Recurring Story Elements
Two story elements which McIntyre uses in many of her stories (regardless of their very different settings) are divers and biocontrol. Divers are humans who have been genetically modified to live underwater, although they retain their ability to breathe air as well. Their traits include gills, insulating fur, webbing on the fingers and toes to aid swimming, the ability to produce and hear sounds in the range used by cetaceans for communication, and retractable penises for males. Superluminal has a diver protagonist and extensive discussion of that novel's Earth diver culture; they are also featured in the Starfarers series, and a reference to divers is made in the Star Trek IV novelization.
Biocontrol is a learned ability to control aspects of one's own physiology that are normally autonomic. Its most important use is for birth control; practitioners apparently change the body temperature around their testes or ovaries so as to render their genetic material unviable. A character's experiences learning biocontrol are a plot thread in Dreamsnake; it is also mentioned in the Starfarers series (where it is also used to retard male beard growth) and the Star Trek III novelization (where characters mention taking formal biocontrol exams).
In the Star Trek II novelization, one of the characters discusses a computer game he has written, named "Boojum Hunt." In Barbary, a character refers to a computer game named "Snarks and Boojums." Both are references to Lewis Carroll's poem The Hunting of the Snark.
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Famous quotes containing the words recurring, story and/or elements:
“Let us think this thought in its most terrible form: existence as it is, without meaning or aim, and yet recurring inevitably, without a finale in nothingness—”eternal recurrence.””
—Friedrich Nietzsche (1844–1900)
“The child ... stands upon a place apart, a little spectator of the world, before whom men and women come and go, events fall out, years open their slow story and are noted or let go as his mood chances to serve them. The play touches him not. He but looks on, thinks his own thought, and turns away, not even expecting his cue to enter the plot and speak. He waits,—he knows not for what.”
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