Dalek by: Robert Shearman

 

Dalek was written by Rob Shearman, based on his story of the same name.  It was the 176^th story to be novelized by BBC Books.

 

When watching the television episode “Dalek” while the script is clearly from Robert Shearman, you can tell that Shearman’s more esoteric tendencies had been pulled back for a 2005 television audience.  Giving Shearman a chance to novelize his script as part of the second wave of revival novelizations is perhaps the best reason to read Dalek over the television episode.  Shearman does adapt the television episode in an almost Terrance Dicks style fashion when it is events of the episode.  Much of the dialogue remains in tact and the sequence of events themselves are not actually expanded upon for the novel format, the plot points occur in the exact sequence bar some minor alterations with Van Statten’s introductory sequence being placed near the end of the novel as Shearman excels at adding events outside of the story to really make Dalek its own distinct Robert Shearman entity.  Perhaps invoking Terrance Dicks when discussing the events of the episode does Shearman a disservice, as while Dicks could be rather plain in his prose, Shearman while not particularly flowery in the sections from the episode, is deliberately simple which creates this sense of realism throughout the novel.  As an author, Shearman’s realism contributes to this atmosphere of almost magical realism, especially for Dalek becoming apparent when you examine the additions to the script from Shearman.

 

The novel opens with a prologue about a child flying a kite, imagery intent on evoking the perfect childhood innocence.  The prologue doesn’t reveal who the child represents, yet throughout the novel there are multiple candidates.  Readers may have the first impression be the Doctor, the Ninth Doctor featured in the rest of the novel is clearly scarred by the Time War, but there are several added interludes to provide background information for the supporting characters.  This leads the reader to believe the child with the kite could be perhaps any of them, until the eventual reveal that this child is the fleeting memories of the Dalek itself.  Shearman in flashback shows the mutilation of a Kaled child into becoming a Dalek, mutated and mutilated from birth, fascist conditioning being a fascinating concept for Shearman to explore in this particular flashback.  Shearman proposes the more ‘human’ range of emotions outside of hate and fear are allowed to be felt at the beginning of the process before the creature can be broken, leaving some sense of ambition to play its part in Dalek society.  It’s a genuinely revolting chapter to read which of course is what makes it work.

 

The dark edge also permeates the backstories of the rest of the characters in some way.  For instance, Simmons, the Dalek’s torturer, is a psychotic man who had assumed the identity of Simmons after murdering him and entering van Staten’s employ, showing the breadth of van Staten’s power and ability.  Or take van Staten himself, neglected by his father and obsessed with capital in all of its forms, though the abuse giving him an equal obsession with space, plus an added breakdown at the end.  While characters like Adam and Goddard are made more sympathetic by their interludes, Goddard being revealed as working undercover for the United States government and Adam revealed to being a bit more misunderstood, if still unworthy to travel in the TARDIS.  Adam joining the TARDIS at the end also has this great moment for the Doctor added, scarred by the experience with the Dalek only offers to bring him aboard as a way to induce change and growth in himself.

 

Overall, Dalek is a fascinating little novelization that doesn’t try to put back in scenes cut for time, instead spending its time making the tone of the story vastly different from the television episode and deepening the side characters for the best.  This depth also allows the Doctor and Rose’s characterizations to deepen as well, making it just as enjoyable as the television story and a triumph of adaptation.  10/10.