Tag Archives: science fiction

Movie/Short Story Review: “Arrival”, “Story of your Life”

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If you love science fiction, you should see “Arrival” and read Ted Chiang’s “Story of Your Life.” Each is a lovely representation of the genre.

I don’t normally review movies on this blog, but since “Arrival” is based on a short story by Ted Chiang, it seems like a good time to make an exception. “Arrival” is a good science fiction movie based upon a good science fiction short story “Story of Your Life.” It’s been about 5 years since I read the story, which was published in 2002. Before seeing the movie, I didn’t know it was based on this story, but it was faithful enough that I figured it out relatively early in the movie. For those of you who have seen the movie, imagine my surprise that I already knew how events would unfold. =)

“Arrival” is the story of an alien arrival. Numerous obelisks appear around the world, to the dismay and fascination of humanity. Our protagonist, Louise, a linguist, is recruited to attempt communication. She and a physicist make up the pair of experts on the American team. Louise’s efforts to translate the alien written language is the primary focus of the movie and the short story.

The Movie

The movie has received great reviews, with 93% on rotten tomatoes and 81% on metacritic. If you like science fiction movies, you should go see this one. I generally don’t like science fiction movies, and I liked this one. “Arrival” has good world-building, good science, and good thinking. This is a story that can’t be told without the tools of science fiction. It is a question of humanity, not of technology. The techniques of movie-making allow the story to unfold visually in a way that complements the print story.

How the story and the movie line up

Both the movie and the story play with their timeline. In the story, I found it distracting; In the movie, it felt more organic. I enjoyed watching a literary device play out on screen. For me, the biggest difference between the movie and the story was the role of the physicist—he makes some neat mathematical insights in the story, but he’s basically useless in the movie. As a mathy person, the math in the story was very compelling, but probably most movie goers won’t miss it.

I think the text version may address the Big Reveal of the story better than the movie, but it’s hard for me to judge. The story and the movie approach the Big Reveal in different ways—we see it unfold in the movie in a way that isn’t possible in text.

In Short:

As I said at the top, you should read and see this story. I know of no other example of a work that performs so well in print and motion; while I think the print version is a little better, the movie addresses certain aspects better. The movie is 2 hours, and the story is 55 pages, so you can put forth modest effort for great science fiction rewards.

 

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Bacigalupi’s “Water Knife” revisited: Considering “Cadillac Desert” and “Collapse”

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A few months ago I read and reviewed Paolo Bacigalupi’s The Water Knife. It’s a semi-apocalyptic view of water shortages in the not-too-distant future American west. Although I enjoyed the book, I couldn’t buy into the central crisis of the book—a water crisis severe enough to send states practically to war with one another. Then again, I’ve lived most of my life in Missouri, New York, and Virginia; I knew nothing about water scarcity. After The Water Knife piqued my interest, I read two nonfiction books about societal collapse and the history of water rights: Marc Reisner’s Cadillac Desert and Jared Diamond’s Collapse.

The Water Knife is clearly a call to action. It begs the reader to read Cadillac Desert (which I reviewed here). The 1986 Cadillac Desert (with a 1993 addendum) details water-related shenanigans too absurd for science fiction. It details the construction of the LA aqueduct using mules; it reveals the snail darter controversy as a boondoggle of an evil bureaucracy; it details the pissing contest between the Bureau of Reclamation and the Army Corps of Engineers. Did you know that our largest desalination plant is far from any coast? The Yuma Desalination Plant on the Colorado River ensures that the water we send on to Mexico satisfies international treaty. Thousands of miles of irrigation makes the water almost toxically saline by the time it reaches the border. It’s hard to pick the most breathtaking farce detailed in Cadillac Desert—is it the river sent over a 2,000 foot mountain to reach southern California? Is it the Teton Dam, which collapsed immediately and eliminated several towns because the engineers chose not to worry about the caves in the rock next to the dam?

I read The Water Knife wondering all the while how plausible its central conflict was. The Water Knife provides none of the lurid water history that Cadillac Desert did, just a strong message to go read that book. Usually I resist exposition in fiction, but The Water Knife ended up feeling ungrounded to me without more education. Its insistent references to Cadillac Desert were an appeal to an authority I lacked any knowledge of. Most of the United States population lives in wet parts of the country without knowledge of water rationing. After reading Cadillac Desert, the lack of detail felt even more disappointing. Many of the tales of that book, especially of the CAP (Central Arizona Project), would have provided easy fodder. Books about Mars colonies explain how colonists find oxygen with some scientific exposition; The Water Knife should have included a little exposition to orient us naive easterners.

Cadillac Desert expounds upon the ecological damage, financial waste, and altogether pointlessness of many western water projects, but it doesn’t speak much of pending disaster. It showed me how absurd and illogical the western water structure is, a point that The Water Knife relies upon. The book I read next contained a vivid reminder of the fragility of the American west. That fragility has ruined lives and cities before.

Jared Diamond’s Collapse details why a variety of civilizations collapsed, including the Anasazi of Chaco Canyon in northwest New Mexico. Diamond explains how deforestation in the fragile desert ecosystem combined with a drought eventually led to widespread collapse of the civilization. I visited Chaco Canyon three months ago. It’s a strange place—a dozen massive ruins in a remote desert canyon. One can’t help but wonder how or why anyone lived there. Again and again, Diamond details how civilizations over exploit their natural resources, face adversity, and often collapse in the face of that adversity.

I don’t know if I believe that the southwest will collapse into a post-apocalyptic hellhole in the nearish future. As a new transplant to the west, The Water Knife strikes a frightening tone. But like the book about colonists on Mars, it need not be literally possible or true, it tells a fun story and kindles the imagination about the future of the American west. I enjoyed The Water Knife. But I was better able to feel its message after  supplemental nonfiction reading. I think The Water Knife would have affected me more if it supplied more of that information within the book. And to any other reader of The Water Knife patient enough to add another 1000 pages of reading to their list, Cadillac Desert and Collapse are excellent supplementals to The Water Knife.

 

Writing prompt: Junk Food Day

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Time: 7 minutes. Click here to go to my list of prompts.

“Junk Food Day” (Inspired by this list of silly holidays.)

The priest reached under the alter. With reverence, he placed three relics before the congregation. Antonia craned to see. She could see them through the plastic, bright yellow and emanating well-being. The packages were adorned with ancient symbols and decorations. Though these decorations had smudged and flaked in places, the contents remained intact. It was through the bountiful blessings of the Hostess goddess.

“Behold,” the priest said, “these relics have passed through the generations to us. And today, we shall share these Twinkies in Holy Communion.”

He recited an incantation, said to be the words of an ancient “commercial,” or a spreading of good will. Antonia recognized some of the words, like “fun for the whole family,” but others, like “snackalicious” were beyond her. The ancient civilization had been so advanced. Her father said they couldn’t have been human, or that they must have had the help of clever aliens. The ancients had built mysterious temples thousands of feet high, and roads hundreds of feet wide that extended beyond the farthest known horizon. Today, they knew so little about the ancients. But on holy Junk Food Day, they tasted the Twinkie and rejoiced. The priest went around, slicing off bits for the devoted.

 

Science fiction worlds and the ancient west

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After visiting Chaco Canyon in northwest New Mexico, I read archaeological articles about the region. For a region so full of artifacts, we know little about what life was like. We don’t know what their social structure was. We don’t know why they came to the region around the year 900 or why they left around the year 1300. We think the canyon wasn’t fully occupied most of the year, but archaeologists debate whether the region’s role was more economic or religious. We aren’t even sure if the region could sustain agriculture. There’s plenty of speculation, but little certainty. Events that already occurred can be almost as shrouded and mysterious as the future.

I tried to imagine life at the height of the Chaco culture. Science fiction can be about the extrapolations of technology and travel, but its emotional core explores the human response to extraordinary worlds. The Left Hand of Darkness explores the human response to extreme cold and unusual gender dynamics. A Canticle for Leibowitz explores the response to apocalypse, the assignment of blame, and the attempt to rebuild within poisoned ashes. The Wind-Up Girl looks at human response to bioplagues and the biomechanical future.

Imagining life at Chaco Canyon is arguably more alien than science fiction. Science fiction is written for western audiences with western lifestyles. (This is not a criticism—science fiction is fiction first, and sociology study somewhere down the list.) The social hierarchies are familiar. We quickly understand what is considered important and unimportant. The motivations of characters in science fiction are often less alien to me than customs on our own planet. Russians often find smiling a sign of foolishness. Japanese salespeople so dislike saying “no” that they will ignore the question rather than give such a rude answer. These are tiny examples of different outlooks on life, shadows of structurally different mental organizations. These are cultures extensively connected to my own, living with the same technologies and the same global events. Our very language biases our ability to conceive of and express concepts. Ursula LeGuin explored this concept in The Dispossessed, but of course it is still in English.

By comparison, Chaco Culture is almost Martian; it’s 700 years gone, it was isolated in a draconian environment, and even the statistics of their society are now matters of speculation. But we can infer that they found rhythm and certainty in the sky. They made the Sun Dagger and they aligned so many of their buildings to the patterns in the sky. Reading archaeology felt like holding sand; the very question of whether or not the people grew corn on site was a debate waged hotly across decades. But I could look up at the sky and see their sky.

But even the sky we look upon isn’t their sky. Our planet wobbles like a top, and because of that, our window into the stars slowly shifts. Today, the north star, Polaris, is less than a degree from celestial north. (A degree is about the width of your finger when held at arm’s length.) In the year 1200, Polaris was 5 degrees from north. In 900, it was 6.7 degrees from north. We know the sky that they saw, but it’s different than ours. Add in light pollution, planes, and satellites, and it’s very different.

Unlike the stories of time machines, Chaco won’t ever give full answers. In science fiction, we imagine peeling back the fog of both future and past. The lack of answers is really the motivation, though. Science fiction is an expression of human response to things we can barely imagine. It’s an act of exploration, and Chaco reveals how much there is to explore.

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A map of how the celestial north pole moves with time. I never realized how briefly Polaris had been close to north.

Book review: The Six-Gun Tarot (R.S. Belcher 2013

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There are no spoilers in this review beyond what you’d find in the first few chapters.

Rating: 4/5

I chose to read The Six-Gun Tarot by R.S. Belcher for two reasons: one, I’ve read more western-based science fiction since I moved west, and two, I met Rod Belcher and heard him speak about the book twice. Belcher was such a pleasant and interesting person that I made note of his book, even though Six-Gun Tarot is more fantasy than I usually read (my friend Stephanie Hunter called the genre “paranormal western”). I really enjoyed Six-Gun Tarot and want to read more in this universe.

Six-Gun Tarot is set in a small 1880’s mining town in Nevada called Golgotha. The reader sees through the eyes of a dozen characters. The cast is refreshingly diverse for a western tale; we meet a teenage boy fleeing his crimes in West Virginia, an American Indian deputy, a death-defying sheriff, a housewife who’s more than she seems, a German butcher with a terrible burden, a Mormon mayor struggling to accept himself, and more. From the get go, you know that Golgotha is abnormal. The deputy is part coyote, the boy has a Chinese talisman; everybody is magic in their own way, and watching them work together was fun. I sometimes find fantasy snobbish: Harry Potter is special and muggles aren’t; Piers Anthony’s Xanthians are just plain better than the mundanes. I suppose the reader is meant to imagine themselves as one of the special ones, but so far I have not discovered magical acumen. Anyways, I felt that Six-Gun Tarot handled this aspect of fantasy well. The characters cared about action, not a sense of personal destiny or power.

Golgotha is one hell of a place; it was my favorite part of the book. The characters casually mention previous disasters; babies getting drained of blood and people going mad. And there’s something just not right up under the mountain… Golgotha feels wonderfully western and weird. It made me think of Carrizozo, one of the haunts of Billy the Kid, or of Tularosa, stuck between mountains and a desert of gypsum. For me, Golgotha was the protagonist. It draws odd people. We learn about its bars and its neighborhoods and its residents. We learn its geography. Belcher’s language really suits the setting. At one point, he describes the sunset as resembling a bruise. The only parts of the book I enjoyed less are the ones set outside of Golgotha.

Basically, Six-Gun Tarot was a fantastically fun read. If you like paranormal, you’ll probably like it. I almost exclusively don’t like paranormal. But great writing and memorable characters and setting can enliven any story. It was fun to enjoy a read outside my normal wheelhouse.

 

Book Review: The Water Knife (Paolo Bacigalupi 2015)

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Note: in this review, I avoid spoilers beyond the first few chapters.

Rating: 3.5/5 stars

The Water Knife is set in the not-too-distant future American West. Water shortages have reached critical levels; states sabotage and fight one another for water rights. We have three main characters; Angel is a Las Vegas “water knife,” a shadowy figure that does the dirty ground work of securing water rights through any means necessary. Lucy is a high-minded journalist from the northeast that came west to cover the collapse of Phoenix and found herself unable to pull away. Maria is a teenage refugee from Texas stuck in the wreckage of Phoenix who schemes to go north. Rumors send Angel to Phoenix, and we get a first row seat to the violence and desperation surrounding water in this dystopian future.

I finished reading The Water Knife over a week ago and I still can’t quite decide what I think of it. I felt the same way after I read Bacigalupi’s Wind-Up Girl, though I now find myself reflecting favorably on that book. Bacigalupi seems to have a knack for leaving some questions unanswered. This is probably a good thing, but it left me unresolved at the end. Both of his books leave you in consideration for a while. His writing style is easy and engaging; both books drew me in quickly with a good balance of action and character development.

My least favorite part of the book is the future dystopian southwest, although it is a critical element of the book. I usually dislike dystopias and find myself remembering an Ursula Le Guin quote from the introduction to The Left Hand of Darkness:

Science fiction is often described, and even defined, as extrapolative. The science fiction writer is supposed to take a trend or phenomenon of the here-and-now, purify and intensify it for dramatic effect, and extend it into the future. “If this goes on, this is what will happen.” A prediction is made. Method and results much resemble those of a scientist who feeds large doses of purified and concentrated food additive to mice, in order to predict what may happen to people who eat it in small quantities for a long time. The outcome seems almost inevitably to be cancer. So does the outcome of extrapolation. Strictly extrapolative works of science fiction generally arrive about where the Club of Rome arrives: somewhere between the gradual extinction of human liberty and the total extinction of terrestrial life. —Ursula Le Guin

Bacigalupi’s Water Knife is undeniably extrapolative. And that extrapolation is undeniably cancerous. In history, the path that unfolds always seems richer and more meandering, even when things worsen. I felt unconvinced by a corrupt future where states are nearly at war over water. The book makes numerous mentions of Marc Reisner’s Cadillac Desert, a 1993 nonfiction book about water shortages in the west. Perhaps reading that would provide some of the context I found lacking.

But as a New Mexican with a lawn and garden, and there’s no doubt Bacigalupi meant this work as a cautionary tale. Bacigalupi himself lives in western Colorado. It’s that intention that compensates for the gloomy dystopian aspect—it’s gloomy for a reason. In The Water Knife, Texas fundamentalists called “Merry Perrys” pray that water will simply return. In 20 years, readers may wonder why a Merry Perry, but today’s reader knows he means Rick Perry without any explanation. Until this year, I always lived in places with oppressive humidity and abundant water. The water landscape here is very different, but the attitudes toward water don’t seem much different. After I watched the Ken Burns’ documentary about the dust bowl, I was struck by how early settlers tended the land as they would have any last east or in Europe. The United States, with its European roots, is rooted in a culture that never considers water as a finite resource. In the west, even today, it must be considered as such, and you still see pushback to this rationing in protests against the Bureau of Land Management and in California’s current drought. The Water Knife is meant to be a cancerous extrapolation; it’s the doctor sitting down with the smoker and discussing the future.

Like The Wind-Up Girl, I would recommend The Water Knife to any sci-fi fan. Both books are thinking science fiction, enjoyable but challenging. In both books, the setting is a strong element in the plot. Much as I love distant future space operas, I also love science fiction set in concrete locations with real streets and climates. The commentary on problems in today’s world perhaps diminishes the escapism a bit, but cautionary science fiction is an old subset of the genre that deserves thoughtful revivals like this one.

 

Writing prompt: this day in history, the first Ringling Brother’s Circus

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Time: 10 minutes. Click here to go to my list of prompts.

This day in history: Ringling circus premier (see this list of Days in History)

Macy heard a low rumbling on the horizon. She continued grinding the grain, staring in the direction of the noise. After a while, an electric humvee came over the horizon. It was painted bright pink and blue and it played a merry tune.

“Dan, come out here!” Macy called.

“I’m not done yet—” her brother protested, for once invested in his chores.

“It’s a circus truck, Dan!” she said.

He ran out, hands still red from handling the meat.

The truck inched forward along the road, the music growing nearer. When it finally arrived, it pulled to a stop.

“Hey kids, have you ever been to a circus?” the man inside said. His face was painted white except for a red nose and blue around the eyes. Macy could see a scar across his lips. His left eye was glass. On the ceiling behind him, she saw a large gun. No doubt he had more closer, but the ceiling one was for show. It wasn’t safe to be a traveling salesman. A desperate man could get a lot for the battery’s in the circus man’s car.

The children shook their heads.

“Well you’re in for a treat!” the painted man said. “Never in human history has there been such a rich display of freaks and oddities. Ringling and Barnum would have blushed to see such things. Fallout and gene wars have finally given back to the human race. We have a two-headed baby, a man-sized venus fly trap, a goat that glows in the dark, and a Christmas Tree with legs.”

Macy stared at the painted man, awestruck and silent.

“Come to Hilldale City on Saturday and see the show in the big red and white tent! Can’t beat some classics! Admission’s just 5 bucks!”

Macy and Dan sagged. Hilldale City. Grandma would never allow it.

Book Review: Architects of Emortality (Brian Stableford 1999)

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Note: in this review, I mostly limit comments to the intro and  first chapter (65 pages in this case).

Rating: 1.5/5 stars

Architects of Emortality by Brian Stableford is the fourth book of the Emortality series and my first Stableford book. I am still unclear on the significance of “emortal” versus “immortal”, but otherwise, the book stood alone without reading the first three books. Architects of Emortality is set in the late 2400s. Life can be extended via technology, but for most, 200 years is roughly the limit. Due to a recent technological advancements, the next generation may be immortal, but only those treated before birth can partake. The book opens with a murder and the subsequent investigation of that murder.

Architects of Emortality had interesting world-building and intriguing ideas, but it had three big flaws: 1) the characters were flat and uninteresting, 2) the language was distracting, and 3) the female roles flat-out sucked. Not every sci-fi reader cares as much about character development as I do; if you enjoy big worlds with far-reaching ideas, this may very well be a book you will enjoy. For me, it felt out-of-date though it’s only from 1999.

The book opens with investigator Charlotte Holmes at the scene of Gabriel King’s murder. His murder is unusual; murders are uncommon in this future, and King has been consumed by flowers clean down to the bone. Video shows that a beautiful young woman visited just before the murder, bearing unusual flowers. Holmes, the protagonist, is a young sergeant and assistant to Hal Watson, who investigates from afar using the resources of the web. A minor spoiler: Holmes does nothing but fret about her limits as an investigator; she travels and observes but never acts. Her uselessness fuels complaints #1 and #3, above. Stableford draws attention to the fact that she is Charlotte Holmes by having a Watson. A famously clever investigator’s name suggests that Holmes will be at the center of solving the murder mystery, and that she will be clever. Neither is true. Most of the insights come from Oscar Wilde, a flamboyant flower designer with ties to the murder who travels with Holmes during the investigation. Holmes is an appendage to whom Wilde muses.

Other than Holmes, the only significant woman in the book is the murderess. We learn little about her; she is beautiful and young and acting on the behalf of someone else. All other significant characters are men; they are mostly experts of various kinds. Where Holmes is insecure and a hard-nosed investigator and little else, Oscar Wilde enjoys 19th century literature, designs flowers, and is beautiful, vain, and eccentric. He has opinions about everything, and he likes to make people uncomfortable with those opinions. He is better characterized than Holmes, but still a bit flat. If I imagined a future botanist version based on my thin knowledge of 19th century Oscar Wilde, this Oscar Wilde is about what I’d imagine. But he is still infinitely more rich than Holmes.

That pretty well covers my first and third complaints about the book. Finally, I found the language in this book excessively self-aware, and at times plain obnoxious. Instead of engaging in the story, I was rolling my eyes at word choice. I dog-eared the worst example from about halfway through the book (not a spoiler):

 “I saw it,” Charlotte said wearily. “Was there something significant I should have taken note of?” She knew that she ought not to end sentences with prepositions, but thought that the stress of the situation made the infelicity forgivable.

This occurs immediately after the characters have had a brush with death. Not only is the preposition rule a garbage grammar rule cribbed from Latin, who cares at such a time? The quote above is just the most egregious example of pompous language undercutting the impact of events in the book. Only one line of dialogue earlier she is described as “profoundly shaken.” Also, to describe near-death as “infelicity”… I had to put the book down for a bit.

On a final positive note, the ideas in the book are rich and passionate, which is why I gave it 1.5 instead of 1 stars. These ideas include longevity technology, artistic expression, bio-engineering, what a far-reaching future might look like, and how people might find identity in a far future. It also explored how people handle death, how the media might look in a distant future, what our current tendencies toward oligarchy might lead to, what a crime might be in the future, and what nature might be in the future. Truly, it covers a lot of bases conceptually. But for me, it was on the back of lackluster characters with distracting language. I felt that the author cared far more about the concepts than his vehicles for breathing life into them. The useless female characters also damaged the sense of futurism; an avid fan of classic scifi learns to forgive empty doe-eyed ladies in 60s novels, but in a novel written in 1999 that’s just too much. I won’t be looking for Stableford in my reading future.

Writing prompt: Designer babies

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Back in Virginia, our writing group had what we called a Pint and Prompt. A group of friends hit the bar, have a pint, and write for a few minutes on a writing prompt. Then you read your responses to one another. It’s really great to see the variety of responses, and it’s a good time with friends. Recently, they got together and did a Pint and Prompt, and my friend  Keith at Strange Things Done posted his response.  So I added mine, though it’s a bit too early for the pint yet.

Time: 10 minutes. Click here to go to my list of prompts.

“designer babies”

“Designer babies!?” the headline shimmered in her mind’s eye. She engaged the article and read further. She shouldn’t, she knew. Nothing good ever came from reading media coverage about your own research. The journalists would never understand the science, and accuracy came second to eyeballs. The strategy worked, she mused, as even she was looking at the article.

“The FDA recently approved the so-called Designer Baby program at Johns Hopkins,” the article began innocently enough. Anitra scrolled down through the background, seeking what she knew would be there inevitably. “The program has drawn a number of ethical concerns. It’s hard not to share those concerns. Say you splice in elephant DNA to have a child that will never forget, but then that child will be terrified of mice and always gain weight. Or a child with the DNA of a cat will be lithe and clever, but doomed to be a jerk.

“In seriousness, though, the program raises the question of what it means to be human. If humans and oragutangs share 99.9% of their DNA, how much fiddling will fundamentally rob a child of it’s humanity? The program guarantees fertility and a variety of other qualities in its embryos, but there is no known measure of a soul.”

Anitra mused to herself that it always came down to souls with these people. People who politically wanted to go to war and wanted to punish bad eating habits in children were worried about the godliness of the embryos. It was always just an excuse to muck around past their intellectual depth.

But… well the concern mongering, as ill-informed as it was, she kept reading it because there was something at the edge of her own mind. A concern she couldn’t quite articulate after interacting with dozens of designed children from age 1 to 6. She kept reading these articles because each time she hoped this one would cast the light into the shadow of her mind that she could not see. Alas, not this time.

The delightful illustrations of George Barbier

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I am two years into a project of science fiction illustration inspired by Hiroshige’s 100 View of Edo. I’m working on 100 views of Vironevaeh. I’ve completed 75 line art drawings, and am satisfied with 44 of them. It’s a project that ebbs and flows, and I constantly seek new sources of inspiration. The floor of my office is littered with books tabbed with post-it notes—a photo essay of the Koreas, French war illustrations from World War I, a Western photo essay, amongst others. This weekend I found art deco master George Barbier.

I’ve written about my interest in art deco and art nouveau before. (see: Victor Horta’s architecture, Alphonse Mucha’s posters and Walter Crane’s childrens books.) When I found a book of George Barbier illustrations on my shelf, purchased over a year ago, but forgotten in a cross-country move, I found inspiration.

The book is the top Barbier hit on Amazon, though it is mostly in Japanese with some original French. Barbier was one of the top artists in France after World War I, but disappeared largely after his death in 1932, a fate that seems to happen to many of the commercial artists of this period. Blissfully, he is in ascendance, even if the most accessible manifestation at the moment is an unreadable rendition in metallic blue. The illustrations are good enough that that doesn’t matter.

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The book has hundreds of illustrations from what seem like a variety of sources. The impenetrable Japanese let my imagination run wild. Below are just three.

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One inspired me rather directly. Can you tell? Time to take my scattered brain back into the world of inspiration.

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Inspired by Barbier