:44 UTC 10 years ago
If you click on my name, it will take you to my author page, listing all my contributions (fiction, nonfiction, poetry, crafts).