Book review: The Heroes by Joe Abercrombie; Long Live the King

 Abercrombie is the king of this kind of thing; showing the horror and fear and blood of pre-modern battle, with a human face. Indeed, with many human faces. He draws character superbly, with very few good guys or bad guys but shades of grey, for the most part people who are making decisions for a mix of reasons selfish and altruistic, noble and venal, wise and stupid.

Here, in the continuation of stories in the same world as his First Law trilogy, we focus on a battle between the Northmen and the Union, three blood-soaked days surrounding the taking of a more-or-less strategic hill. While the set-up could be classic Generic Fantasy - the Union sees itself as civilised, some meld between the empires of Rome and Britain, and the Northmen are the classic Viking/Saxon rough-hewn hard men, a loose alliance of carls and named men seeking battle-glory - but Abercrombie gives many of his POV characters a depth and complexity that makes it far more real.

On the Union side we have Bremer dan Gorst, former royal guard who has thrown himself into constant training, haunted both by his disgrace and his infatuation with his commander's daughter.

That young woman, Finree, smart and ambitious to advance herself through the only means available: her brave, noble and slightly stupid husband.

Corporal Tunny, veteran soldier, far more interested in theft and fleecing his fellows at cards than glory in battle.

For the North, Calder is the younger son of the man who first united the North as something approaching a nation; he knows he isn't brave or strong, but is handsome, clever and ambitious.

Curnden Craw, seen by many as the most honest man in the North.

Beck, a young man fresh from his farm, seeking to match the tales of glory told by the father whose sword he carries.

Along with these POV characters are a host of others, some drawn deeply others merely sketched, but Abercrombie has the skill to make each seem fully fleshed. While there are complete sociopaths (Caul Shivers who has the ability to instil terror into anyone with his calm, cold, menace, the brothers Deep and Shallow, a psychopathic Abbot and Costello double act) most characters clearly act through a mix of motivations, a tension between self-interest and the Right Thing.

The other great skill the author has is in plotting; as shown in the first book in the series, The Blade Itself, he exults in blindsiding the reader, writing in such a way as makes it impossible to predict who will come out on top - without this feeling like a cheap conjuring trick.

The plotting of this book is lesser than the previous one, although that is understandable both in the scope of this volume being over the course of this single battle and Best Served Cold being the finest book of his I've yet read. While these volumes don't follow on directly as did the original trilogy, there is clearly a throughline (Gorst and others appeared in the previous book, while Calder along with Black Dow, Wonderful and several more are veterans of the adventures of the Bloody Nine, who is referenced not infrequently) and the ending appears to set up a return to the the Southern Border. I am very much looking forward to what comes next.

To close, I wish again to praise the reading by Steven Pacey. For his pacing and intonation and differentiation of character, he is an absolute master. For each of the myriad of characters he gives a distinct, individual and utterly believable reading - mostly various British accents, ranging from posh Union men to Yorkshire and Scotland, a couple of rough East End-types (including Deep, who he give an excellent Michael Caine impression), to Calder and his brother Scale, who have distinctly different Welch voices. The single sour point is an unfortunate confluence of Pacey's pronunciation with an authorial quirk. In putting the emphasis on the second syllable of the word "grimace" -gri-MACE, rather than how I say and think the word, GRIM-uss - this does draw attention to the fact that Abercrombie somewhat overuses it. However, the fact that this is the worst I can say should also speak volumes.

Book review: Before the Fall by Noah Hawley: a masterful slow-burn mystery

 Minor spoilers.

I'm a huge fan of Hawley's TV work - notably Fargo and the truly astonishing Legion - so when I saw he was also a novelist I jumped on this.

Starting is was a strange experience. I'd just finished [author:Emily St. John Mandel|2786093]'s [book:The Glass Hotel|45754981], and to have the second book in a row starting with someone in the ocean, then giving various character backstories one of which involved financial crimes, really did give me an odd sense of deja vu. However, the two are very different books.

Here, a private jet flying from Martha's Vineyard to New York mysteriously crashes 18 minutes into the short flight. The only survivors are Scott Thompson, a painter, and the four-year-old boy he rescues and swims to shore with, in a remarkable act of perseverance.

Each chapter gives us the back story of one of the people on the flight - the conservative media magnate who owns the jet and his family, the slightly less wealthy couple who are their friends, the crew and Scott - as well as exploring the repercussions of the event. Is the crash to do with the fraud investigation, or an attack on the mogul, or something entirely unrelated? Is if just an accident?

Originally described as a hero, the biggest commentator on the right-wing news channel run by the plane owner, Bill <s>O'Reilly</s> Milligan decides the death of his boss - and friend - was caused by a terrorist attack that the government are obviously covering up and that this survivor must be involved.

Hawley unravels the story expertly, drawing rich characters with effortless prose. Along with the mystery of the crash he explores the power of the media and touches on the levels of extreme wealth - the fraudulent investment fund manager "rich, but not owning my own jet rich", to the media mogul, to the socialite art collector in New York who may be the seventh richest person in the world and "can buy literally anything - OK, maybe not Amazon".

This is a literary slow-burn of a mystery, not a thriller, and is utterly absorbing. Perhaps the ending is too sudden but, other than that, it's damned near perfect.

Film Review: Lucy (2004): Stupider than we can possibly imagine

 Sweet baby Jesus, I feel significantly dumber for having watched that film.

I’d avoided it because of the stupid premise - the idiot idea that we only use 10% of our brain - but fancied a daft action flick, saw it on Netflix and thought “yeah, go on then.” I can suspend disbelief if a piece of work puts in the effort and remains internally consistent, after all.

Unfortunately, this film was not only more stupid than I anticipated, but possibly more stupid than I could have anticipated.

I’d heard enough to know that Scarlett Johansson got a package of drugs sewn into her abdomen by Korean gangsters, which was ruptured leading to her apotheosis - but as soon as this happens she begins to defy gravity.

Oh-kay, thinks I, is this a metaphor for the effects of the drug? If it was, I’d expect some change in lighting or some other visual queue. I suspect not.

Oh, she is instantly able to kill one of the bad guys with her bare hands and shoot another six like a videogame character.

And it just gets more idiotic. The character, Lucy, quickly develops god-like powers which she then fails to use when it would have been useful to do so. After the initial assault on Lucy, she is so powerful there is no sense of threat, no stakes whatsoever, as she can do literally anything she wants. And some of the lines are just cringeworthy; both Johansson and Morgan Freeman state “we were given life a billion years ago” - aside from a huge problem with the word “given”, this is just wrong as a quick visit to wikipedia would show. Freeman is supposed to be one of the world’s leading genetic researches but every word that comes out of his mouth is utter nonsense.

It isn’t a total shitshow - some of the visuals and action scenes are quite striking, and I’m actually quite impressed that Johansson and Freeman somehow manage to deliver their absolutely insane dialogue with a straight face (“you can type this shit, Luc, but you can’t say it!”)

Three out of ten if I’m being generous.

Book review: The City We Became by N.K. Jemisin: Not Quite the Sum of Its Parts

It's taken me a while to get around to this review, as I've really needed to cogitate on how I felt about this book.

I really loved aspects of this novel - quite a few aspects, actually - but overall I liked rather than loved the book as a whole, and it's taken me some thought as to work out why.

First off, the things I really liked: I loved the characterisation. I loved the premise. I loved the way Jemisin played with tropes - especially the Lovecraftian aspects, a thing that is very much in the zeitgeist at the moment with Lovecraft Country and Victor LaValle and others. I loved the social commentary, even when it was far from subtle (the whiteness of the Enemy and the threat of gentrification chasing out the "real New Yorkers". The whole problem with Staten Island being part of New York, but separated - more because of White Flight and racism than a stretch of water.

But there was something that, for me, prevented the whole from coming together satisfactorily. I know it is the beginning of a series (although it follows on from the excellent short story The City Born Great) so that may be part of my issue with the structure, but it still seemed somehow lacking.

This book is very much a love-letter to New York City, to its resilience and culture and vibrancy, to its melting pot invention, its ability to absorb all comers and make them New Yorkers whilst allowing that diversity to add to its strength (not unique to NYC, of course; London is very much the modern prototype of this kind of metropolis).

I listened to the audiobook and must give a mention to the performer, Robin Miles. This is simply one of the finest readings of a book I have ever encountered, a full performance of character and subtlety and strength, aided by some superb production with the barest use of effects and music.

I may well amend this review - the book is clearly staying with me - and may well listen to or read it again before the next instalment.

Book review: Doughnut Economics by Kate Raworth: Rethinking the economy

 While I say that as well as fiction I read non-fiction, really I typically only read popular science, ancient history and some travel. One area that I never expected to be reading is the wannabe science of economics - but, as with politics, you might not take an interest in economics but it will take an interest in you.

There have been a slew of popular progressive economics books in recent years - from examinations of our broken system like John Lanchester’s Whoops! and Grace Blakely’s Stolen, to those that are more focused on looking at how we build better systems (The Spirit Level and Utopia for Realists), to the more hardcore economic theory (I swear I’ll get round to reading Thomas Piketty and Yanis Varoufakis!), and Kate Raworth’s book may be the best I’ve read at both outlining the problems and offering potential solutions in clear, straight-forward language.

It is an idea she has been presenting and working on for almost a decade. While her degree is in economics she was disenchanted by the blinkered, systematised thinking that shackles the discipline (as she points out early on, and again at the end of the book, while other social sciences seek out an encourage different ways of thinking, economists are taught that certain core principles are not to be questioned - no, more than that; they are indoctrinated into the mindset that there are no other ways of thinking.)

The idea of the doughnut is simply this: the hole in the middle is the lack of human dignity - insufficient food, water, shelter, healthcare, education. Those basics that we should allow to all people as a right.

The outer circle is the limit to which we can live with the finite resources of minerals, energy, food production, clean air, clean water.

The doughnut, therefore, is the space between those, where we as a species, as a culture, can provide a decent standard of living for every individual for the long term, without threatening the environment that we rely on for our survival.

It seems like almost too simple an idea - and an even simpler diagram, however she begins by pointing out how important visual signifiers are to us - the iconic map of the London Underground, Copernicus’ illustration of the heliocentric universe - the rising curve of progress and Paul Samualson’s simplistic Circular Flow diagram, picturing the economy as a closed loop that is taught in Econ 101 to this day. Raworth references sharing the ‘doughnut’ diagram with activists who respond effusively stating “YES! That is EXACTLY what I’ve been trying to say!”

And if that was all this book was, it would be no more than an interesting idea. I am sure there are many who are happy to scoff exactly so without engaging, but Raworth both delves into the history of and problems with economic theory, and outlines ideas - both conceptual and real-world ideas actually being implemented - for how we can, and must, do things differently.

She points out how so many of the great economic theorists of the past are selectively understood - Samuelson knew his diagram was a simplification ad absurdum, of use as only the most broad idea for non-specialists; when Simon Kuznets came up with GDP as a measure of productivity, he specifically warned that it was necessarily a narrow measure that should not be used as a benchmark to gauge progress; back to John Stuart Mill and Adam Smith (I always find it remarkable that most people who quote Smith appear completely ignorant of the half of his work in which he talks about social responsibility and warns against the dangers of subverting everything to the acquisition of wealth).

She thoroughly dismantles the consensus idea of economics that growth is the Ultimate Good (quoting a respected economist whom she doesn’t name, when asked why perpetual growth is possible simply responds “Because it has to be!”) to a more thorough debunking of some of the assumptions and models that underpin a pseudoscience that has come to dominate both public policy and public consciousness to a degree that neither the public nor policy makers feel they can question it.

On top of this, the author outlines the generalities of what we need from a new economics and gives examples that work in the real world, along with concepts that should be used in general. 

But this is not a utopian exercise; Raworth makes sure to state that change will be far from easy, and requires some extremely difficult choices. Nonetheless, the tenor of the book is ultimately hopeful, pointing out possible routes out of consumption-driven catastrophe to a future that is not only survivable and sustainable but equitable and regenerative, where we are not merely ameliorating the damage we do to our life support system but actively improving it.

I mostly consumed this via the audiobook, while dipping into the ebook - hence the sparsity of notes. I feel I need to go back for a closer read, to fully embed the ideas. I should do the same for some other books - the ones mentioned at the start of the review. For all the economics is a pseudoscience, it may be the most important factor in how we cope with the coming decades, impacting on everything from our jobs to the welfare state to climate change and alleviating mass extinctions, to production of food and energy and technology.

A must read, and must act on.

Book review: Irreplaceable by Julian Hoffman: Are we the bad guys?

Starting as dusk gathers on Brighton pier and the evening strollers are transfixed by a murmuration of starlings, Julian Hoffman takes us around the world showing us how human activity is ravaging the wonders of nature that both nourish our sense of wonder and are vital to our health and wellbeing as part of a thriving ecosystem. It is not a happy book. The awe that Hoffman superbly captures at the beauty of the natural world only underlines what we are destroying by our wilful blindness and our obsession with economic growth and measuring everything with a short-term monetary value. From a previously unknown species of spider in an abandoned English quarry to the magnificent Balkan lynx and the few scraps of tallgrass prairie in the American midwest, we are pushing out irreplaceable biodiversity with roads and shopping malls and monocultured crops. 

The author makes it clear he is not merely arguing for preservation for nature for its own sake, but because it is vital to human health and survival in the short, medium and long term. In one chapter he writes about an established set of allotments in London that not only provides food for locals but an area of green growth teeming with life, and an area of abandoned "waste ground" in Glasgow that nearby residents have turned into a park and nature reserve. Both are under threat from development and he begins by telling us "Of the following two places, one will be saved, the other destroyed." 

He does show us successes, and how small groups of determined people can fight and even sometimes win against the encroachment - as well as the above, there is some success on those tallgrass prairies, a patch of ancient woodland not five miles from where I write this (which, along with mention of other Sheffield woods in which I played as a child and have visited regularly since really brought home the value, as if that personal connection were needed), the former British Army testing site that, due to the danger of left-over munitions has remained undeveloped and become a remarkably vibrant and important habitat. The rejection of a new motorway that would destroy much of the Gwent Levels on the South Wales coast. 

However, despite this, I was left feeling bleak at the prospects. Yes, I am a depressive and currently managing a particularly low patch which may feed into my pessimism, but these patches seem so fragile, so vulnerable, so at odds with the economic forces that see everything as a resource to be exploited. In his final chapter he points out how many pieces of good fortune were needed to ensure that we still have a few slivers of the Cambridgeshire Fens that are undeveloped, and when we see that a drug for cattle is approved in Europe despite evidence that it is responsible for almost eradicating vultures when used in India, or that - despite a law and specific court orders making mining small islands in Indonesia completely illegal, this is openly ignored and corporations land heavy equipment to strip the vegetation and topsoil to scour the minerals beneath, causing run-off that buries and poisons the most valuable reefs on the planet, I find it difficult to hold out hope of change. 

I have known since I was young that talk of "destroying the Earth" is pure hubris. We are a blip on this planet and, whatever we do, it will continue and repopulate itself with new organisms, new diversity. We are here now, for this moment, and have a choice of how to treat our home and the creatures we share it with, a choice for the legacy we leave our children and grand children and great grand children. 

Still, as the cartoon says, for a brief glorious moment we had great shareholder value. 

Increasingly, I think I'm on the side of the David Morse character in 12 Monkeys.

Book review: A Man Lies Dreaming by Lavie Tidhar

 Wow.

As Tidhar's novel opens it seems to be an alternative history. We are in London in November 1939, but Europe is not at war. In this timeline, the Communist part took power in Germany in the early 1930s leading to disruption and many refugees fleeing to Britain, where Oswald Mosley's British Union of Fascists appears on course to win the election fuelled by anti-immigrant, -communist and -Jewish rhetoric.

One of these refugees is a man calling himself Wolf, who is working as a low-rent private eye. He hates the whores who work in the alleys near his office/apartment, he hates the kindly old Jewish baker who rents him the room, he is constantly bitter about The Fall, as the collapse of Germany is referred to and, especially, about how close he himself came to power. In best noir style, events are instigated by the arrival of a beautiful (Jewish) heiress at Wolf's office.

The tale switches between Wolf's journal - where we get his observations and thoughts, often distasteful, sometimes humanising as he remembers the past events that shaped him - as well as the observations of someone who refers to himself as the Watcher, clearly a disturbed individual even before he takes action, some third person narration - and the reveal that the story of Wolf is being told inside the head of Shomer, a Jewish pulp fiction author as he endures the horrors of Auschwitz.

Tidhar masterfully weaves a fine noir detective story, made powerful by the frame and characters. The description of Wolf losing his temper and shouting and spitting in rage would be enough to tell us who he is, even were we not given other clues. In his investigations, he looks up his former associates - notably Goebbels and Hess, both having "sold out" - but we also see Ilse Koch, Klaus Barbie and Josef Kramer. Along with Mosley we meet his wife Diana and her sister, Unity, both fervent Nazis. Wolf bumps into Leni Riefenstahl, now an up-and-coming Hollywood actress (this giving us one of several surprisingly funny scenes, where Leni tells him she is filming a sequel to The Great Gatsby where Gatsby (played by Humphrey Bogart) had become a gun runner before retiring to run a bar in Tangier where she, playing Daisy Buchanan, finds him, before the scene ends with Leni, tearfully, saying "We'll always have Nuremberg, won't we, Wolf?")

Shomer, in his mind, puts Wolf through many humiliations and degradations but is unable to avoid giving his character humanity, for all the seething bigotry that drives Wolf's hatred and violence.

I don't tend to read fiction about the Holocaust; I know the details, I've read and seen much non-fiction, as well as the great Primo Levi and don't feel the need to descend into that place again, but in embedding the story in this way Lavie Tidhar casts light on those events, and on the experience the refugee and the foreigner and the other, as well as the perpetrators. (To be clear, I am not feeling in the slightest forgiving of or sympathetic to Hitler, or the others, but the character of Wolf in this novel goes through a journey that might just allow a measure of redemption). The rise of Mosley and the crowds that welcome him with anti-Semitic chants also draws a parallel with the return of the far right in our own time - although it was published in 2014, I couldn't help but see echoes of the events of Charlottesville in 2017 and those "very fine people on both sides".

A Man Lies Dreaming is a stunning novel that has left me shaken and moved, and will stay with me for a very long time indeed.

Book review: Sixteen Ways to Defend a Walled City by KJ Parker: Grimdark with jokes

I’ve been reading Tom Holt since Expecting Someone Taller in the early 90s, and KJ Parker since stumbling across the Shadow trilogy in the 2000s, and wasn’t aware for a long time that the latter was a pseudonym for the former - or, to be more contemporaneous, that many people suspected KJ Parker was a pseudonym for a well-known writer, and there was quite heated discussion within the community as to their identity.




Not that I’d have been that interested - I’ve always been more interested in the work than the personalities behind it - but I don’t think I’d ever have linked the authors. Holt’s funny, frenetic, while learned and very English style seemed (to me) to bear very little relation to Parker’s dark, foreboding, intricately-plotted tales of individuals fighting fate and obsession to a level that changed the course of nations. Indeed, it didn’t even occur to me to compare the two until a friend mentioned the potential connection.




I mention this because this is the first KJ Parker book I’ve read that has been written since the connection has been acknowledged, and I don’t think it can be coincidental that, in many places, this seems like a blending of the two styles. Mixed in with the story of the military engineer colonel, a former slave and displaced person who has risen through the ranks of an imperial army due to his skill and knowledge but is no soldier, much of the tone is comic; Orhan ( the protagonist in question ) from the start feels out of his depth, apparently muddling through a situation where disasters seem to be multiplying exponentially. The difference in tone to the Scavenger and Engineer books, with their pace driven by the protagonists’ obsession and friction between destiny and self-determinism, could hardly be more marked.




Early on, I confess that this tone kept my opinion lower than it might have been - I’m certainly not against levity in grimdark fantasy ( the master of this is Joe Abercrombie who can take you from belly laughs to stark horror and back again in the space of a few pages ), so perhaps the fault was in my own comparing of the evident clash of styles.



Soon enough, however, I found myself entirely carried forward with the story. Orhan and his regiment of engineers find themselves at the capital city of the mighty Robur empire ( there are many references to classical Greece, Imperial Rome, Constantinople - and I’m sure others I missed ) just as things seem to be falling apart, and Orhan may be the only hope of saving it. Or at least saving the city. Or at least saving his friends. Or at least saving himself.




The tale is pure KJ Parker - overwhelming odds, intricate and surprising plotting, moral ambiguity, incredible detail on technologies of carpentry and metallurgy and siege-craft without detracting from the story - shot through with humour, almost entirely based on the fact that we see it all from the point of view of a character with both too little belief in his own brilliance and the knowledge - or arrogance - that only he can save the day.




On top of which, because Parker/Holt is a very good writer, we have multiple themes of privilege - sexism and racism, especially based around the fact that Orhan is a “milk-face” northerner, facing prejudice and legal restrictions amongst the dark-skinned Robur ( especially due to a scene at a drinking fountain, I’m confident that this is purely an artistic choice and definitely not some “whites are the real oppressed people!” shtick. This shouldn’t even need saying, but have you seen the world? ) and, especially, the meaning of loyalty and friendship and belonging.




Perhaps secondary characters are well-sketched rather than fully formed, although this can be excused as the whole book is from Orhan’s first-person viewpoint - and the author cleverly plays with our expectations when we find he has, indeed, been dictating the story to a scribe - but this is a fine example of modern fantasy, exciting and referential and thought-provoking. I reckon any expectation of style is entirely on me and, frankly, it must be pretty bloody difficult to keep up the level of grimness from the earlier KJ Parker trilogies.

Story review: Clover by Charlie Jane Anders: Transformation, luck & beauty

This is an utterly beautiful little story, a perfectly worked gem. A mostly black cat is gifted to a young couple with the promise it will bring luck, and things seem to go well - not miraculously well, but a steady streak of progress in their respective professions. Nine years later, to the day, another cat is delivered as a companion for the first. The first cat, Berkeley, doesn't seem to take to Clover and this disruption begins to reverse the good fortune of the previous years.



Charlie Jane Anders give this a fairy tale cadence throughout, which works perfectly. The unexpected gift of cats from strange men is odd, but within the tone this is not too strange to be accepted. Perhaps it is the cats, but there are hints of Murakami and, perhaps, Charles de Lint.



The tale itself is simple, that of a couple facing the ups and downs of life together, the one from whom we get the POV questioning himself when things go awry and paralysed with fear, unable to communicate. What makes it sparkle is that handling of tone and detail; the characters are minimally but artfully sketched with small details, and is the world. This is clearly a fantasy tale - as I say, a fairy story, with strange people delivering cats that (may) grant luck and may not be cats at all - but the brushed mise en scene suggests a world that is barely tomorrow - increased displacement of refugees, violence and intolerance. Actually, as it was published in 2016, perhaps we are in that tomorrow.



The whole is filled with compassion and flair and magic. We are left with lose threads but this is fine as they are part of the richness of the tapestry, and an acceptance that not having magical, external luck is simply normal life. If that maneki neko actually was any more than a placebo after all.



I see that the story is marked as All the Birds in the Sky 1.5. I've had that on my shelf for awhile, so I think it is due a read.




Original review at goodreads
https://www.goodreads.com/review/show/2673995901

Book review: Prisoners of Geography by Tim Marshall

Tim Marshall presents an interesting book showing how, in so many ways, geography is destiny, how climate, along with access to arable land, navigable rivers, and suitable coastal seaports determines the level of success a nation can achieve and indeed - along with the seas, rivers, deserts and mountains that border it - the reasons a given area will even become a nation.



This in itself should not be especially revelatory - in his wonderful Guns, Germs, and Steel: The Fates of Human Societies Jared Diamond give an extraordinarily well argued case of how these factors have shaped the history of humankind, and Marshall references this - but here the writer gives ten specific examples, focusing on recent history, current geopolitics, and the future. He is making the point that these factors seem to be something we have forgotten, that we have been blinded by the power of technology and how much it has shrunk the globe but, in fact, power - either economic or military - still relies on moving large amounts of material by land and/or sea.



He covers such things as Russia's lack of a warm-water port and single point of easy land access to Europe via the Northern European Plain and how this explains that Putin's focus on Ukraine is at least as much tactical as ideological. Why India and China have never had a major conflict, separated as they are by the greatest mountain range on Earth. Why any talk of a Latin American great economic power is premature to say the least, due to the all but insuperable terrain and, well, that it's just so damned far from the rest of world. How, once it gained control of the landmass via clever dealing/luck/genocide the United States was almost guaranteed dominance due to the terrain, climate, and positioning. (As an aside, he points out that annexing of Texas in 1836 was a close thing; how much would an opposite outcome have changed things?)



Marshall writes with clarity but, surprisingly given his pedigree as a journalist, rather drily. Perhaps this is a stylistic choice to let his assertions speak for themselves and grip the reader, which they generally do. While he mentions trade rather a lot, and food production and water availability, his focus is largely on how geography affects military movements (Russian tanks across the aforementioned Northern European Plain, Chinese warships through the Straits of Malacca, etc) and the transport of oil and gas. That this last currently tops all else for importance is difficult to argue with - the modern, and modernising, world runs on energy and fossil fuels are currently cheap and plentiful and (barring the increasingly obvious side effects of their use) incredibly efficient. Marshall seems to be implying increases in fossil fuel use - references to expansion of fields in South America, Africa, and the Arctic in particular - and not only is this depressing but his predictions barely touch on the effect of this use, and don't seem to account for the changes in climate in sea levels that they will bring.



This edition was revised in 2016, and I was constantly reminded of how some things have changed since publication. That Crimea is now part of Russia a startling but minor change. What kept leaping out were the points when discussing US influence around the world. For instance, in the sections on China and Korea & Japan, much was made of China's aggression nautical expansion and the pressure it is putting on its neighbours - throwing money at Pakistan and other places to develop friendly ports, or the threats toward South Korea, Japan, Taiwan and the rest. The author regularly states that there is no percentage in countries switching allegiance despite China's best efforts while the US has their backs, and I could not help but think of Donald Trump's systematic dismantling of American diplomacy and soft power. OK, he may be out of the way in two years (or less!) but trust is easily lost and difficult to regain. When faced with both carrots and sticks from the new Asian proto-superpower and uncertainty on the reliability of the existing American one, it may not be a difficult decision. After all, to refocus and repurpose a quote from the book, "Beijing is close, and Washington is far away."


3.5 stars

Book review: Gnomon by Nick Harkaway: Catabasis for Democracy, with Shark

I'll admit up front that Harkaway's debut, The Gone-Away World, is one of my favourite books and his subsequent novels aren't too shabby either, but his fourth is quite remarkable. It is set partially in a near-future Britain run by the System, a data network that both organises the citizenry into an active direct democracy and keeps their lives efficient and safe. Data privacy is a thing of the past; you can query someone's identity and life by direct access to the System and Harkaway skillfully shows how this affects social mores.




This set up, of course, immediately makes the hairs of discomfort prickle on the napes of our necks; whether liberal or conservative or whatever mix, such phrases as "if you have nothing to hide you have nothing to fear", "Those who give up liberty for safety, deserve neither" and "Panopticon" cannot help but spring to mind, thought the author does an excellent job of being even-handed in his presentation of the view.




The book starts with a death of a subject in interrogation by the Witness, the security arm of the System. This is presented as a unique occurrence, and immediately taken seriously and handed to the talented and driven Inspector Mielikki Neith. The manner of the interrogation is disturbing and reinforces fears about the ubiquitously invasive arm of the state, but this is leavened over time by the seriousness with which this event is treated and, well, by the fact that the System seems to work, and seems to be benevolent and effective.




I had said the book is set partially here. We soon are introduced to narratives which seem entirely unrelated - centred around a brilliant Greek mathematician who, following personal tragedy, has turned his skills to the stock market; the former lover of the 4th/5th century Bishop Augustine of Hippo, herself a philosopher and alchemist; and a talented Ethiopian artist who (barely) escaped his country for England in the political chaos following the fall of Haile Selassie.




Each thread is superbly written, capturing the differing voices and setting and moods. The writing contains a density of allusion and meaning and texture - yet with a lightness of touch - that immediately brought to mind Umberto Eco or Neal Stephenson at his more focused, and Paul Auster. It seems clear that these stories cannot be divergent and Harkaway indeed begins to weaves threads between them, though some of the clues turn out to be fish that, at the least, seem to be scarlet in certain light.




In weaving the threads together we are treated to an exploration of liberty versus safety and convenience, public transparency and the dangers of the malicious hacking of the democratic process (I cannot possibly imagine where that last idea came from...) but, as well as the clues to the central mystery, the nested narratives also show real human stories of tragedy and love and loss and betrayal and reconciliation and hope. There are also some beautiful metaphors about books, and the power of good ideas and arguments to succeed by literally changing the person who hears them.




This novel is a tour-de-force, brilliant and important and a bloody fantastic read. It could be argued that, toward the end, Harkaway explains things a little too clearly and leaves less ambiguity than Eco or Auster would, but this is, I think, due to the wider audience for whom he is writing; frankly, this book already asks a great deal of the reader and such ambiguities on top of that are not to the taste of a lot of people. However, this book deserves plaudits and huge sales and awards scifi and literary alike. It will stay with me for a long time and I am sure that, when i re-read it, I will find layers I missed this time around.




A word on format. I read this on my Kindle, partly as the 700 page paperback appears to be printed in 8-point font (yes, the info page says 11.5-point, but I suspect that to be the System gaslighting me) and found this all the more useful as I could immediately check unfamiliar words and references. If you are reading a hard copy and don't have a thorough knowledge of Greek mythology, I suggest keeping close to wikipedia.



( originally published on goodreads https://www.goodreads.com/review/show/2059658585?book_show_action=false&from_review_page=1 )

Book Review: Gods, Monsters and the Lucky Peach by Kelly Robson: Eco-punk, time-travel, business & politics

A wonderfully fresh, inventive, lively and thoughtful read.




We are at some point in the future where humanity seems to be rebuilding itself following various disasters, largely ecological one of our on making. I say "seem to be" because Robson never states this, just has the characters allude to things in their history - or, rather, things in their present that hint at the history. This naturalism is one of the things I loves about the writing, the way the ordinary interplay of the characters builds a vision of the world for us. Which works, at least in part, as the characters are so well drawn.




The two main characters are Minh, an old-guard ecological systems designer who moves around on six tentacled prostheses instead of her 'natural' legs and is of the generation who have gone through the hardships of trying to recolonise the surface after decades of subterranean life and Kiki, a young, ambitious engineer who initially idolises the older woman.




One of the conflicts of the book is that the banks, who had made money through investing in recolonisation and the surface habitats (and seem to hold everyone in massive debt; an ongoing theme is how all the characters just seem to accept crippling levels of ongoing debt as part of existence, a comment on student debt in the US and elsewhere I assume) are turning their focus to the lucrative business of time travel.




Minh and Kiki are part of a team hired to travel back to the Tigris basin, around 2000 BC, to take environmental samples to bring back to the present. There is conversation that this real work of time travel is being minimised due to pressure to take tourists (critique of the distorting effect of commerce on pure science), but i was never quite sure what the end-game of the mission was. I had thought it was to find hardy specimens to help restore the ravaged planet, but there was later reference to changing history.




I loved the layout of the book, each chapter beginning with a short segment from the viewpoint of the king and priestess of the small civilisation of the Tigris as they begin to see changes brought on by the technology of the visitors - the new stars of communications satellites, for example - followed by the building of the main tale.




Very much worth a read, and I look forward to more from Kelly Robson

Book review: A Murder of Quality by John le Carre: Smiley goes Sherlock

This is an odd entry in the works of le Carre, chronicling the later life of George Smiley. Following the events of Call for the Dead Smiley, no longer with the service, is living a quiet life in London. He is contacted by an old colleague about the a letter she has received from the wife of one of the masters at a venerable Public School (that is, a very old, expensive and exclusive private school) in Dorset, in which she states the fear that her husband is intending to kill her. Smiley calls another master there, the brother of one of his late friends, to find that this woman has indeed been murdered, so travels down to hand the letter over to local detectives and becomes embroiled in the investigation.



So, this is George Smiley as a free agent, outside the Circus. It seems that le Carre may have been toying with setting his character up as a detective - more Father Brown than Sherlock Holmes, although there is something Holmesian in the way the plot unfolds, with Smiley's vast, if ponderous, intellect processing all the details and building a picture nobody else can see. There is also something of Agatha Christie about the layers of upper-class English manners and class distinctions, in this book those stratifications are precisely the point rather than being, as with Christie, simply the medium on which the puzzle of the plot is hung.



It is clear from early on that this is a blistering attack on the British class system and the snobbish, restrictive forms, rules and structures that protect those at the top - something the author confirms in both the original afterword and a new one, added to this edition in 2010.



In this, le Carre also acknowledges the book's shortcomings as a thriller (although, by modern terms, I would not class it as a thriller at all, but a mystery) and this is indeed true, perhaps largely as it comes between his excellent debut and The Spy Who Came In from the Cold, which may be the finest spy thriller ever written. The novel is very old-fashioned, some of the supporting cast are fairly flat sketches, and some of the attitudes - especially those toward women - are very much of their time (although that balanced against some very progressive notions) but he already shows his eye for detail and ability to infuse a scene with colour and meaning (even if most of colours are the shades of grey of post-war Britain) and, despite the flaws, this gripped me enough to read in three sittings.



Now, I am very much looking forward re-reading The Spy Who Came In from the Cold.

Book Review - Mothership: Tales from Afrofuturism and Beyond, edited by Bill Campbell

In recent years I've been making an effort to read more broadly, and my encounters with Octavia E. Butler, Nnedi Okorafor and N.K. Jemisin have brought me into the sphere of Afrofuturism. I'd been yearning to delve deeper so this seemed the perfect find



I'm aware there is much debate about what exactly Afrofuturism is, and the "and Beyond" of this title should have suggested to me that editor Bill Campbell trawls his net widely; there are the kind of thing that I might have expected (although somehow I expected nothing in particular, and thought myself wide open, clearly I carry the cultural baggage of of a certain age and ethnicity and gender and geography and class and experience, so the stories that showed a standard SF future but with a Afrocentric slant, or some variant from a past less dominated by European colonialism - or simply from a point of view not rooted in that history.



That would have been plenty to both sate and whet my appetite, but there is more here. It is almost misleading to call this anthology Afrofuturism (if that is the use of a fashionable term for attention, it is forgivable); this is a collection of fictions of inclusion, of voices of groups marginalised in art and culture, their voices and viewpoints. This collection is a shining example of the joy of exploration beyond one's usual boundaries. The standard of the stories is superb (not every single one to my taste, for instance the few ultra-shorts, but I am not really a fan of flash-fiction) and there are a handful of tales that took my breath away - those by Victor LaValle, N.K. Jemisin, Ernest Hogan, S.P. Somtow, Junot Díaz - and I'm sure others I'm leaving off- were the highlights.



One of the joys of anthologies is finding writers I may not have otherwise come across, and this has certainly opened my horizons. It is a perfect illustration of two of my favourite quotes:


"Reading is an exercise in empathy; an exercise in walking in someone else's shoes for a while." Malorie Blackman

“Fiction gives us empathy: it puts us inside the minds of other people, gives us the gifts of seeing the world through their eyes. Fiction is a lie that tells us true things, over and over.” Neil Gaiman



So read widely. Read people who are not like you. Read people who have different experiences, different histories, different outlooks. Read colour, read gender, read sexuality.



Read difference.





( originally posted at https://www.goodreads.com/review/show/2396430194 )

Review: Dirk Gently season 1

I’ve just watched the first series of Netflix’s Dirk Gently, and I enjoyed it a great deal.

But.

But I have many problems with it. Let’s start with the positives. Some good performances, nice script (way better than the Will smith movie Bright, that Max Landis also wrote), along with lots of wackiness and a good plot, which reflect the source material, along with a violence and darkness that doesn’t necessarily, but was well handled. I really loved Bart the Holistic Assassin, superbly portrayed by Fiona Dourif.

And, I confess, most of my problems are in other ways that the series diverges from the Douglas Adams books on which it is loosely based, so can be viewed as purist ire which I am not denying.

The first is actually fairly minor, in the annoyance level anyway. The character of Dirk Gently is played wonderfully by Samuel Bennett as an wide-eyed innocent, socially inept almost to the level of autism (although the innocence part is slightly punctured at the very end). This is so very at odds with the character as written I found it to be quite jarring - a problem I recognise someone not coming to the show via the books wouldn’t have. Adams’ books have Dirk as an amoral, conniving - if charming - huckster - saved by the fact that his madcap theories of Holistic Detection actually work out (mostly), but who is nonetheless entirely in it for the money and seems to take pleasure in conning people. I can see why here they went for the safer option, but it does take away from the depth somewhat.Some of this amorallity was transferred to the sidekick - but, even then, only as something in his past which became a rather sick-making and obvious moment of character growth, completely with strings in the background music.

Another divergence is to make Gently’s powers, well, almost like a superpower while In the books (I am sorry, I know I shouldn’t compare different media) it is a talent he has that he can more-or-less stumble onto the right thing. I know that sounds like a minor change, but the way this is presented in this TV show makes it much grander, and also emphasis a kind of intractable fate while Adams, an arch-skeptic, makes it quite clear that it is NOT fate, merely chance, that ties everything together. Dirk just ‘has the knack’ of being in the position where these chances combine. Added to this, the ‘secret government organisation’ to which Gently is connected was so very out of place as to be pointless.

There was an adaptation a few years ago on the BBC, with the Stephen Mangan playing Dirk Gently as brilliantly as he does everything, which was utterly pitch-perfect. As well as being underfunded and hidden away on BBC2 at some ungodly hour so hardly anyone was aware of it, never mind watched it, comparing the two shows the potential strengths and weaknesses of the sort UK and longer US series formats. In the UK everything has to be tight and to the point and serving story and character, but the viewer barely has time to get into it (especially when it is cancelled so soon), while the longer series allows development and exploration of the world and the characters, but can lead to unnecessary padding and extraneous levels of plot that can sometimes take away the focus.

Don’t get me wrong, I really enjoyed the series and will be watching season 2 - possible in just a couple of sittings - but I reserve the right to hold an original book and BBC adaptation purist grudge.

Book Review: Voices (Annals of the Western Shore 2) by Ursula K le Guin

Le Guin is rightly famed for her novels of the late 1960s and the 1970s such as the Earthsea books, The Dispossessed, The Left Hand of Darkness, but she has never let up and has been a force in science fiction, fantasy and indeed literature for almost 60 years now. This, the middle volume of the Annals of the Western Shore, shows just why; she writes prose as lucid and powerful as almost any writer I can think of, characters that walk the line between tale-tellers archetype and fully three dimensional human beings, and infuses the whole with a humanity and relevance that is breathtaking. She writes great stories that are made epic by the inclusion of a meaning that is apparent but never heavy handed, that never overwhelms the tale but lifts it.



Voices finds a great, ancient city of learning that has been subjugated for seventeen years by a foreign power whose singular god considers any other deities to be demons and any books or writing blasphemy, and a girl - child of a violation during the invasion - who has grown up tending the remains of a secret library and is witness to, and instrumental in, a great change.



As wonderful as the first volume, Gifts, leaving me a little sad that there is only one book remaining.

Book Review: The Rook by Daniel O'Malley

I started off rather enjoying this, but it frankly became a something of a slog. The setting is a present-day Britain where, within the government, there exists a shadowy organisation known as the Checquy. It has existed for many centuries and is made up of ‘talented’ individuals, usually recruited as infants and raised to serve and protect the British Isles. Think X-Men meets Charles Stross’ Laundry Files meets Harry Potter.


We start with Myfanwy Thomas coming to with no memory, surrounded by bodies, in a London park. At least, the letter in her pocket tells her that’s who she is - or, rather, that is the identity of the body she inhabits. This missive and the trail of information she follows are written by the ‘real’ Thomas, a highly placed administrator at the organisation, who has received several telling prophecies that she is to die and her body is to be re-inhabited by another. What’s more, it is another member of the Checquy ruling elite who is responsible.


This is an intriguing idea, a nice fantastical twist on the venerable DOA motif; the crime has already been committed, and the first person narrator is trying to find the perpetrator. And it starts well enough, building the new Myfanwy’s character, with all it’s unmoored uncertainty as she struggles to fit into this life at the same time as investigating the ongoing crime - because, of course, her predecessor’s obliteration is part of a grander scheme.


This was one of the first sour notes. Once she begins to interact with the other members of the organisation, with all their strange powers and arcane knowledge, people  barely bat an eye at her sudden change of character. These are people who know there are individuals and organisations with powers exotic and powerful and multifarious, but don’t consider that this highly-placed officer might have been replaced by an imposter? However, I reinforced my willing suspension of disbelief and rejoined the ride.


Unfortunately, my perseverance wasn’t rewarded. While there are many excellent ideas embedded within the story, it needed more thought and, quite honestly, a good deal more editing. Increasingly problematic are the notes left by the original Rook Thomas for the replacement; the original purpose of these is to guide her substitute with the information she has managed to glean prior to her own ‘murder’. As this seems to be building toward something the reader can’t help but think “why not just skip ahead and find out what’s going on?” but then the author begins to pad these epistles out with stories of Thomas background which, while arguably interesting backstory, are entirely inappropriate and act as massive info dumps, a terrible example of the writer feeling the need to show their working.


I confess that I started skim reading, also encouraged by a tonal monotony and the fact that the writing just wasn’t executed well enough to carry the whole thing off. When a big action scene and reveal  left me yawning I knew I wasn’t going to continue with the series. There’s definitely potential here, but the whole needed tightening up.


Originally posted on Goodreads https://www.goodreads.com/review/show/2070889433

Book Review: House of Leaves by Mark Z. Danielewski: may's amazing maze, a paradox of pages

Wow. Where to start?


Very little can clearly and definitively be stated about Mark Danielewki’s book; it is dense and confusing, it is playful and frustrating. It is a work of either genius or a huge illusion of smoke and mirrors. I certainly lean toward the former.


The story of the main text is that of a supposedly famous film by Will Navidson, a celebrated photojournalist, settling down from his travels on assignment around with world with his partner and children in a house in Virginia, only for a strange hallway to open up in the house that seems to defy both the dimensions of the building and the laws of geometry. It is this central plot that leads the novel (some would even argue with that noun although, while he plays with the form and stretches it, a novel it certainly is) to be filed under ‘horror’.


This text, however, is being presented as an unfinished manuscript by a blind author Zampano, discovered and edited by one Johnny Truant, an Angelino apprenticed at a tattoo parlour in the city. Johnny’s footnotes become longer and more invasive, appearing often to have little to do with the text and frequently running on for pages at a time - on top of footnotes by the mysterious Zampano, so Johnny’s footnotes are often secondary, and become increasingly nested, to the point of absurdity, in some cases leading to appendices which are footnoted “missing”.


This textual confusion is furthered by the inclusion of many quotes from cultural arbiters and experts - interviews with Stephen King and Stanley Kubrick, criticism from Jacques Derrida and Camille Paglia and Hunter S. Thompson - and many others more obscure and, indeed, entirely fictional. Actually, while this film is written about as being a defining cultural moment, Johnny himself has never heard of it. The text and Johnny’s footnotes are presented in presented in different fonts and, as the impossible labyrinth within the house is explored Danielewski introduces increasingly bizarre text layouts - text directionality changing on the page, being printed upside down, notes embedded in the middle of the main text, words being as important for their pattern on the page as their meaning.


So, what is the book about? It could be read as the story of the impossible house, although the reader would have to ignore a massive amount of the book (there is actually a wonderful radio adaptation which does an admirable job of dramatising this aspect), the hallway and labyrinth to which it leads can be read as a metaphor for the problems in the relationship between Navidson and Karen - but Johnny’s story is even more interesting and obscure. One of the appendices is The Whalestoe Letters, correspondence from Johnny’s institutionalised mother, which makes (some) sense of  some of his own background. Do the rest of the appendices add to the tale? The odd poetry and notes and quotes and sketches? I don’t know, but it all feels like it belongs. Is everything David Lynch includes in a script meaningful, or is he sometimes just fucking with us? Even if he is, if it still adds to the stor, it still belongs.


Some of Danielewski’s influences are clear - I see Borges and Calvino and Alasdair Gray, and I know there are many, many I miss - but the book is so beautifully constructed, so much its own thing (and so knowingly self-referential) that reference spotting never spoils the ride. I have no doubt that this is a work of utter genius to which i will return, if only to see what I’ve missed on a first reading.

Book Review: Yellow King Tales volume 1: solid pallor and a tattered robe

After finding the recent Pulver edited anthology A Season in Carcosa a very mixed bag, I thought Id try this collection by the man himself. It starts very, very strongly; the first five stories are gloriously creepy and scary, modern-set noir-tinged Yellow King tales fraught with menace and madness, utilising many of the tropes of Chambers' original stories to stunning effect. Publication dates aren't listed for individual stories, but I can well imagine these were an influence on the original True Detective TV show.


Unfortunately, nothing else in the book hits that level of quality. There are many good stories but, for me, nothing great and frankly too much filler. Part of the problem was, perhaps, reading it as a block rather than dipping in, as Pulver's reliance on Cassilda and other fragments from the Yellow King play becomes somewhat repetitive.


In many of the stories the author also writes in a style that is neither prose nor poetry (or possibly both), going from normal block paragraphs to

setting out
the words

in

poem-like


forms/that/use

white                                                  space


and make use
of

punctuation{in}odd[and]
experimental ways.



I didn't find this very effective - although, full disclosure, I have never been a fan of shape poems and find stream-of-consciousness writing generally insufferable, so perhaps I'm the wrong audience. The longer of these pieces I found myself scanning through as there didn't really seem to be a great deal of content within the form. There are also a couple of stories that are fine, but then have sudden Yellow King references shoehorned in at the end for no apparent reason, and much to the detriment of the tale.


I will definitely return to Pulver, perhaps trying some of his longer work or something not so narrowly focused as he can undoubtedly be a great writer.

Book review: The Long Way to a Small, Angry Planet by Becky Chambers

In many ways, this is a straight-forward, old-fashioned space adventure. A deep space vessel - in this case, a tunneling ship, used to cut stable wormholes for interstellar travel - takes a job that turns out to be less straightforward than anticipated, and we see how the crew deal with that, and how it affects their relationships. (And I'm not trying to belittle the story or the genre; I know any story, when broken down into its basic elements, seems simplistic).



The difference here from the vast majority of these sorts of stories is the focus. While they usually put the adventure itself in the spotlight and character tension rises from that, Becky Chambers concentrate on the characters and their relationships from the start. We begin by being introduced with a new crew member - Rosemary, who seems very much a surrogate for both the reader and Chambers herself - although the third-person viewpoint quickly diversifies among the multi-species crew so we see events from different perspectives. There is a great deal of introduction to this universe, the GC (Galactic Community? Galactic Council? Something like that) to which humanity is a a fairly recent entrant after leaving a polluted Earth to repair itself and splitting into two factions - those settled on Mars and the Exodans, who live almost entirely in their ships and space stations.



The relationship-focus and the grimy, real-feeling level of the tech - along with a sharpness of wit and dialogue in the writing - are certainly why this book has attracted so many comparisons to Joss Whedon's Firefly although, if anything, here the story takes even more of a back seat to the personalities. The events are largely low-key (about which I am not complaining as I am thoroughly sick of save-the-universe stories) and the 'small, angry planet' of the title, and the main mission, does not even figure until the last fifth of the book - although, I guess, it is a long way there. It is, however, these relationships and the characters that carry the story and set it apart. The characters are fairly well realised and it is these relationships - both with each other, and outside of the family of the crew - that give us the bulk of the interest and peril. And they are very much a family, something to which focus is brought by the mention of the family structure of the reptilian Aandrisk, of whom Sissix, the ship's pilot, is a member. They are born into and raised by a hatch family (of probably unrelated individuals to their parents), choose a feather family - or, rather, a succession of feather families - of like-minded individuals throughout their adult lives, before settling into a more (but not entirely) stable house family to raise young given into their care when they are older. As well as an intriguing social structure that holds echoes of many ancient human tribes, it is a clear metaphor for the friendship groups we build and which are - often and for many people - more important than the families into which we are born.



Along with the very 'liberal' political (both small 'L' and small 'P') - there is no distinction made between binary or same-sex relationships, indeed interspecies relationships are touched upon, and gender issues are foregrounded - I imagine this is the sort of SF that makes the Sad Puppies rabid. So, kudos to chambers for that.



However, this is 'just' about gender politics (in fact, i'd say it isn't about gender politics at all, but I guess, unfortunately, taking the position that who you love is no big thing is a political stand). The theme of the book is about identity - those relationship identities, yes, but also about what it is to be a person. As well as the personhood of each of the alien races, the status of AIs is one of the big questions that this society has yet to address.



Even if you are perfectly happy with the type of SF that this - which I absolutely am - there are problems with the book itself, on its own terms. The crew of the Wayfarer are a bit too nice to each other - with the exception of Corbin, the stand-offish, persnickety algae tech (one of the power sources for the ship) who nobody else really likes, they all get on far too well with none of the annoyances that you would expect of people living in close confines for long stretches of time. I would have liked to see more interpersonal tension, if only in small ways.



However, Chambers does generally write the characters and relationships well, but this can't be said for some of the physical threats. There is a big action scene near the end that you can almost miss if you're not paying attention - yes, partly there is confusion as it is from the view of the crew who aren't expecting it, but even so the whole thing needed rewriting. But, hey, it's her first novel.



There is a far more important flaw, though. In showing us that all the five species who make up the crew are people, with the possible exception of the wonderful Dr Chef, we lose any sense of their alien-ness, except when it's explicitly stated as with the Aandrisk family structure. Okay, the fact of their personhood, that "we're all the same under the skin", is kind of the point but, for all the diversity in the liberal outlook, this has a homogenising effect that slightly undermines the message. The only species that did seem at all alien were those that were threatening - the Toremi, the civilisation to whom the Wayfarer is travelling, and the militaristic Quelin, who seem to have it humans generally (and who I pictured as the being like the Vogon guard tasked with throwing Arthur and Ford out of the airlock in the TV version of Hitch Hikers' Guide to the Galaxy...) This does seem to leave us with the lazy idea that explicable and similar means friendly whilst different and confusing means an enemy, which I doubt very much is what Chambers intended and, I'm sure, something she'll address in the further volumes. And, again, it's a very hard thing to write, but here it is very, very important.



Oh, and just one more thing. This isn't a complaint about the book at all, but about many of the reviews. Stop calling it space opera, it isn't. Space opera is the grand guignol of the spaceways - it is big storylines, overblown, huge events painted on a massive canvas in broad strokes. Often with fat ladies singing. It is Peter Hamilton and Alastair Reynolds and the sorely missed Iain M. Banks.