My fiction Book of the Year for 2017: Alastair Reynolds’ Revenger.
And my full list of what I read in the last year: Reading … A 10th Anniversary.
This is me returning to some hard space opera sci-fi, ’cos I’ve read almost all of Iain M. Banks again and I’m not sated. Alastair Reynolds. I first read him before I even blogged about reading, giving Pushing Ice a go. All his novels I’ve read have this grim, lightless hopelessness, like tiny insects flitting around a single, weak light source in the unbroken countryside darkness. You’re glad the light is there, and huddle to it, find it comforting even, but it is powerless against the inexorable blackness pushing in. I went, “yeah, nah,” about Pushing Ice. I like at least a little hope or levity in my universe.
Much later, I gave the novella Slow Bullets a go. Farking brilliant. That gave me the shove to tangle with the Revelation Space trilogy. Moments of utter insanity there. Things that bothered me too, that I remembered from Pushing Ice. Then came Revenger. Really one of the best novels I’ve ever read, so starkly, unexpectedly violent and cruel, winding itself tighter to a savage, sadistic ending. A book for teenage girls with aspirations. Probably going to be my book of the year, and have a re-reading before October.
So I wanted more. And there’s not much sci-fi at the moment reeling me in (waiting for Ann Leckie’s new one), so I decided on The Prefect, set in the same universe and timeframe as Revelation Space, on the habitats of the Glitter Band around Yellowstone, an outer-system planet orbiting another sun, Epsilon Eridani, ten light years distant.
It’s like reading a novel of the TV series, The Expanse, which itself is an adaption of a series that seems to me to owe plenty to Reynolds. Like first season of The Expanse there’s a disappointment for me in the narrative being driven by a sad hetero man chasing and pining for a vanished woman. In The Prefect, this trope tied up with the main character’s wife and his actions eleven years prior. I gotta say I don’t care for this thread in the story, either in engendering empathy with him, or as a needed plot element. Nor do I care for the treatment of his junior partner, a young woman trying to prove herself in what seems to be a still misogynistic heteronormative culture a few hundred years in our future. There’s this one old codger on the habitat she’s marooned on who pompously calls her girl over and over. I do, I do, I do want to punch him in his nuts. She primarily exists to set in motion a specific plot element and flops around on the periphery for the entirety, adding not very much at all.
On the positive side, Reynolds has really nailed writing and understanding women as central characters in Slow Bullets and Revenger, so here’s to growth.
And, the same day I decided to order The Prefect, Reynolds announced a sequel, Elysium Fire. Which I have to wait until next year for. Reckon Chasm City is next, then.
If I was to say, “Read The Prefect — I mean, Aurora Rising, ’cos he renamed it,” it’d be with these caveats: Read Revenger and Slow Bullets first. These are fucking superb stories. Then, if you want to continue, reading The Prefect prior to Revelation Space would put it in the right chronological order, but might not be a compelling enough work on its own to draw you into that trilogy. So, get into Revelation Space and commit to the trilogy and bounce between all the novels in this universe in any order you like: somehow I think breaking that temporal flow suits his stories.
What I said about Alastair Reynolds’ Slow Bullets:
i. Best title of the year.
ii. Not enough pages.
… 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.
And it also inspired me to write a shell script to help with spellchecking.
Necessity, the final part of Jo Walton’s superb The Just City, trilogy about which I’ve already dealt to part one, The Just City and part two, The Philosopher Kings, and I stand by whatever bollocks I wrote then: finest fucking trilogy out, right here.
Part three: The Just City in spaaaace! On a planet called Plato. Why yes, Jo Walton is still trolling magnificently. I have only read the first pages, Apollo is dead, returned to immortality, and so does the Olympian deity equivalent of an evening binge-watching for a few million years by hanging out in stellar nurseries as they go thermonuclear.
There’s very, very little Jo Walton could do to have me come out the other end of 331 pages and not be calling this Book of the Year, and one of the best series I’ve ever read, fighting Ann Leckie’s Imperial Radch for trilogy I can’t enthuse over enough. Excitement beyond excellence! I want to gorge on its entirety now.
Jo Walton. Not a writer I’d give to just anyone. “Frances! I want sci-fi to read!” “Iain Banks!” I will say, “With or without an M.” Jo Walton though, you have to do some prep-work first. Or love libraries. Or anyway read a lot. Iain Banks you can go from “What is ‘Book’?” to guzzling the Culture series in a matter of hours; Jo Walton, you need the padding first that comes from some form of literary guzzling.
Jo Walton. One of my rare favourites. Among Others was first, four years ago. Got my dubiously prestigious Book of the Year. The Just City and The Philosopher Kings. Whatever I might have written here (without clicking those links, I’d like to remember it as favourable), my memory of them is of books I feel I’ve read more than once; books for when someone I know will appreciate this kind of literature, I will say “Jo Walton. You should read her”. Which is the heart of What Makes This Book So Great.
Jo Walton, reader of more than one book a day. Sure, if it’s Terry Pratchett’s Discworld, I can sort of keep up — for a day. No endurance here. She’s a beast. Reads like that and writes like that. This is a collection of her blog posts from Tor.com from 2008-2011. The Contents run for six pages. It’s like Among Others where she references fifty or sixty — no, 169! books from the history of science-fiction and fantasy, and manages to comment on all of them all the while carrying on a story not quite a spectacularly depraved as The Wasp Factory.
I sold a box of books recently. fifty-ish. Exchanged them for credit at Saint George’s. Books for books. It worked out to be around 5:1. So I have ten or so new ones I’m dealing to, trying to make a dent in my wish list. I shuffled potential candidates for an afternoon, and this was one that made the final cut. I’ve finished two others before even beginning to write this, slightly out of synch here. Not to worry. Jo Walton is a brilliant, sensitive writer whose vocation fits perfectly her love. I get a mad kick out of reading her for the transcendental moments when her ideas riot in improbable, literature-saturated thought experiments. She starts with an essay / blog post on re-reading, the joy of certitude when returning to a favourite versus the treacherous possibility of disappointment in reading something new; and conversely old favourites that now reveal themselves as thin and lacking; new works that open entire worlds. I read her and think of my own re-readings, think of books that have moved me, changed me.
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.
Ooohyess, thank you very much. Exactly what I was looking for, a bit of hard skiffy space opera with solid astrophysical underpinnings. As usual written by one of those British Isles dwellers, and as usual not of England. Iain Banks, Charles Stross, both of Scotland, and now Alastair Reynolds of Wales.
His Slow Bullets was one of my faves from last year. Could have been longer. Well, Frances, here’s Revelation Space. Is that long enough for you? Why yes, it is. Little bit on the tiny side though. Really not a fan of mass market books, and yes, I’m fucking snobby about it. I like the bigger size, better paper and printing of trade paperbacks. (Incidentally, either/or for hardbacks. For non-fiction, sure, it goes with the territory, but for fiction, a well-organised large format paperback kinda thrills me.) This one was both small and thick, and maybe my eyes have reached peak-buggered but I swear I could not read that shit when I was in bed at midnight, all squinty and whuuh?
Finished it though, all 576 pages or something. And it kept it together ’til the end. I was about half-way through and thinking, “Where exactly is this going, Mr Reynolds? ’Cos you’re doing a fine job of leading me by the nose through all manner of strangeness.” Usually if I get halfway through having those thoughts, it’s not gonna work for me. This time it was reasonably clear where things would end up, classic Chekhov, Hell Class Cache Weapons all set up, but getting to that, and what happened when everyone did. Most satisfying.
Reynolds was an astronomer with the ESA, and one of his things is space operatic plausibility—unless the plot demands faster than light travel. So things like colonising and travelling in local neighbourhood planetary systems happens over decades rather than popping in for tea and bikkies at Epsilon Eridani then back to Delta Pavonis for dinner. Of course we also get the wonders of neutron star-appearing atemporal computational black holes, plus mad physics skillz to explain it all. It’s the good space opera porn.
One of the other things: This was his first novel. It’s grandiose like Banks’ The Wasp Factory or Consider Phlebas or Stross’ Iron Sunrise or Singularity Sky, fully-formed, sophisticated, smart (ok a little repetitious on adjectives at times, but that’s my own personal irritation), and, and!
Written in 2000, it passes the (spectacularly low) bar of the Bechdel-Wallace Test so comprehensively it’s not even worth talking about it in those terms. I’m forever blabbing on about representation and ladidah, and here’s a sci-fi work from fifteen years ago—a good ten years prior to when all the current discussions and ‘progress’ around these issues began—that is so exemplary it’s like it wasn’t even trying. It’s like Trudeau being asked why is his Cabinet is half women and he’s all, “Dude, because it’s 2015, duh!” Of course Revelation Space is the way it is, because that’s the self-evident future if we don’t wipe ourselves out and get to interstellar planet-hopping.
Contra all that, the primary relationship is straight, the character the events revolve around a hetero male, and a contemporary reading might see him as the embodiment of obnoxious white male entitlement, which is unambiguously how Reynolds writes him. Besides him though the other three of the central quartet are women, who spend plenty of time talking with each other, saving each other’s lives, generally being fantastically interesting, complex, nuanced individuals, without the unnecessary mediation of a male character. (By which I mean the various ways contemporary speculative fiction in all mediums requires a white, hetero male front and centre for the audience to ‘identify with’ to experience the story through his eyes. Mainly because the story is boring as old shit.) And when they do interact with Sylveste, it’s again as equals, first and third person perspectives shift between each of them.
Sure I would have loved some of the brazen fuckery of Ann Leckie’s Imperial Radch trilogy
in how identity is presented. (Let’s be clear here, it caused a lot of people to throw a sad tantrum, even self-proclaimed feminists and queers. WTF, Frances? I know!) I also know that’s a bit of a stretch, even for say Iain M. Banks who I think had a far more cognisant understanding of corporeality and identity than even most theorists of gender and identity, there was an impulsion towards reductive ‘he’ and ‘she’ appellations. It’s fucking hard to use language outside that framework, and it’s undeniably easier to create diverse biologically and technologically augmented and evolved human species than it is to do the same to gender.
And I’ve already ordered the remaining two in the trilogy.
Jo Walton. She’s on my very short list of authors I’ll unquestioningly read whenever they publish. Jo Walton of Among Others, my book of the year in 2012 (fuck! 2012!), which in the intervening years my memory has transformed into something of a witchy The Wasp Factory. Yeah, I know, there’s no comparison, it’s just a feeling. I could dredge up a comparitive list of why that feeling is valid, but it’s the feeling itself that matters, makes me return to an author.
My Real Children won the Tiptree Award, but I didn’t like it so much. Then she comes out with The Just City, smart and clever as all shit and the first of a trilogy. The Philosopher Kings is the second.
She probably got called smartarse at school when she was all, “Oh! The Thatcher government attacks on Welsh miners can be seen as a failure of Socratic Virtue” and half the class would be all, “WTF?” and the other half all “Think yar fukkin’ smart cunt, d’ya?” the teacher would be, “Jo, really?” and she’d just be, “What? What’d I say?” and hide in the library at lunchtime to avoid a beating. And read Plato.
And she read so much she was all, “Ha ha! Imagine if Plato’s Republic was real and Socrates was there, and it was like Bill & Ted’s Excellent Adventure but with smart people who served Plato his arse. (And boned each other. But only while pursuing Excellence. I’m gonna call one of them Arete. Pursuing Excellence. Hurhur.) And robots! And Athene and Apollo were there in disguise. And volcanoes! And they’ll travel through time and steal art and shit. And wrestling naked under the hot sun, oiling each other down afterOMGyissss!” And 35 years later she was all, “Socratic Virtue this, fuckers!” and threw down the Just City trilogy.
And turned Socrates into a blowfly.
Gonna be high on my list of book of the year next October.
Paul said he liked the US cover more. I said I thought this one was pretty good anyway. Now I’ve seen the US cover. It’s much better. It’s not the diabolical stock art mess that was the US cover of My Real Children, though a prominent and unnecessary blurb from Cory Doctorow really doesn’t do any favours. The US cover simply takes its audience seriously.
Anyway, I’m reading a book. Jo Walton, who is fucking brilliant. Among Others was my book of the year in 2012, and caused me to spend a lot of reading time reading a stack of the books she referenced (including I, Claudius, which I loved). I got about a page in to The Just City and am close to calling it for this year’s stock of reading.
Ooo! Ooo! Wait! No! Scrub that! The Just City is the first of a trilogy, the second of which either already out or due any day. Excitement! To the bookstores!