Magic Heart

K/S Fanfiction
Title:	Magic Heart
Author(s):	Elizabeth Kay
Date(s):	1995
Length:
Genre:	slash
Fandom:	Star Trek: The Original Series
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Magic Heart is a K/S story by Elizabeth Kay.

It was published in the print zine First Time #41.

Excerpt

"At the sound of his name, Spock looked up and felt the years tumble back into place. The slightly blonde hair had grown chestnut, short and curling, the same frank, expressive eyes were staring at him. All at once it seemed like nothing had ever come between them. They were clearly just as in synch with one another as they had ever been; even after two years of strict Kohlinar disciplines on his part, and a failed marriage on Kirk's."

Reactions and Reviews

This was an ambitious intrigue-in-high-places story, Admiral Kirk and Captain Spock at Starfleet Operations, with connections to "The Ultimate Computer" episode.

The story is filled with intense action/danger/fight scenes, where Kirk and Spock, and McCoy too, are continually on the edge, in harrowing situations, attempts made on their lives, etc., and meanwhile every moment Kirk and Spock learning how much they love, want, need each other. Also some highly dramatic scenes of moments they believe their last.

VEW is the virtual environment workstation, an experimental humanoid/computer interface under Spock's control. Komack, Wesley, Daystrom, I think Nogura too, and androids of some of them, are all involved in this high-tech espionage situation. I was wondering continually, as were Kirk and Spock, who wants what? Actually, I don't know that even by the end I understood who was working toward what ends. Maybe I didn't get enough sense of any real difference between them, except maybe Daystrom.

I don't think I'm a reader who needs things to be spelled out overly, but there was a lot I didn't follow in this story. I don't mind when I can't visualize some technical thing (sensor teeth; real-time haptic transducers); I just kind of skim over that without struggling to get a picture of it. But there were other places in the story where I felt it was important to get a picture, where I couldn't, of the physical setting or the characters' positions within it, etc. Examples: All in a sentence or two, Spock is curled up next to the fireplace, then the pillows under the carpeting are soft and the sheets are as crisp and cool as the apple-wood bed. So, are they on the floor or the bed? And, pillows under carpeting? Mostly this was not the case in lovemaking scenes, but there was one scene where their positions were so unclear and kept changing without explanation; and also, who is which "he" and whose what is "his" was unclear throughout the scene.

And I never really understood if they were planetside, in San Francisco at Starfleet Operations, or where Kirk's office was in relation to the labs where Spock was working. And the ships were presumably at Spacedock, though mention was never made of any beaming or shuttle, of how they went back and forth.

I didn't have trouble with the techno-babble itself, just because I didn't really care if I understood it. Cyberspace and hyperreatity do not lend themselves readily to visualization through words. Either the author knows what she's talking about or is just techno-babbling realistically—does it really matter which?

Another thing I often didn't follow: It seems Kirk is involved in the refit of the Enterprise. But then it seemed there were two ships—there was also a new one being built? And when "Leeding" was all of a sudden mentioned, I had no idea if that was a person or a company or what.

In the denouement, I didn't get why the warp nacelle testing emergency all of a sudden happened. Was that just a coincidence, or part of whoever's plan? And I found myself not believing so much could happen in less than a minute: During the 45...20...10...9...8... countdown, a whole page or more of action and feeling, It was good edge-of-your-seat excitement, though, followed by gigantic relief at the end. When I noticed we were now all of a sudden in Spock's head along with Kirk's, I wondered when that happened. I don't think the POV was technically done the most preferable way.

Some words and phrases seem to me like our grandparents' language and I don't know what they mean. What is "pole-axed," for instance? What I really liked was the beautiful way this author writes the sweet, tender, deep stuff; the learning to love/support/depend on each other; the really fine words for exquisite sensations of arousal sex and orgasm. She describes the subtleties of touches and kisses beautifully, which we all know is an art. Very immediate, moving us directly, visual and visceral; not bogged down, or removed, with overly poetic imagery. Lovely moments of awareness, described simply and vividly, of how Kirk feels in Spock's presence. That moment I always love, when one of them first comes out to the other (in this case, Kirk's "I think I want to make love to you") was extremely powerful in this story, And Spock is maddeningly alluring here. I quite enjoy Kirk's arousal at Spock just being Spock.

For a while early in the story, however, I felt the way they were with each other was off. Flippant, maybe even condescending. Granted, this was a difficult time for each of them individually and for their coming back together, but I don't know that it would have been expressed in this way. I also thought Kirk was incapacitated by shock too much. But for the most part, these were definitely very appealing characters.

I loved their angst, acknowledging the mistake of having left each other. Beautiful feelings, who they are to each other now. And astute perception into Kirk's character.

I loved the scene in Kirk's apartment with an intruder there. The moments before this dangerous confrontation were a great scene—the desperate declarations in an intense now-or-never situation. Just right, the words and form; so powerful. Except, I did not like how this scene breaks abruptly. Did they or did they not??

Their first (?) lovemaking so rich and slow, filling my heart. But then, as they slept, in one sentence, they are linked forever?

They get the Enterprise (the old one refitted, or a new one??). I like when Kirk says to Bones, "Space...the final frontier."

I'm really interested in the concepts of bio interfaced technology, but I'm probably lukewarm about the conspiracy-intrigue elements of this story. But I would definitely call it beautiful K/S.

This beautifully crafted story is a perfect example of what I look for in K/S. If you prefer little or no plot, quick, obligatory sex and easy resolutions, then Magic Heart is not for you. This is a long, in depth study of two very complex men, complete with all their virtues and ... yeah, o.k. with all their faults.

One aspect I particularly enjoyed was the way each man was portrayed as a strong, independent character in his own right, yet each needing the other for completeness. Too often, it seems to me, one or the other is presented as a sniveling, whining weakling crying off in a corner somewhere, but not here. Here Kirk is ... well, he's Kirk and Spock is the Spock of the movies. He's grown, not quite as controlled, able to allow his human half to peek out once in a while, and accepting of the fact that he loves Kirk.

The story is set after V'ger, with brief flashbacks to the end of the original five year mission, i won't go into the plot, as this zine just came out and I don't want to spoil it for anyone who hasn't read it yet. I do want to say, however, that it was intricate, interesting and the technical details were extremely well thought out.

The dialogue is right on - I could actually hear their voices in my head as I read. Ms. Kay obviously knows her Trek and our beloved characters as well.

There is such a lovely intensity of emotions here, such as when Kirk and Spock are in the lab and Spock says, "I did care, Jim. Even after two years of being alone. I never stopped ... caring. I never told you, when it is obvious that I should have." Oh, yes ... or how about when they're eating and Kirk thinks to himself, "He could imagine how the taste of sugar crystals left on the corners of his mouth would melt under Vulcan lips." Oh, boy ... For me it doesn't get much better than that. Wait a minute, I found another gem, "He felt Kirk sigh, long and deep, into his mouth. Spock lost himself in it" @#$%A&*! — Sorry, I was drooling again. Anyway I think you get the picture.

Magic Heart will go on my favorite stories list to be read and enjoyed for a long time to come.

It's a few months after the end of the five year mission and the Enterprise has been decommissioned. Kirk is restless and bored and goes to work with Spock on a research project having to do with cyberspace, human-computer linkage and other equally complex matters. There's internal sabotage afoot and a mysterious plot against Spock that Kirk becomes involved in.

Therein lay part of the problem I had with this ambitious work. It's heavy with technological terminology and phrases like "encryption code to CCY-Alpha", "segment parameters" and "duotronic linkage developments". But finally, I just rolled my eyes at "real-time haptic transducers". However, for those so inclined, this computer-ese may not be a problem. But a more significant difficulty for me was parts that made no sense either because the descriptions were obtuse or because it wasn't explained until much later in the story.

Here's a description of a Starfleet laboratory: "sensor teeth, drawn tightly over a glistening barrier web, shone white light upon a dionysian table of stainless steel." I tried to visualize what this was, but I couldn't. Besides, I didn't know what was going on. It wasn't until much later in the story that some things were clarified and then only a little as the author assumes the reader understands it. (Which, as I said before, I guess some do, but I would like to understand, too.)

What does this mean, for example: "Kirk met Spock glance for glance, answering question for question with a haphazard grin."? Or: "The moment dropped into a queasy sort of suspension"? And some mixed metaphors: "And the answer came to him like a splash of cold water. So easy in its simplicity that it brought a strange warmth to his chest." Hot, cold, what? And what's a "dissatisfied snicker"? Much of the dialogue I didn't understand until later in the story. Often, I had to reread sections in order to figure it out, but wouldn't until it was finally explained later.

[snipped for length]

I pick this one paragraph apart just as an example of similar problems throughout the story.

Now I get to lots of beautiful language and really nice moments. "And suddenly Spock wanted to touch the human—his slightly rain damp hair, his face. He'd be soft and hard all at the same moment. Then at one point in the story. Kirk's apartment is wrecked by an intruder. There is a very exciting scene as Kirk goes after him. This includes a beautiful moment when Spock realizes that Kirk could be killed so he'd better tell him his feelings. I loved that he said: "I want you. Tonight." So courageous, direct and even more intimate for Spock in that moment than "I love you." Super.

There's a nice complex plot going on, but there are some problems with that, as well. The main plotline of mystery and intrigue is pretty much separate from Kirk and Spock. What I mean is that the events unfolding are not integral to them. It's all happening around them and they react, but nothing about their own personal situation initiates anything. I don't mean to have this sound like a petty detail, but I feel it's important in terms of K/S. I guess I'm more interested in what happens between them, than I am in what happens with Starfleet and cyberspace. An exciting plot like this is great, but we must really see Kirk and Spock in it. I had mixed feelings about Kirk's self-recrimination and lack of purpose. It was fine at first, but when it continued during emergencies, such as an incident with McCoy, would Kirk, who has been a starship captain for years, be paralyzed with guilt and failure? Then he whines about it and goes into shock too many times.

At one point. Kirk and Spock make love and Spock takes them into a mental landscape. I wasn't certain how he did this, nor if it had anything to do with the computers. During this experience, everything is beautifully enhanced and they say beautiful things to each other. What they say is romantic and poetic and nicely written, but it doesn't fit. I kept leaving the story well aware that that wasn't how people really talk. Somehow, it wasn't integrated, it stood out, calling attention to itself.

There's a very insightful touch when Nogura threatens Kirk, not with being kicked out of Starfleet or anything, but with separating him from Spock and McCoy, something perfect to hold him There's also a very taut exciting sequence of a countdown to destruction. And one of the best scenes was perfectly painful and romantic as Kirk begs Spock not to leave him when Spock must get into the bio-chamber.

Overall, a really terrific effort and an equally ambitious work that shows a lot of time, thought and ability.

Aside from the fact that Kirk took too long to "snap" out of it, I was impressed by the tender moments provided. The technobabble didn't bother me, but I am bothered by the trend to make Starfleet the villain. It can't be all wrong to have attracted both Kirk and Spock.

This long story is worth reading for its rich K/S relationship scenes—and some of them are really fine K/S moments that almost any fan will appreciate—but they are buried in pages of confusing scenes, like so many diamonds in a slag heap. The story has an intricate plot, some fascinating ideas, and some villainous villains, including a nasty android impersonating a well-known Starfleet officer (shades of the spooky ST:TNG episode "Conspiracy").

The problem with "Magic Heart" is the writing. The author is clearly trying for a spare yet complex poetic style (the style Natasha Solten has mastered), but falls short of that, succeeding only in confusing the reader. One problem is the failure to locate scenes, objects, and characters in physical space. In almost every scene, we have at best a vague idea of where the characters are standing or what the room looks like. It's not that the author has left out detail, but that the detail she has provided is jumbled and confused. Scenes are just not materialized sufficiently for the reader to have a clear idea of what's going on. I had the distinct impression throughout that the author herself did not have a clear idea, therefore could not transmit one to the reader.

The first few pages of Chapter One, particularly, suffer from this problem, which even seeps into the dialogue. We can't tell where Kirk is (eventually we find out it's Spock's lab) or who's on the table or in the sarcophagus-like tank one must get into to access the VEW (eventually we realize it must have been Spock). First Spock appears to be in there, dressed in black coveralls, then suddenly he's wearing a (white?) lab coverall and walking up to Kirk. The scientists around Spock are dressed in white lab coats and then a few paragraphs later they're all wearing "science blue coveralls." Huh? And by the way, whatever is "a Dionysian table of stainless steel"? The god Dionysus (a.k.a. Bacchus) was a nature god, the god of wine, and he spent most of his time chasing about in the woods inciting women to orgiastic, frenzied reveling (which I guess makes him an appropriate patron for K/S). He's usually portrayed with grapevines around his head. I just couldn't reconcile that image with Spock's sterile computer lab.

Then when Spock and Kirk start talking, their dialogue is so cryptic that we can't really be sure what they're talking about. The author obviously wished to create an air of mystery, and she certainly did that, but in trying to be mysterious she apparently lost control of the scene. I sympathize; to create a mysterious atmosphere and yet not completely befuddle your readers, you need to walk a fine line, one I know I've also strayed over in the past.

The scene in the drydock (or was that in the ship's engineering room? and which ship was it? The Enterprise or some other vessel? What exactly is the "prototype"? is even more frustrating because it's a long action scene rife with peril for Our Heroes, and yet we can't adequately visualize the space or the characters' actions. I realize some readers may believe they know what's going on in this scene, because many readers are accustomed to skimming over confusing prose, but I would challenge any of them to take a pencil and sketch that scene using only the information given. What was where? Who was where? Did Kirk fall two stories or only onto some kind of ledge that wasn't there when he originally looked over?

Nor did I understand why the "warp nacelle test" was going to kill everyone in the drydock. A test causing radiation levels that high wouldn't be done in drydock, not around metal and equipment that people would later be touching with their bare hands. Radiation contaminates materials, and it lasts a very, very long time! The last twenty seconds of the countdown were pretty unbelievable, too. How did Kirk and Spock manage to do all the things they did in only twenty seconds!

How about the scene in Kirk's livingroom when K & S are battling the intruder? First Spock is behind the couch, and he can't see into the kitchen, then he somehow sees Kirk lunging off the counter at the intruder (in the kitchen, I presume, into which we're told Kirk has crawled), then the intruder is somehow on the other side of the room, crashing through the window. Huh? I had to go back and reread many passages in this story just to try to figure out what was actually happening, where, and to whom. Readers need to be located in time and space; they need enough clear details to visualize a room, and here cryptic language is never helpful.

By the way, where does Spock live? In the lab? We're given the impression he doesn't live with Kirk, but then he comes over and spends the night and seems to just move in. Didn't he have an apartment or at least quarters at SFHQ?

Another source of confusion is the technobabble. A little gives a story a "series feel;" too much, as here, can distract and confuse. I wasn't very far into the story when I just started skipping over it. For example, what is the VEW? A virtual reality (VR) sensor hookup? Described variously as a glass-enclosed altar, a table, a neurosimulator, a cylinder, a test chamber, and a bio-chamber, it doesn't look like any of the VR equipment (headset, glove, etc.) that readers might be familiar with. Nor do Spock's vaguely described "journeys" inside the thing resemble any VR trip I've heard of. I think the VEW needed to be explained. While reading, I sensed that the author herself didn't understand most of her own technobabble. Again, this is an important point. An author must know the backstory and have an idea of how her gadgets work before she can convey that to the reader. Then she must get her ideas down on paper. Here's where an editor or first reader comes in really handy. It's easy to think you've put your vision on paper because you know what you mean. But did you communicate in a way understandable by others? Ensuring that you've done so is what multiple drafts and rewriting are for.

I also had some problems with Kirk's characterization. He acts the "Captain Dunsel" role a little too convincingly, sort of moping around because he lost the Enterprise and Spock, trying to regain both and ultimately succeeding, but coming off as far more insecure and unsure of himself — even given the circumstances— than he should. And some of his actions as the dastardly plot against him unfolds are simply unbelievable (actually I'm not entirely sure what that plot was or who was the target). After the intruder, presumably a person, crashes through the window to the pavement below. Kirk and Spock apparently make love in the ruined apartment, instead of calling the police!

And how can Kirk blithely go back to work—without confronting Komack—zfler he leams that Komack has attacked Spock and tried to brainwash him? Unbelievable. Now, I could understand it if Kirk had decided that he would act unconcerned in order to get the guilty party to tip his hand, but here he just goes back to work. He spends some of his time trying to figure out what's going on, but also does all sorts of quotidian things like fixing up his apartment, working on the prototype's redesign, cooking, making love with Spock. Kirk is just not that passive in the face of an emergency. Here, he reminds me of a person calmly trying to repair the sprinkler system in a burning house instead of running out and shouting for the fire department. Also out of character is Kirk's white-knuckled panicking when Komack orders Spock into the VEW: Kirk says to Spock, "Whatever you do, don't leave me." What?? Our caplain, acting like a hanky-wringing Victorian lady seeing her husband off to war? I don't buy it.

The minor characters were not fully drawn, especially Komack, who is a cardboard villain, and Nogura, who is a pretty irresponsible commanding admiral. And Daystrom is a mere rehashing of "the imbeciles stole my brilliant ideas" mad scientist that we saw in "The Ultimate Computer," with maybe a little more foaming at the mouth. I also remain very confused about what happened to the real Bob Wesley, if he was ever in the story.

Many ideas that went into the plot were interesting, though: a conspiracy at Star fleet (though it would have helped if we'd known exactly what that conspiracy was and what they were hoping to gain), an update of the M-5 idea. Kirk's machinations to regain his ship, Spock's research into virtual reality—again, we needed to know why Spock was doing that, what he was ultimately supposed to come up with, and why all the villains were trying to sabotage it. So many ideas, in fact, that they would have been enough for a novel, as long as everything was rethought, fleshed out, and explained clearly.

In fact, the K/S relationship subplot could have formed the framework of a shorter and more coherent story, with one of the ideas—only the conspiracy, only Kirk's getting the refurbished Enterprise back, or only Spock's VR research, for example—carrying the main plot. It would be good to have fewer villains, as well as a better realization of them and of one of Spock's assistants—the Andorian, say, who merely takes a bow in this story but appears in the K/S dialogue as more important than the reader is permitted to see. The best thing about this story is the K/S relationship stuff, and if an overall very weak K/S story has one strong point, this is the best strong point to have, in my opinion. Lots of genTrek and mainstream fiction can incorporate good plots, fascinating ideas, good writing, etc., but only K/S can provide good K/S relationship moments. Some of the love scenes in -Magic Heart" are beautifully done, and in most of them the characterization is better than elsewhere in the story. There are many gems in this long story. Spock's ruminations on being in love. Kirk's on the same subject. Lines such as: 44 You and the stars, Spock. I was once the luckiest man alive." Very Kirkian, very wonderful. And Komack, for all his villainy, is wickedly charming in those scenes where he taunts Kirk about being Spock's lover although Komack doesn't think it's true. Then when he finds out it is, he says, "I'm not surprised, although I never thought you were actually screwing him." Great.

In sum, "Magic Heart" is worth reading for the marvelous romantic scenes. The story is badly in need of extensive rewriting, though, especially to clarify the visual images, dialogue, and plot. Editing would also have been helpful in cleaning up the grammatical, usage, and diction errors, some of which were humorous. My favorite: Kirk says "Komack wants to lob my professional head off." I assume the author meant "lop"—but the picture of Komack trying to take Kirk's head off by tossing him in a high arc (with or without a tennis racquet) had me on the floor.

The author is to be commended for a very ambitious effort with this story. I hope her next effort is a novel, because she certainly has plenty of great ideas that deserve fuller treatment, and she has an excellent handle on the intricacies of the K/S relationship.

This is entirely my type of story - an involved but well- thought out plot and Kirk and Spock finally realising just how much they mean to each other. The story starts with a short prologue placed at the end of the five year mission. Spock appears to have left the Enterprise without saying good-bye. Kirk is unhappy and already conscious that, without Spock, he is beginning to fall apart and takes his anger, fear and pain out on McCoy when the Doctor tries to talk to him.

The story proper opens in a laboratory at Starfleet and it is straight into the action. Alarms are ringing and Kirk is convinced that Spock has been hurt. Spock is involved in the development of VEW which, I think, is a system that is intended to enable a sentient being to achieve symbiosis with a computer. Gradually things begin to go wrong; someone tries to trap Spock in VEW; Kirk and Spock are attacked and McCoy is nearly killed. Then there are renegade admirals and scientists, murderous androids and a Starfleet establishment that seems to regard Kirk and Spock with little respect and maybe even as potential traitors. The story culminates in a final attempt to kill Spock and destroy the VEW project before the puzzle is resolved and the villains and their motives finally uncovered.

Not content with all the action the writer has managed to weave a love story into the canvas. Through the trials and danger Kirk and Spock find time to discover just how compatible they are and how important each is to the other and the author shows this very well.

The characterisation of Kirk in this story is pretty close to how I see him which naturally added to my appreciation of the story. The author even has him showing his less than sensible side when, just because he is the Captain, he tries to insist on doing something he is not trained to do. I like her Spock, arrogant, stubborn and extremely intelligent and did I say gorgeous? They make a well-matched couple or as a friend of mine might say, "At least they aren't spoiling two houses". Ms Kay also uses McCoy's character well especially in his role of 'making my friends think'!

All in all a very good story although I think it would have benefited from some editing and tightening up. There is a lot happening and maybe in some parts too much as it can be a touch confusing. I am not sure, for example, about the purpose of the prologue as it seems to have no real connection with the rest of the tale. People appear in the story and we do not always find out what happened to them. Was Spock's Andorian co-worker a traitor, for instance? Maybe it should have been written as a novel? Still these small points do not deter me from re-reading this story at frequent intervals.

And the interior art work is beautiful even if a little too muscular for my taste.

Damned if this isn't one fine adventure story! It it seems to take off a little slow, stay with it. It's a roller-coaster of drama, suspense and hair-raising chills! There's so much excitement here you almost forget you were expecting to read a love story. No disappointment there, because right along with the action a love story of epic proportions evolves. Every nuance of emotion is felt: awe, tenderness, disbelief, regret and lust. All this in an infinite diversity of combinations.

The exact timeline was a bit uncertain to me, but on a second read I may understand. What I found was that it was so good it really didn't matter. This was a very involved story with many, many subtle details.

What was infinitely clear was the impact on James T. Kirk of being a desk-bound Admiral. I've never seen a better interpretation of what this lifestyle change meant to a man who had challenged the stars themselves. Kirk's guts are so deftly explored that we are able to feel every disappointment, to railat every frustration.

Spock is landlocked as well, but much better equipped to deal with the Academy's scientific environment in which he's become involved.

It isn't enough that we are allowed to explore this devastating internal struggle. There is also an external power struggle within Starfleet. Kirk, Spock and Bones find themselves at the center of the conflict, unable to distinguish friend from foe. The climactic action scene is as well written, as grippingly real as anything I've read in professional fiction. I'd say this should have been sold to Pocket Books, except then we would have been robbed of the tremendous love story and that would have been a crime indeed. It is very difficult to pull off a minute by minute cliff-hanger ending and never lose sight of a single detail, not to mention never allowing the reader a chance to breathe! This truly is the best scene of its kind I've read.

Parallel to the suspense of a crumbling fleet administration is the love affair that grows as quickly as the admiralty unravels. Lost opportunities are the theme, but there is so much more! One to read again and again.

A story that had a lot of fans talking about it at the 1995 Shore Leave convention was “Magic Heart” by Elizabeth Kay. It’s an adventure story about a project that Spock takes on for Starfleet after he and Kirk return to Earth post V’ger. The author weaves the tension of murdering robots and machines gone mysteriously haywire with the breakdown of barriers between Kirk and Spock and the beginning of their sexual relationship. There are several memorable lines in this long story, among them one about Spock’s swimming abilities that you won’t soon forget.

It’s after the five-year mission and Kirk and Spock are putting in their time at Starfleet Headquarters where Kirk is slowly but surely losing it. Spock is working on a scientific project involving “the pseudoverse”—a virtual reality universe—which seems to have little practical application, until it appears that someone wants Spock dead because of it. A lovely long story to lose oneself in.