For almost five decades Jack Vance has crafted his own style and approach to science fiction. Recognized by many authors in the sf field as one of the premier stylists of his art, Vance brings an almost unparalleled freshness and complexity to sf literature.

Beyond Vance's unique style is also the care and art that goes into the setting and characters of his work. More than that, to members of LFS, is the subtle tinge of liberty that underlies much of his fiction.

The inhabitants of the floatijng islands of vegation in Blue World are the descendents of a crashed spaceship of escaped criminals. Present-day individuals belng to groups such as larceners, forgers, and hoodwinkers, the definitions of which have evolved into work guilds and a very non-criminal society. Hoodwinkers, for example, now serve as the telegraph operators between the islands, broadcasting intricate reflected messages off tall structures built on certain islands.

Society in Blue World is in a flux; a certain faction jockeys for new power, seeming to take that power with ease from a gullible populace. Through devious means, this faction conspires a coup, aided by a huge sea monster called kraken, which they pacify with sacrifice, an duse to justify their own existence.

Libertarians quickly see this statis scheme for what it is—coercive government creating itself out of a supposed crisis. This governmnet relies on that threat to remain in power. Equally observant (or cynical) is a discontented individual, a talented hoodwinker, driven out of society for his views that they should kill this monster, not appease it.

The reader notes the growth of social control through the rise to power of the kraken priesthood, which hides truth, promotes lies, and kills disbelievers and rebels. The ensuing revolt against the priesthood demystifies their role, and questions the roots of power.

Nominated constently in the past Blue World deserves close attention for what it has to say on individual integrity and the appeal of power.