Picking up shortly after Revenger finishes with one of the most delightfully gruesome reveals I’ve ever read, the middle child of the trilogy, Shadow Captain, swaps the narrative from Arafura to her sister Adrana. Remains just as bloody and unhinged. Every book I’ve read of Reynolds has managed a deeply unsettling darkness, like a faint light guttering in the void. Considering he largely keeps his stories bound to a single solar system, and any interstellar travel is slower than light, he creates a horrible sense of vast emptiness and abandoned hopelessness. Shadow Captain is no exception.
I was thinking about disappointing or failed trilogies and series while reading this, ones which start with such brilliance and possibility, and exhaust themselves in the first work. Often they follow a structure in which the shift from first to subsequent is one of qualitative to quantitative. The first is a shift in world view, scouring off normalcy and opening up a larger universe; The Matrix and Star Wars are two examples which have the the most overbearing cultural influence. The subsequent works largely only add to and expand this larger universe, and if there is another shift in perspective or revelations, it functions within this, rather than instigating a comparable usurping of the protagonist’s world to the initial one.
In The Matrix, this moment is Neo taking Morpheus’ red pill (let’s ignore fun speculation he took the blue pill and the remaining two and a half films are him ‘believing what he wants to believe’, but not ignore this is a movie made by two trans women, and there’s heaps more going on here than the first layer reading), and if we lived in the best of all possible worlds, Neo waking up would have been the end of the first movie. Everything that happens after serves to reify this newly established world. It’s a bit like a gigantic cum shot, one and done; there’s nothing left to do, which is the primary failure of the hero’s journey. If you’re invested in the story of a single, usually white, cishet man, then it’s all good, he still has 3/4 of the journey to go to catch up with the rest of us. But if it’s the profound workings of writing characters as real people and imagining worlds that reveal themselves through unfurling layers, it’s gonna be a bad lay. (I don’t know why I’m using this metaphor here.)
So I was reading Shadow Captain knowing on one hand a sequel that is a bare fucking banger as the original — which Revenger is — is setting way high expectations, and dialling it back 20%, pumping the brakes, gives the work a chance to be read for itself. On the other hand, I know Reynolds when he shredding hard.
Revenger’s cover is better. The title is None More Black fucking metal as you can go. I know he has a notebook of fully sick titles, Slow Bullets, for example, and the last of the trilogy is Bone Silence, but I can’t see a better title on my shelves, up there with Feersum Endjinn and Wonderful Blood. Incidentally, if Iain M. Banks wrote a sequel to Feersum Endjinn, it’d be like Reynolds writing a sequel to Revenger. And where the former gets to by the end reminds me quite a bit of where Shadow Captain is at and what it proposes for the final part of the trilogy.
Which is to say, I loved Shadow Captain, and I was judging fucking harshly. It doesn’t have that end reveal, and Reynolds, you are a dark motherfucker right there, but has more than one twist and shift that are dead majestic. Even without these, it’d be better than the majority of sci-fi / fantasy in any medium (and I hoover up this shit like no one’s business). With these, you wanna read a storyteller at the top of their game, and with the circumstances to permit this, Revenger and Shadow Captain are it.
I was thinking of an analogy here, ’cos I know my opinions are marginal (yes, Feersum Endjinn is the exemplary Iain ±M. Banks novel), and went down a bit of an ’80s SST Records trip last night. Hüsker Dü. No, they’re not fucking emo, fuck off. Land Speed Record, Metal Circus. The influence these had on artists and genres from the ’80s till now, rather than the success or fame of the band is what I’m getting at. Revenger and Shadow Captain are like these. Or if this is a crap analogy for you, like Kemistry & Storm’s DJ-Kicks. It’s shit you need to know, you uncultured gronk.
Oh, and I read sisters Arafura and Adrana (and the whole ship’s crew) as totally queer and increasingly trans and non-binary (while still rocking feminine), or whatever words propose an expansiveness of selfhood outside cishet-icity than these, and as I think about all the novels I’ve read from him, wondering how many characters veer towards asexual-ish and neurofuckery (I’m so tired of the word ‘diversity’ right now), and I reckon it’s heaps. Which is a common part of the characters in Banks’ novels I rate, like Whit, so me being so very slow, it’s dawning on me (hi, Elsa!) why I like, or more accurately identify with certain sci-fi and fantasy works.
Nothing quite like silent apprehension bursting into raucous celebration when a lander touches down on another planet. This is the first image, a couple of minutes after landing, dust-cap still on the camera, wide-angle distortion, horizon cutting a slice at the upper edge, a single rock centre-bottom, above the shadow of InSight.
… there’s a hopelessness in his work, like the heat death of the universe.
i. Best title of the year.
ii. Not enough pages.
Probably going to be my Book of the Year. There’d have to be something fucking exceptional to eclipse this monster of a story.
I first read Reynolds in Australia, when I was trying for an Iain M. Banks substitute while waiting for his next skiffy piece. Reynolds does hard sci-fi / space opera up there with the best of the current generation, but there’s something dark and frankly despairing in his work. I wasn’t being glib when I said it’s like the heat death of the universe. Humanity or who- or whatever passes for humanity in the near or distant future of his novels is like a lost child in a vast, abandoned factory at night, with the dimmest of torches on a dying battery for light. There are monsters in the blackness, and the blackness is all there is. It’s existential terror upon which his novels are written. And it’s the cheerless antipode of Banks’ Culture utopia. You don’t come out the other side going, “Woo! That was fun!”
I took a long break after Pushing Ice before giving him another whirl with Slow Bullets. Still grim as teeth being pulled but bloody masterful. Which convinced me to read his Revelation Space trilogy (now a quintet), Revelation Space, Redemption Ark, and Absolution Gap. Go read what I wrote about all those because I’m not going to summarise here. And as uneven as those were — brilliant and uneven — I’ve nonetheless let Reynolds into my exclusive world of Authors I Will Always Read. Magnanimous I am, for sure.
Which brings me to Revenger. Still the best title. He fucking murders titles. He’s probably got a list of them and periodically pulls it out and reads them, and is all, “Yes, I am God.” He could do an exhibition of just paintings of titles and people would bleed out under their awesome majesty.
The weird thing is this is marketed in that well dodgy category of Young Adult. You know, the one filled with dystopian futures for the last decade. I’m not sure whose idea that was, because Revenger is a slaughterhouse. Here’s a crew we’ve come to enjoy the company of on a small interplanetary pirate-y type ship. Here’s them getting massacred. Here’s a story of two girls who run away from their Little Prince-sized planet with a black hole at the core to have adventures and save the family from ruin. Here’s the younger cutting off her own hand and replacing it with an ancient and cryptic metal one. And I know I’m slow on the uptake, but when Reynolds revealed what she was writing her story on and with: it’s called Revenger for a reason.
Though it is neither the ironic violence of the Starship Troopers kind, nor the morally vacuous Marvel/DC superhero movie kind. As much as I love a tasty morsel of well-written violence, it needs purpose and justification. This is one of the two things I can rely on Reynolds for: he’s serious in the morality of use of force. His characters are changed by using it, often cut off on some existential level from the rest of humanity. He seldom reaches for it, so when he does it carries a far weightier brutality than if it were merely the full stop on every sentence.
The other is his commitment to a universe bound by the laws of physics as we know them. No faster than light travel (except for Slow Bullets), even if other technology is as incomprehensible as tools of the gods. There’s a whole battered solar system of that here, spanning successive waves of technological progress and decline. He builds a formidable world up in it, and could easily write a series of the scope of Revelation Space here. I’d read the shit out of it.
Sean Carroll’s The Big Picture: On the Origins of Life, Meaning, and the Universe Itself made it onto my reading list because of another theoretical physicist, Sabine Hossenfelder, who reviewed it mid-2016. I’m reading it now because I need my regular fix of sciencey, astrophysics stuff and it seemed to compliment the other stuff I’m reading at the moment (also all the other science books on my list are textbook affairs with commensurate eye-bleeding price).
I have to say from the outset I’m not the imaginary audience for The Big Picture, nor am I especially enjoying it. I wish I was because I enjoy the hell out of what he writes about, and appreciate he can do hard science without pissing all over philosophy and the humanities, unlike quite a few popular atheist science bros. He manages to rope in Wittgenstein (who is always wholly relevant and informative in any situation), my dear favourite Leibniz gets a go for calculus, as well as best of all possible worlds, and principle of sufficient reason; he even manages to have an entire chapter on gender and identity and I’m showing my age here but I’m still pleasantly surprised when I see how unremarkable these matters have become — even in the last decade, in fields not explicitly feminism/queer/gender studies/etc.
So why am I not enjoying it so much? It could be the recurrence of disproving Laplace’s and/or Descartes’ demons, or explaining from extrapolations of different parts of physics the impossibility of (or at least extremely unlikely) things like mind-body duality, having a soul, life after death, god. Which makes it an invaluable book for people who themselves have questions and doubts about these subjects, but from my personal experience kinda useless in persuading even the most casual of ‘spiritual’ types to give up their astrology.
I used to be a much more diligent atheist, until atheism was taken over by white hetero bro New Atheism colonialism and ruined it for the rest of us. I like Caroll in this regard because he isn’t absolutist. Paraphrasing here, he says while nothing we see or know about the universe requires a god, nonetheless that does not preclude one (or many), just that if there was a god or gods, they would have to adhere to the laws of physics like the rest of us do — as far as we can tell by the current, pretty bloody good state of our understanding of physics. He also says that irrespective of the existence or not of god or gods, religion serves a cultural purpose spanning millennia that saying “God doesn’t exist, because physics” isn’t going to miraculously cause mass conversion to atheism.
For a white, hetero male writing on the Big Questions — historically the domain of self-congratulatory alpha males — he’s done a banger of a job of steering through all that anachronistic baggage. But steer through that he does, stopping off along the way to describe then disabuse us of what’s fundamentally a Christian, or Christian-derived view of the universe.
Maybe it’s because he tries to cover so much that it feels to me he paraphrases philosophers’ and scientists’ ideas so they read like, “close enough”, as with describing Lucretius’ concept of the clinamen (which I don’t think he actually named, but was what he was describing), or Leibniz’ ideas. Or maybe it’s that he holds on somewhere to an uncritical belief that physics is above all this and is the one neutral — as well as correct — way of viewing and understanding the world. The correct part, sure, as far as we can tell now, but neutral? I wonder if some of the hostility directed at 20th century philosophers by scientists (which again, he isn’t doing) is because the logic in pointing out that language creates the world is pretty solid. Whether it’s Wittgenstein, Derrida, or others, even after throwing out whatever bollocks they wrote, we’re left with this. And to have a bunch of soft humanities academics repeatedly and in various ways tell the hard scientists their rationality and neutrality is dubious at best, because language is a limit on describing and experiencing the world, is going to get messy.
It’s not even a question of agreeing or not with him. Newtonian physics? Yup, same for Einstein’s relativity, general or special. Quantum mechanics also. It might be that I find the experimental side of things lacking by comparison to the theoretical. For example observations of cosmic microwave background by COBE, WMAP, and Planck observatories currently provide the best evidence for, and more or less confirm the Big Bang theory, specifically the inflationary model. Questions such as “What is the universe?” “Where did it come from?” “What was there before it existed?” while not definitively answered are comprehensively narrowed down. The discovery of the predicted Higgs Boson at the Large Hadron Collider and concurrent lack of discovery of new particles also set limits on possibilities, or at least pushed various other competing theories to do some heavy re-theorising. But mentions of these experiments seem sparse compared to Descartes and his cogito ergo sum. More of the former and less of the latter would have moved things along far more enjoyably.
But maybe all this, multiverses, the Planck era, macroscale quantum theory are too advanced for the intended reader, like introducing all the exceptions to the rules before explaining why the rules as are they are and where they came from. For my imagined intended audience, then: it’s comprehensive and brings together a lot of threads of physics from the history of Western science and philosophy that make it a good general introduction. It’s kinda boring though. I’d rather read Sabine Hossenfelder or Ethan Siegel, whenever they get around to writing a book.
Finally, the history of Western science since the Enlightenment has been one marked by arrogance, overreach and the worst of humanity given legitimacy through its declaration of rationalism. And one marked by frequent declarations of , “Yeah, we learnt our ethical lesson, we’ve got it right this time,” before cocking it up again. I’m not sure there can be a grand Theory of Everything, which is what Carroll is proposing. Like Mark Zuckerberg imagining he can reduce people and their desires to code, or transhumanists imagining they can upload their minds, it speaks of a smallness in understanding the world and a meanness in how they value it. There is always something that remains, that cannot be assimilated, a residue this reductionism cannot account for and cannot consume.
It’s that time of year again! Frances’ and supernaut’s Books of the Year for the 9th time. And some most excellent books were read indeed. This time last year, I realised I’d been struggling a bit with enjoying reading. I looked back over what I’d read in previous years, compared it with 2015’s crop, and noticed I’d dug myself into a bit of a hole with mediæval art and history.
What to do, Frances? I dunno, Other Frances, how about read about space travel and stuff? Good idea!
Unlike last year, my ninth iteration of looking back on a year’s reading — and it’s in October because that’s when I first started blogging about reading, almost a decade ago — has some absolute slammers on the fiction side. Last year I didn’t even name a fiction book of the year. This year, if it wasn’t for one in particular, there’s be 4 or 5 smashing at it for joint Book. And in non-fiction the situation’s pretty similar, or even better, cos there’s barely a single non-fiction work I’ve read in the past 12 months that was anything less than well awesome. It’s also one of my least-read years, only 29 that I read and blogged (possibly a couple of others I’ve forgotten); definitely plenty of internet — I mean Rainbow Autobahn distraction in the last year, exacerbating my inability to focus on pages. I blamed my poor reading last year on that distraction as well, probably time to harden the fuck up and put away the internet.
Of those 29, only 10 were non-fiction; the remaining 19 non-fiction skewed more to fantasy than sci-fi, with around 7 works explicitly skiffy, 9 explicitly fantasy, and a trio (maybe more depending on how dogmatically I apply those categories) deftly straddling both. I call those Speculative Fuckery, ’cos I love when the only two genres I read start boning each other.
On the non-fiction side, mediæval Northern European history continues filling my shelves, and there’s a bunch of “not easily categorised on their own” which nevertheless fit predictably into my decades-long interests.
Then there’s the new, or maybe to say newly clarified bunch that I kinda want to call Islamicate Studies, though that might miss something, so it encompasses that, human rights, identity, philosophy, feminism, and is primarily from women from and/or writing on Iran, Near/Middle East (I’m a bit iffy on this appellation right now, and have been trying out ‘West Asia’ also because it shifts the centre and subject of focus out of Europe, dunno though), and people from or descended from those regions in Europe, North America, Australia. I arrived at this field of interconnected subjects after increasing dissatisfaction with how feminist/queer/left-ist writing addressed brown and/or Muslim identities; regarded these people living in Europe, North America, Australia; and when I spent some time thinking about how the diverse subjects I was reading needed to come together. Also it’s a lot of living in Berlin/Germany/Europe and getting increasingly pissed at the racism against anyone not unequivocally ethnically correct, and the white feminist/queer/left-ist bullshit distractions, and my own personal, slow movement towards identifying if not myself as Turkish/brown/West Asian/Muslim, then definitely my family history (as you can see from all the slashes, I have no idea).
Books! I have read them!
Fiction first. This was a fine year. If I hadn’t read Sofia Samatar’s A Stranger in Olondria, she’d still be my Fiction Book of the Year with The Winged Histories, though sharing with a few others. I don’t actually know how I would pick a book of the year from a pile comprised of that plus Jo Walton’s Necessity and The Philosopher Kings; Jaymee Goh and Joyce Chng’s The Sea Is Ours; and Ann Leckie’s masterful finish to her debut Imperial Radch trilogy, Ancillary Mercy. Impossible. I would probably give it to the latter, but then … Necessity, a brilliant conclusion to another trilogy, and The Winged Histories: sublime. So I could possibly get it down to a trio of exceptional literature, but no further. Lucky then A Stranger in Orlondria saved me from that anguish.
I don’t want to say it’s ‘better’ any of those other three — though perhaps that’s the case when comparing it to The Winged Histories, which would lose its spot in the trio just as The Philosopher Kings does to Necessity. I think of the two Samatar has written it’s a more major work. If this is my final trio then, I’m not claiming one is better than another, simply A Stranger in Olondria has had a significant effect on me. Would that effect stand up under re-reading? How would that re-reading compare to one of Leckie’s trilogy? If I read them both back-to-back, what then would be my judgement? The best questions always involve more reading.
This is all anyway just writing from memory, how I remember a book made me feel. I’ve been thinking recently that eventually my memory of a book dissolves until it’s just feelings, colours, a glimpse of an image or two. It’s like sediment, like geology, layers upon layers of this.
Breed was a romp of Oglaf proportions and probably the most fun I had this year. I wish she’d write more of this. Reynolds’ Revelation Space I read because I needed some hard operatic space sci-fi, and his Slow Bullets novella was a favourite of mine last year. This one was good enough for me to slog through the whole, uneven trilogy. I like him, but there’s a hopelessness in his work, like the heat death of the universe.
As with Reynolds, Genevieve Cogman is another whose previous works got me to read her latest. The Invisible Library, which I also read last year was well tasty. I was super excited to find she had this sequel — and OMG! Just like last time when I discovered The Masked City, she has a sequel to that! Excellent! The immediate result of me writing about my favourite books is I’m ordering more.
Ada Palmer’s Too Like the Lightning. Yeah, loved a lot. Glorious cover art, almost almost one of my first choices, but a few flaws in it, and the cliffhanger “Will bad things happen? Stay tuned for Book 2!” guaranteed to piss me right off. Please, don’t do that to me. I’ve paid for a story, not half a story. If your story’s too big for one book, then at least divide it in a way that doesn’t leave me hanging.
All of these authors I’ll read again (along with a score of others on my Have You Written A New Book Yet? list). I might be a bit crabby here and there about the works, but I also possess a modicum of self-awareness that I’m a pretty fucking demanding reader. The authors and works above if you’re into sci-fi / fantasy (or if you’re not) are about as good as it gets. Not just for this year, but of everything I’ve read in the last 12 years or so. (And just wait for next year’s Books of the Decade! It’s gonna be hectic!)
I didn’t read much of this in the last year, but I lucked out here too, barely a dud among them (and that single one was an old book I realised I’d never finished), running out of superlatives here.
Svetlana Alexievich was awarded the Nobel Prize in Literature last year, in no small part for her writing on the Soviet occupation and war in Afghanistan. Her writing is chilling. Heart-rending. I even said Zinky Boys would be my Book of the Year. Pretty sure I said the same thing about Seyla Benhabib’s The Rights of Others. In truth I shouldn’t pick one over the other, except that Babayan and Najmabadi’s Islamicate Sexualities somehow is tying all this together, mediæval history, human rights, feminism, identity, migration, religion, and it’s so urgently pertinent to the slow stumbling back to the abyss Europe is currently taking. Read them all, or at least familiarise yourself with the writers.
And that’s my reading for the last 12 months. As if I’m not sated and replete already, I’ve already got a pile of new stuff.
Reading is a great privilege. It’s not however, explicitly a human right. Article 26 i. and 27 i. of the UN Declaration of Human Rights either directly imply or by extrapolation intend reading as a human right, yet nowhere is it explicitly stated that reading comprehension or literacy, and the opportunity to gain this ability is a right. Perhaps I’m splitting hairs, yet I can interpret the UNDHR in a way that fulfils the letter of declaration while still populating my dictatorship with illiterate proles.
My ability to read, at the level I do, at the frequency, my ability to critically consider the works I read (with or without concomitant swearing), to write about them here, to discuss them with others, all this is a privilege. And I mean that in the sense of a special honour. And that necessitates obligation.
Buy books! Buy books for your friends! Encourage people to read. If you know someone who Can’t Read Good (And Wanna Learn To Do Other Stuff Good Too), help them, reading is only difficult if you’ve been told it is. Support your local libraries!
So here’s to the writers, and their publishers and proofreaders and editors and typesetters and designers and artists and agents and friends and families who make it possible for them to write so that I may read.
I’m mixing up a few different collections and museums from the Staatliche Kunstsammlungen Dresden here. None of these collections I photographed enough of to want to write a whole post, and at 236 images plus unfettered word count, I’m trying for a little restraint here.
So, After I left the Zwinger mit Semperbau’s Gemäldegalerie Alte Meister I toddled over the the Porzellansammlung. It’s row after row of Chinese and Japanese ceramics, Ming Dynasty vases large enough to bury a corpse in. A little difficult to grasp what I was looking at, more like a second hand shop than a museum collection. Over the other side, split as the collection is by the east entrance, is more of the same, with the addition of some really beautiful figures from Dehua Fujian. And the excess of Dresden baroque porcelain, rows and walls of birds from all over. I was expecting an Australian Cockatoo and did not leave disappointed. One other piece deserving a mention is from the Werkstatt der Madame Gravant: Blumenstrauß, a beguilingly detailed floral arrangement that messes with reality. Yes, it’s porcelain.
Midway through the Albertinum, I pass through the Skulpturensammlung. It’s somewhat truncated, one wing is closed as they set up a new collection — and here I’ll mention again how cool and friendly and helpful the staff were, pierced lips and all, reminds me a bit of the museum in Stockholm. It’s almost archaeological, dark rooms of cabinets lined with heads and busts. And to see Birgit Dieker’s Kleine Diva in that. Mind-blowing. I could spend a whole post writing on the references to mediæval dress and armour and black metal from that one piece alone.
Jumping ahead now to the Residenzschloss. There’s multiple rooms and sub-rooms and collections, and largely I didn’t photograph any of it. But if you’re into mediæval and renaissance warfare, armour, mounted fighting and all that, or just Game of Thrones levels of excessive opulence, this is your gear. The Rüstkammer also has the Türckische Cammer, with its comparable collection of Ottoman art and objects. It’s nice to see this in Dresden, what feels like so far north and east of Turkey, but it in fact underlines the close history of European empires and peoples stretching back millennia. I’m not so into armour and swords and guns and shit right now, so I did a runner. The Münzkabinett, just breezed through looking for Saint Mauritius (nope) or Adoration of the Magi (yup) in coin form.
Lastly in this ill-fitting post of collections and exhibitions, the Residenzschloss Kupferstich-Kabinett which had a rather splendid series of prints by Jan van der Straet from 1591 called Nova Reperta. I was going to blog these all, but screwed up the focus a few times, so these were the ones that has specific meaning to me. Like America. Americen Americus retexit, & Semel vocauit inde semper excitam, with the Native Americans chowing down on a couple of roast human legs in the background. It’s pretty obnoxious, but the point of these works is a series of world-changing — explicitly here for Europe, but by extension the globe — discoveries or inventions. Staphæ, Sive Stapedes, the use of stirrups on horse saddles; Oleum Olivarum, olive oil; Conspicilla, lenses and optics; Orbus Longitudines Repertæ è Magnetis à Polo Declinatione, navigation by the magnetic poles and longitude; Astrolabium, Astrolabes, and more of the same, together it makes for a convincing argument of world-changing technological development in the renaissance.
A little out of order here, you could easily devote half a day to these collections if that was what you were into. Though I did wonder about the arrangement of museums in the Zwinger and Albertinum. For me it would make more sense to turn over the entire Zwinger to the Gemäldegalerie Alte Meister and move the Porzellansammlung into Residenzschloss (yeah I dunno where either! Just throwing ideas out) where it would fit better with the Neues Grünes Gewölbe collection; and do the same for the Galerie Neue Meister in the Albertinum taking out the Skulpturensammlung. These location decisions seem to me decisions of exigency that don’t do any of the collections great favours. Which is a much larger conversation I’m not having here. Off to the Neues Grünes Gewölbe!
Lucky last of Alastair Reynolds’ Revelation Space trilogy, the first getting me hooked enough to plough through the not-so-astounding second, but good enough to push on into the rather bloody good third, Absolution Gap. All because Ann Leckie has nothing new coming out, Iain Banks is dead (with or without an M.), China Miéville has nothing out either (though is alive), not Charles Stross (also alive), and because Reynolds’ novella, Slow Bullets was one of my favourites from last year.
Sci-fi. Skiffy. Apocalyptic Hard Space Opera. He does this stuff well. Almost as good as Banks. Almost. It’s not for lack of quantity of imagination, which Absolution Gap runs wild with – there’s plenty of similarities as well between the two writers. Maybe it’s just Banks affects me in a way no other writer does, as well as being pretty much the first writer I read when I returned to sci-fi, and so had my brain comprehensively transformed by his consummate virtuosity. I also know it’s not fair of me to compare every writer to Banks, and I’m reading this one at the expense of doing things like going to ballet (I know! I bunked off training to read a fucking book!).
Some of the things which bothered my in the Revelation Space remain here. It’s difficult for me to pin down exactly, to point at something concrete and go, “That, right there, is what I mean,” but it’s to do what I scare/air-quote as ‘diversity’. He gets it right with plenty of central roles for women (human baseline or otherwise) yet somehow they remain less imperative (in both senses: important and peremptory), that it’s the men who are driving the action – whether by weight of numbers in central roles, or by a subjective quality that first-person narrative induces. It may simply be in how Reynolds thinks about these characters as he writes them causes this inflection. A game to play then is changing one of the characters, let’s say Scorpio (a Pig, but I’m choosing him for his violent hypermasculinity rather than because he’s not human, and because he’s a main character in two of the three books), to female and seeing how that reads. Which I shall do for the remaining tenth of this book.
I’m pretty sure I’ll read at least one of the remaining works in the Revelation Space universe (but not part of this trilogy), and probably give at least the first of his recent Poseidon’s Children series a go, though for me Reynolds veers between a writer I want to read more of, and one whose stories simply don’t work for me. There’s something of a pervasive existential pessimism in his works that occasionally is too grim for even me (especially at several hundred pages a go); I’m nonetheless enjoying this one and him enough lately to keep throwing euros his way.
The sequel to Alastair Reynolds’ rather bloody good Revelation Space. He’s a dependably hit-and-miss for me: Pushing Ice I seem to have found deplorable (pre-book blogging, and only vague, obnoxious references in a couple of old posts); Slow Bullets I loved everything except its too short length; and Revelation Space, well that had much to do with the chronological format, and reminded me of Iain M. Banks’ Use of Weapons, with narrative streams spliced together actually in chronological order but accounting for slower than light travel, without such a device the story would have probably had me not so committed to the very small type of the mass-market print; got enthusiastic enough to order the sequels before I was finished.
Redemption Ark, then. Not as good. If Reynolds had kept the subjectively non-linear narrative order, I’d have liked it more. As it was, the linearity didn’t give me a sense of uncertainty, of not knowing what was going on. Things marched predictably towards the inescapable end—which was jumped over and merely in the epilogue summarised, a better choice than pages of planetary destruction—an end which marked the conclusion of the dark Act II, setting up things for Absolution Gap. (Yes, ordered. At least I want to know how it ends.) Plenty of morally ambiguous female characters I was happy to see a return of; a bit of a tendency for heteromonotony; no denying the civilisation-chewing billion year old robots swarm’s stated justification for said chewing doesn’t make sense: is it to annihilate all interstellar life to prevent war (or something) or to save life when Andromeda and the Milky Way merge in 4 billion years. The former is the claimed reason for a dandruff of extinguished cultures across the galaxy, but the latter, a subsequent rationale that never seemed plausible, took over somewhere in this novel.
I unpacked all my books a couple of weeks ago, re-boxed a tenth of them to send off to the book slave markets and exchange for a better class of book. I’m keeping this one for now but can easily imagine sending it off also. I’m not used to reading an author who goes from absolute fave in one book to wtf in the next, but Alastair Reynolds dependably manages that.