Tags: James Tiptree Jr
Here’s something a little different from my usual reviews. Monday marked 100 years since the birth of Alice Sheldon, AKA James Tiptree, Jr., and to celebrate Strange Horizons hosted a discussion of one of the less commonly read Tiptree collections, The Starry Rift. The participants were SH fiction editor and critic Lila Garrott, author and critic Alvaro Zinos-Amaro, and…me!
When I link from here to a review of mine on Strange Horizons I usually try to let it stand on its own, but since this isn’t a review I can’t resist the temptation to put on my reviewer hat for just a second and mention that people who haven’t read Tiptree should probably start with the collection Her Smoke Rose Up Forever and move on to the novel Brightness Falls From the Air. The stories in The Starry Rift are in much the same vein as Brightness Falls. They share their setting with it as well, though not any characters, so it’s a good follow-up for fans wanting more.
Tags: Glen Cook
As I write this, Glen Cook’s Wikipedia article consists of two paragraphs about his life and one paragraph about the Black Company series. That’s not really a surprise given how influential it’s been, but as best as I can count he’s written an astounding thirty-eight other novels. In the cruel reality of the book business, most novels are lost in obscurity the moment they are published, but while this fate is usually amply justified by their quality, there are surely a few babies in all that bathwater. One such was Glen Cook’s standalone space opera novel, The Dragon Never Sleeps, which is just short of a masterpiece. Having so enjoyed the one Cook standalone I had read, it seemed reasonable to move on to his best-known standalone novel, Passage at Arms, published in 1985 and usually characterized as Das Boot in space.
If that sounds appealing, then rest assured, Passage at Arms delivers amply on that promise. The novel is set on board a Climber, a spaceship that “climbs” into another dimension. The farther it goes, the less space it takes up in our normal three dimensions. By climbing far enough, a nine hundred ton spaceship can occupy the volume of a molecule in normal space. This means that it is impossible to detect, but it also means that if an explosion happens even vaguely nearby, it gets jostled by the shock wave. If an explosion happens close enough, the ship can be destroyed. Add in the fact that during the climb, conditions on the ship deteriorate due to heat buildup, forcing the ship to eventually “surface”, and it becomes clear that Cook is using some invented physics to get something that looks very similar to submarine warfare. Instead of going underwater, the Climber goes into another dimension, instead of being menaced by depth charges, it is jostled by missiles, and so on.
The obvious question is, if one is to read a book about submarine warfare, why not read a book about the thing itself instead of something like Passage at Arms that puts its submarines in spaceship costumes like it’s Halloween? Although readers of this blog aren’t likely to be sympathetic with that sort of complaint, it’s not a question that should be lightly dismissed, for it’s the basis of a common critique of science fiction and fantasy as a whole. Admittedly it’s an argument somewhat out of fashion at the moment as mainstream literature goes through a phase of borrowing genre concepts, but Passage at Arms makes for an interesting test case.
First, it should be stated that unlike some space opera based on past precedents, Passage at Arms isn’t an exercise in nostalgia. Glen Cook served in the US Navy (though not on submarines) and one constant across his fantasy and science fiction is his down-to-earth depiction of military life. There’s no glory or glamor to working on a Climber, just hard work, deprivation, boredom, and terror.
Second, Cook is after more than just a recreation of submarine warfare. He’s particularly interested in how men (and the Climber crew of Passage at Arms are all men, though we are told some Climbers are crewed entirely by women) cope with the intense stresses of warfare. A Climber crewman must serve on ten missions, then they are allowed to retire from fighting. Missions rarely last more than a month, so it’s not all that much calendar time, but the downtime between missions can be many months, waiting that takes its own toll. Everyone is acutely aware that Climbers are so often destroyed, whether by enemy action or through mechanical failure, that the few are fortunate enough to survive ten missions. Death is likely, then, but it’s not completely certain, so the men focus on their day to day activities, comfort themselves with superstitions, and cloak the gravity of the situation in euphemisms, such as calling the enemy “the gentlemen of the other firm”.
To better draw a psychological portrait of the Climber crew, Cook uses a narrator who wants to draw that portrait himself. The first person, present tense narrator is a space navy man but one who served on battleships, not Climbers. After leaving the navy, he became a journalist, and now he has requested the opportunity to embed with a Climber crew so he can capture what it’s like. He knows the Commander from the old days, but time has changed them both. The narrator hopes to hold himself apart from the Climber’s crew and just be an observer, but as the mission drags on and the situation deteriorates, he is forced to become more and more of a participant.
The psychological response of men to combat stress is the very core of the novel, but the results are strangely uneven. Cook is absolutely brilliant at the big picture. The mood of the men, the difficulty of their experience, and the diversity of their coping mechanisms are all wonderfully realized. I certainly have no experience with such things, but for me the novel was utterly persuasive. Yet as individuals, the characters never quite come alive. Cook elects to keep the two most important characters, the narrator and the Commander, as ciphers for much of the novel, and the supporting cast are little more than a series of names, differentiated but in ways that are hard to keep straight. The result is a narrative that is gripping and even fascinating, but not nearly as powerful as it might have been had there been just a bit more clarity and a little less artifice.
So far it might seem like I’m dodging the question I said was fundamental, for all this could have been done in mundane historical fiction. But there’s one more element that I’ve purposefully left out until this point: the war itself. I left it out because Cook largely leaves it out of the novel. Although it’s a standalone story, Passage at Arms is set in the same world as Cook’s earlier Starfishers trilogy, so it’s possible such details are explained there. I don’t know, not having read them, but from online summaries it seems they don’t involve the Ulant war at all. Certainly there are none of the accomodations that are usually made for readers who likely (given the mediocre commercial performance of the earlier trilogy) aren’t familiar with the setting. All we get are the absolute essentials: humanity, it seems, is at war with an alien race called the Ulant.
Who are the Ulant? Why are they fighting humanity? What will happen if humanity loses? These questions aren’t really answered, beyond the narrator’s aside that they are “guys pretty much like us, only a little taller and blue, with mothlike antennae instead of ears and noses.” To the men fighting it, the war just is. Their lives are lived in present tense, just like the narration. They don’t want to think about the the past, full as it is of things lost, or the future, where they will likely die before their time.
This is where the use of science fiction becomes apparent. For most readers today, it is nearly impossible to think of World War II as anything other than a morality play. There’s Good Guys and Bad Guys. Even if the Good Guys aren’t always as good as we’d wish and the Bad Guys weren’t all as bad as their leaders, in the end it’s most people’s first (and sometimes only) example of a just war, a war where a soldier might give his life and have it really mean something. But in this respect World War II is by far the exception, not the rule. By setting his story amid a war between humans and aliens, Cook is able to tell a story in the simplest of terms. Us vs. Them. We are humans and so can readily identify with the characters, but are they the Good Guys? Is it a just war? We don’t know, and Cook’s point is that to the men on the Climber, it doesn’t matter. They didn’t start the war and they can’t end it either. All they can do is try to survive, and that means doing their job and somehow being lucky enough to live through ten missions.
Its opaque characterization means Passage at Arms isn’t a complete success, but it’s one of the best and most psychologically realistic novels of space combat I’ve ever read. Its focus is too narrow for it to be universally recommended as a must-read for any genre fan, but it’s well worth the time of anyone interested in the psychology of combat.
Tags: Neal Stephenson
When I started writing this blog, I had a strong preference for writing one review for a trilogy, not three reviews of the individual books. Most trilogies, I felt, were intended to be one work and should be evaluated as such. I’ve learned a lot about reviewing and my tastes have evolved in the intervening…yikes…eleven years, but I still like reviewing series together.
Wait long enough, though, and an exception will arrive. Seveneves is not a trilogy, it is a single novel. It’s long, but maybe not quite so long it could be split into three books. Nevertheless, it is easily divided into three parts, and these three parts really deserve to be considered separately. As a novel, it is rather less than the sum of its parts.
Neal Stephenson has a mix of registers, so it might help to note at the outset that Seveneves is told with the relatively dry, restrained prose that characterized Anathem. Stephenson is never entirely without humor, but this is far from the over the top fireworks of Snow Crash. Also like Anathem, much of the appeal here is in the detailed worldbuilding. The difference is that instead of Anathem‘s exploration of philosophy and quantum mechanics, Seveneves wants to look at the challenges humans face living in Earth orbit, now and in the future.
The novel opens with the unexplained explosion of the moon. Stephenson does his best to signpost the fact this will never be explained and follows through on that promise, something which feels a bit unsatisfying at first but doesn’t prove a serious obstacle. The moon explodes, and after just a bit of wondering, the focus is on what humanity is going to do about the significant amount of lunar material that is about to rain down on the Earth’s surface and render it uninhabitable for thousands of years.
The first third of the novel depicts humanity struggling to belatedly create a vast space program to get someone, anyone permanently into orbit where they can continue the species and recolonize Earth when the surface is once again inhabitable. I’m not a physicist, but there’s a lot of scientific detail here that sounds fairly convincing. The geopolitical details are less believable, but there’s a decent story here.
It’s a bit flat, though. Stephenson’s never been known for his characters and won’t change his reputation with this novel, but this section necessarily spends a lot of time setting up different characters and trying to get us to empathize. Mileage will vary, but I never cared all that much about any of the cast. The whole thing has a surprising (given what is actually happening) lack of urgency. Humanity is facing a doomsday clock counting down to the death of the entire species and the characters sort of putter around ineffectually.
The problem, perhaps, lies in Stephenson’s choice of characters. Foremost among them is Dr. DuBois Harris, a popular astronomer (and really a thinly disguised Dr. Neil DeGrass Tyson). At the beginning of the novel, the narrative allows him (not very plausibly, given he’s not a full-time scientist) to kind-of discover the implications of the moon’s explosion and (also not very plausbily) to brief the President of the United States, Julia Bliss Flaherty. But in the events that follow, he’s a bystander, called on to explain to the public what is going on and to appear at ceremonies.
The other main viewpoint character is Dinah MacQuarie, a robotics engineer who happens to also be an astronaut on the International Space Station. As one of only a handful of astronauts on the ISS at the start of the novel, like DuBois she is theoretically involved in the space program, but in practice mostly an observer as ISS is rapidly built out around her.
What’s missing is any perspective on the tens of thousands of scientists and engineers who are surely pulling 80 hour weeks to create a crash space program that might barely save the species but won’t save them or their families. Stephenson’s choice of characters seems to reflect an interest in political hypocrisy, for DuBois and Dinah are both public figures who present a false image of themselves on social media. But this theoretically promising subject never develops into anything interesting. Both characters feel vaguely bad about it but decide it must be done. Each one also gets a bland romance as well for a smidgen of personal drama, but then it’s back to watching the space program happen around them.
Don’t get me wrong, the space program is pretty interesting. Stephenson has thought a lot about it and few science fiction readers will not find it amusing–perhaps even fascinating, depending on their interest in the subject–to watch him spend national treasuries on rockets and fly them around.
The second part of the novel is set entirely in space after the disaster is fully underway and depicts the embattled survivors trying to overcome a host of obstacles both political and environmental. The on-screen cast grows to include a broader range of stereotypes: the tough Russian, the lying, self-centered politician, the honest but naive scientist, the hard-working engineer.
Throughout this part there is an ugly undertone stemming from the lifeboat morality of the entire space program. If only a few can be saved, who should be chosen? Why, surely it is the scientists and engineers, the same people who are always valorized in Neal Stephenson novels (and in science fiction more generally), since their skills are needed to keep humanity alive! The story swiftly creates a division between Good Guys, who are the conscientious scientists and engineers just trying to make everything work and who, it doesn’t let us forget, deserve to be there, and the Bad Guys, who get in the way by cynically trying to get power for themselves. The bad guys are without exception people who, in the view of the narrative, don’t deserve to be there. This includes the US president, who used her power to secure herself a place on the lifeboat, but also most of the young people who weren’t part of the initial effort to bootstrap the ISS. These theoretically deserving people were chosen by a political process and therefore are suspect as well.
It’s bad enough that you took some deserving scientist or engineer’s spot, the book seems to say to these newcomers, so be grateful you’re here at all and do what your betters tell you to do. Because in one of the least likely decisions among many improbable elements, Earth authorities (first among them the conniving, dishonest US President) put scientists in charge of the space colony. They benevolently rule from the ISS while most of the survivors are spread out among a trailing swarm of small spacecraft. When the political situation decays and the swarm refuses to accept the authority of their masters in the ISS, the narrative blames this on the swarm’s naivete and the machinations of the cartoonishly evil US president. No blame whatsoever is assigned to the allegedly charismatic leader of ISS Markus Leuker, to his chief lieutenant Ivy, or to DuBois, who is supposedly a great communicator but makes almost no effort to keep the ordinary survivors informed and then is shocked, shocked when they fall into believing pseudo-scientific plans. It’s not the leaders’ fault, the book seems to say, because ultimately these are well-intentioned Good Guys who are so good they can’t even conceive of anyone else not sharing their benevolent goals. They’re no match for the vast self-centereness and political superpowers of the US President.
Yet in spite of all this, the second section of the book develops into a very compelling story. After the surprisingly low-key and unreasonably upbeat first third of the novel, out of nowhere the second section takes an incredibly bleak tone. Not only do we finally see that Stephenson isn’t going to give Earth any salvation, we also experience firsthand just how terrifyingly dangerous it is to spend any amount of time in low Earth orbit. Micrometeorites rupture hulls, supplies of food and oxygen-creating algae dwindle, and people are poisoned by radiation from the sun, Van Allen belts, and their own spacecraft. Mistakes and accidents compound and the survivors’ situation gets worse to the point that all hope is lost. Then, it gets worse again. And then still worse! There are some strange pacing decisions where time skips forward unexpectedly, passing over some major events and allowing some seemingly important characters to die off screen, but what is shown has a propulsive pace. Characters struggle and die, and with each death the end of the human species seems to draw nearer.
This golden nugget of narrative, buried though it is within a clunky shell of infodumps and contrived events, is so good it’s worth reading the novel to get it. Too bad, then, that the last third of the book is an unmitigated disaster. Jumping forward a tremendous amount of time to when humanity is prospering again, it showcases a vast space civilization locked in a cold war. Thousands of years later, it seems the descendents of the previous section’s Good Guys are…wait for it…still the Good Guys. No points for guessing who the bad guys are. The story, which is very thinly distributed now between vast sections that are content to simply describe huge space stations and orbital mechanics, involves a mission to the slightly recolonized Earth to investigate reports of humans who allegedly survived the moon disaster without going into space.
This theoretically interesting investigation plays out tediously and with a minimum of drama. None of the characters believe there could really be any other survivors, but as readers we know there are, because otherwise why would we be shown the investigation? Worse, we already can guess who they are, because in the most contrived part of a massive novel full of contrivances, there are no less than two distinct other surviving groups that were each founded by someone related closely to a viewpoint character on the original ISS.
Readers who are really interested in what enormous mechanisms a far future humanity might build in space might still enjoy this section anyway for the exposition. Certainly the space science struck me, a total non-expert, as almost entirely convincing (the one doubt I have comes from the suspicious repetition of a few pet ideas, swarms and chains). But there’s also a lot of time spent on the dubious social dynamics of the two future societies, and here the worldbuilding is less than convincing.
The first problem is the narrative is obsessed with race. I just opened the book to the final third and literally the first sentence I laid eyes on was applying a racial stereotype: “like all [of his race], he put his family name first, because it was somehow more logical”. It would be an interesting exercise to count how many times a behavior is attributed to race in this section, but not interesting enough for me to actually do it. Suffice to say, it happens constantly. At first I wondered if some point was being made about the social construction of race, something David Anthony Durham did to great effect in his Acacia series, but instead it is made clear these races are the products of genetic engineering and therefore this racial behavior is almost entirely genetically determined. This is a legitimate thing to posit about the story’s races given their genetic engineering technology, but it’s aesthetically displeasing due to its close similarity to ignorant claims about the races of the present. Readers who don’t care about that will still find it tiresome, as nearly every page slows the narrative’s slow pace still further with constant asides about the racial origins of this or that character’s minor tic.
The second and perhaps bigger problem is that glacial pace. There have been many great novels written with a slow pace, and if this third section was a novel by itself it wouldn’t be quite so much of a defect. But this is just the third section of a larger novel, a third section that follows the extremely tense and bleak second section. Compared to what has gone before, it seems so slow that it’s stationary.
Additionally, whereas the survival of the human race was endangered throughout the second section and there was a real sense everything might be lost, the stakes in the third section are quite low. Again, the cold war plot might have seemed important in its own novel, but now it seems utterly trivial. Perhaps in some other universe there’s an interesting point being made, because there’s an interesting contrast here between the survival of the species against petty political concerns and showing how the “great events” that the characters (and often we, in our lives) think are so important are really insubstantial when viewed through a world-historical lens.
But the novel doesn’t seem to have noticed this contrast, much less orchestrated it. None of the characters we meet seem to care all that much about the war, either. And with the vast majority of the third section’s narrative is given over to description of space stations, aircraft, and other technological toys, there’s no time to provide any sociological detail beyond the onslaught of racial stereotypes, resulting in contradictions like continued assertions that one Bad Guy race are all masters of psychological manipulation yet the Bad Guy faction’s propaganda channel is a cheesy farce clearly based on hilariously ineffective Communist propaganda of the twentieth century.
And so Seveneves concludes by drifting through towering forests of exposition carpeted with an undergrowth of small events until finally, as in Stephenson’s previous book, REAMDE, everyone comes together for climactic gunfight described in tedious detail. It’s not nearly so long as REAMDE‘s, at least, and once the Good Guys have of course triumphed, representatives from all the different cultures of human survivors come together and–I wish I was kidding–make hotel accommodations. The end. Somehow this is simultaneously a damp squib of an ending and also full of the sort of contrived coincidences that are usually crutches to setup something genuinely exciting. Stephenson’s irritating need to pair off characters at the end of his books also makes an appearance.
Seveneves is a difficult book to rate and recommend because its quality is so uneven. The middle section, as I’ve said, is a great piece of science fiction despite some imperfections, yet it can’t be read without reading the so-so first part for context. And no one who has read that far will want to stop, however well-advised they would be to do so. And the fact is, for readers who enjoy infodumps about spaceships there’s a lot to like throughout, even in the third section. Over the years I have heard at least one person mention every single Neal Stephenson novel as their favorite, from The Big U through REAMDE, and I think Seveneves will attract more adherents than many, perhaps even more than my own favorite, Anathem. Perhaps I should be grateful, because if books like this could be boiled down to a simple thumbs-up or star rating, there would be no reason to read long reviews!
Tags: Liu Cixin
To continue getting caught up, we move on to May of this year, when I reviewed Liu Cixin’s The Three Body Problem at Strange Horizons.
Tags: Peter Watts
This blog has been neglected as of late, but I’ve still been reviewing for Strange Horizons. Normally I link to those reviews more or less as they are posted there, but in this case the signal seems to have taken a long time to arrive. I’m not sure where WordPress’s servers are, but I don’t think this blog is a fifth of a parsec away from Strange Horizons as the crow flies. Perhaps that’s how far the signal had to go due to an inefficient path (bouncing around inside my head).
I’ve read but never reviewed Peter Watt’s 2006 novel Blindsight. That’s too bad, because it’s a fascinating book that really deserves a lot of discussion and scrutiny. Hopefully I will reread it in a year or two and write about it. In the meantime, I reviewed his long-awaited next novel Echopraxia in Strange Horizons back in October of last year.
Tags: Lev Grossman
Lev Grossman’s 2009 novel The Magicians introduces us to Quentin Coldwater, a star high school student in New York who is in the process of applying to the usual Ivy League schools. Despite his academic achievement and seemingly bright prospects, Quentin isn’t happy. The world seems boring and meaningless compared to the imaginary land of Fillory, a Narnia-like world described in his favorite series of children’s fantasy novels. Something is missing for Quentin, but he thinks he’s found it when he is unexpectedly accepted into Brakebills, a secret college where a select few are taught magic.
It feels vaguely like cheating to start referring to influnces this early in a review, but the fact is much time can be saved by saying that yes, Brakebills is intended to be a “realistic” magic college answer to Harry Potter’s fantasy magic children’s school. It’s true that Brakebills teaches magic, but its magic takes exhausting study to learn and, once learned, isn’t really all that wondrous. In their downtime, students don’t go on adventures, they get drunk and have tangled romances. But despite its prominence in the first novel’s marketing, offering a gritty take on Harry Potter is only a side interest, almost an afterthought, and so counterintuitively Quentin graduates midway through the trilogy’s first book and Brakebills is left in the rearview mirror.
The Magicians is really about Quentin’s search for happiness. Quentin doesn’t find it in his mundane high school world, so he goes to Brakebills. Although diverting, he doesn’t find it there either and gradutes. Living as a young magician in New York City proves even less satisfactory, so he and his friends end up looking for and finding Fillory, which even magicians don’t believe is real and therefore inevitably is. But just as Brakebills was a gritty Hogwarts, Fillory turns out to be a gritty Narnia. Rather than the storybook wonderland Quentin expects, Fillory turns out to have just as much pain and suffering as the real world.
If you’re reading this blog you’re probably acutely aware that “gritty” is nothing new and is actually getting close to the cliché stage of literary development. For some of us who have read a lot of fantasy, The Magicians‘ triumphant reception from mainstream reviewers was frustrating because they didn’t seem to know the fantasy genre is more than just Tolkien, Lewis, and Rowling. Certainly that seems to be the extent to which Quentin and his friends have read fantasy: they have all read the fake-Lewis “Fillory” novels and they frequently drop references to Tolkien and Rowling, but they are absolutely shocked when the real Fillory turns out to be more China Miéville than CS Lewis. Prominent as he is in the genre, Miéville is not all that well-known outside of it, but even a familiarity with George R. R. Martin would have been a big help.
Still, it’s easy to see why The Magicians made a splash. Grossman has a keen eye for character, a gift for creating amusing yet telling anecdotes, and an ability to write a whole novel without allowing the quality of his individual sentences to decay. In other words, he’s a very good writer. Although he uses the third person, he lets Quentin’s acerbic wit seep into the narrative voice, making otherwise bland passages enjoyable. Although the story becomes very predictable once you understand what he’s up to, it’s also unusually accessible since it’s a reaction to books that have all become blockbuster movies in the last decade or so.
Unusually for a fantasy novel that crosses over to the mainstream, the main obstacle to the novel’s accessibility is not the presence of magic and monsters but the protagonist, Quentin. He’s privileged in nearly every possible way and then a few impossible ones too, but he spends the novel chronically unhappy and, worse, unwilling to exert himself to make something out of his life. He’s an inevtiably polarizing character. Some people find him infuriating and completely unsympathetic while others find in him compelling echoes of either themselves or people they’ve known. To some degree this is a testimony to Grossman’s ability to evoke an unlikeable character. It may be useful to note here that in interviews, Grossman has mentioned that Quentin is suffering from depression, and perhaps this would be obvious to someone with a bit more personal experience with it, but the text never makes this explicit (about Quentin, at least—The Magician King is completely clear that Julia and her friends suffer from depression).
While I didn’t identify much with Quentin, what pulled me through the first book was an interest in the philosophical point The Magicians seemed to be making. Brakebills is magical but not special, Fillory is even more magical but still not special, it’s just another place. Fantasy is just one tool Quentin uses to escape the existential emptiness of his life. Alcohol is another, and Grossman seemed to want to make an equivalence between alcoholism and the obsessive fantasy fan. No matter where he turns, Quentin comes up empty in his search for meaning because the problem is not in the world around him but himself. Meanwhile, his dissatisfaction has hurt himself and those around him, for although he comes through his first Fillory experience more or less physically unscathed, his friends are not so fortunate. Read this way, the first book’s seemingly happy ending is actually a very bleak one where Quentin relapses into an interest in Fillory, something he’d already found held no answer to his problems.
So far so good, I thought. The hidden world of magic and the more hidden world of Fillory have both been considered and rejected as solutions to Quentin’s crisis. Now how will Grossman build off that? The advantage of waiting for series to finish is that I could proceed directly to the sequels.
The second book is split between two viewpoint characters, Quentin again and his childhood friend Julia, who took the entrance exam for Brakebills only to be rejected. Julia proves to be a more entertaining protagonist than Quentin in that having decided what she wants—a place in the secret world of magic—she works tirelessly to get there. She claws her way up through the posers and fakers that line the fringe of the magical world until she finds a community where she fits in. Unsatisfied with the magic they know, she and her friends turn to religion. This isn’t a bad idea, since in Julia’s world gods are as real as magic and statistically speaking contact with the divine must be the number one source of meaning in human lives historically and even today. But Julia has made the same genre spectrum mistake Quentin and his better educated friends made: like the first book, The Magician King is closer to Miéville than Lewis, and that means gods are just as dangerously capricious as magic, if not more so. Since this is conceptually the same journey Quentin traveled in the first book, there’s not a lot new with Julia’s story, but it’s the best executed of Grossman’s several takes on the idea. Julia’s struggles are compelling, her achievements earned, and the ultimate disaster horrifying.
But that’s only half the book. Quentin’s half seems at first like another repeat: having found life in Fillory—surprise!—unsatisfying, Quentin decides to go on an adventure, apparently forgetting that the last time he went on an adventure it turned out to be miserable and a close friend died. This time, it turns out to be miserable and a friend—one who is, in truth, not all that close to him—dies. That might be an improved outcome, but it feels like the story is running in place. Worse, there’s an odd lack of self-awareness in the nature of the adventure. The old gods are going to take magic away from humanity in all worlds, we are told. This is likely to destroy Fillory, magical fantasyland that it is, and leave magicians on Earth stuck without powers just like the rest of us. The first question that comes to mind is: so what? What has magic ever done for Quentin other than make him miserable? What has it done for anyone? Alas, no one in a story full of contrarian characters questions the necessity to save magic. Then, it turns out that saving magic is accomplished by collecting some plot coupons in Fillory and then going Dawn Treader-style to the edge of the world to trade them in. Fair enough, but why do some Fillorian keys affect magic throughout the multiverse? How can a few puny mortals do anything to stop the old gods, portrayed as vast and remote? Why is Ember, god of Fillory, on the side of the humans rather than the gods? Wasn’t a major project of the first book to take special wonderland Fillory and demystifiy it, making it just one world in a teeming multiverse?
These questions are never answered. And really, one suspects the answer is that the author cared more about what his characters were feeling than what they were doing and why. The result is a trilogy where the characters—within each book, at least—are consistent, nuanced, and realistic, while the world around them feels arbitrary and two-dimensional. This problem becomes worse in the third book, The Magician’s Land, which has some very satisfying character moments—Quentin finally comes to terms with himself and the world, and previous side characters Eliot and Janet are rounded out in interesting ways—but whose plot starts out contrived and eventually becomes incomprehensible.
The Magician’s Land opens with Fillory once again in danger of being destroyed, this time because it just so happens that after countless centuries Fillory is nearing its destined end just a few years after the events of the previous novels. This fact is communicated through ominous portents and dire prophecies. Multiple characters ask: Why must the world end? It just does, the answer comes back. Partly the apocalypse consists of the world falling apart, things like stars falling and the moon’s orbit decaying, but there’s also an enormous battle involving all of Fillory’s magical inhabitants. Absolutely no reason is provided why this should happen. Janet, who flies around giving the reader a play-by-play account, seems to think all worlds just have to end in a battle.
What really seems to be happening is that Lev Grossman is emptying his toybox and having one last hurrah. It’s not polite to act as if we know what an author was thinking, but surely these are not books that could have been written by someone who didn’t love Narnia as a child, so he can be forgiven for wanting to have his own go at sending Fillory out with a bang just like The Last Battle. He clearly has a good time writing it, and the many readers out there who like Fillory either for its own sake or out of nostalgia are going to have a good time reading it. Dour killjoys like myself who want there to be a reason for the toy soldiers to fight are left hanging. This is just the worst manifestation of a problem that underlies the entire trilogy. Fillory is a fundamentally superficial creation, the form of Narnia without its substance. Narnia ended with a battle because it was situated within a Christian universe and therefore shared its eschatology with that of the book of Revelations. Throughout the Narnia series, Aslan leads the forces of good against evil, so of course at the climax there has to be a big battle. In Fillory, Ember and Umber are deeply ambiguous “gods” without much obvious power and even less claim to moral legitimacy, more worth fighting against than fighting for, and there’s no metaphysical villain, just an angry magician who had a bad childhood who gets disposed of in the first book.
Readers like me must simply accept that Grossman is not all that interested in cosmology, and that if we want a reply to Narnia’s underlying worldview we must turn to Philip Pullman’s His Dark Materials, which whatever its other flaws was written with an eye for philosophical rigor. The Magicians and its sequels talk about magic, keys, and gods only as stage dressing to dramatize Quentin and friends’ search for their place in the world. Taken on those terms, the final message is surprisingly mixed. After spending three books looking for meaning outside himself, Quentin finally learns to value his own feelings and emotions. The narrative makes an unusually strong allegorical connection between emotion and magic, one that renders the previous stories incomprehensible if applied at all broadly. Since most people have no ability to do magic, are they emotionless? Were the old gods trying to take away everyone’s feelings? And so on. Meanwhile, Julia, the character who seemed irrevocably scarred by her contact with a god, finds peace through…a god. And Eliot finds his purpose in Fillory, rather in contradiction to the first book’s message that Fillory was no help to anyone. If there’s a message here, it’s that different people find purpose in their lives in different ways, which is true, but also a bit tame compared to the broadsides The Magicians seemed to be taking against popular fiction.
Hopefully I’ve made it clear that there’s a lot here to like. The Magicians is a well-written if bleak fantasy that’s worth reading by anyone with a moderate tolerance for bleakness in their reading. Those who like Fillory in general or Quentin in particular should continue on to the rest of the trilogy, but everyone else can stop after the first book and feel assured they’ve gotten the message.
Tags: Neil Williamson
Recently Strange Horizons published my review of Neil Williamson’s debut novel The Moon King, and by recently I mean two weeks ago. Obviously this blog is going through another of its periods where I’m too busy to update it (I guess that’s a polite way of saying I’ve been too lazy to write stuff). That won’t change all that soon because tomorrow I’m getting on a plane for London. That’s right, Worldcon is nearly at hand.
I’ve been to two Worldcons before, but this is the first where I’ll attend a Hugo ceremony where I’m kinda, sorta, not-really-but-almost nominated for a Hugo (Speculative Fiction 2012, nominated for a Best Related Work category, contains an essay from this blog about, er, Worldcon) as well as the first where I’ll be on a panel. I may not have been posting, but I’ve been doing a lot of reading because I’m on a panel discussing the best novel Hugo. It’s a funny year to be doing this. Thanks to my obsession with reading series in order, to read as much as I can of the five Best Novel nominees I’ve so far read nine novels and feel distinctly under-prepared. I still have eleven left! Unless I get trapped in an elevator for a a few days I probably won’t finish Wheel of Time, but if you’re at the convention you should still swing by the panel at 7pm Thursday night to hear what the other panelists have to say. As for me, I plan on writing about the nominees on this blog after the convention but, let’s face it, I’m just as likely to never get around to it, so this may be your only chance to hear my amazing insights. If I think of any, that is. Right now, my notes consist of “Wheel of Time seems very long” but then I’ve never been good about taking notes.
I was going to link to the panel description, but Loncon3’s fancy online programming guide doesn’t seem to make this
possible obvious (Edit: Niall points out you can keep track of my busy one panel schedule by following this link). Now I know why other participants have been pasting panel descriptions into their posts! Well, here you go:
2014 Hugos: Best Novel Shortlist Discussion
7pm – 8pm
Capital Suite 7+12 (ExCeL),
Justin Landon (M), Matt Hilliard, Ruth O’Reilly, Maureen Kincaid Speller
Our panel discusses this year’s shortlist for the Hugo Award for Best Novel.
Ancillary Justice by Ann Leckie (Orbit US / Orbit UK)
Neptune’s Brood by Charles Stross (Ace / Orbit UK)
Parasite by Mira Grant (Orbit US / Orbit UK)
Warbound, Book III of the Grimnoir Chronicles by Larry Correia (Baen Books)
The Wheel of Time by Robert Jordan and Brandon Sanderson (Tor Books / Orbit UK)
What should win? What will win? What are the notable omissions?
Tags: Max Gladstone
Tara Abernathy has a degree in necromancy from the prestigious Hidden Schools which float among the clouds, but as Three Parts Dead opens Tara’s falling out with a professor leads to a literal fall back to earth. After an unsuccessful attempt to return to her home town, she finds herself unexpectedly hired by Elayne Kevarin, a sort of high-powered necromancer/lawyer from a major firm, and thrown right in to work on a huge case. Kos Everburning, fire god and patron to the steampunk metropolis Alt Coloumb, is dead. The god’s city and church want him raised, but so do his creditors. Successfully litigating the restoration of Kos will require discovering who killed him and why, and that in turn sends Tara searching through the church’s archives with an acolyte named Abelard and the city’s underworld with an addict policewoman named Cat.
Three Parts Dead flirts with a couple different genres, borrowing courtroom scenes from legal thrillers and a huge pile of tropes from fantasy, but in its bones it’s a noir detective story. Tara reviews documents and goes to court a couple times, but she spends most of her time questioning uncooperative suspects and casing seedy bars. Judged as a detective story, however, Three Parts Dead is thoroughly mediocre. The character voices aren’t very distinctive, the setting is interesting but not very atmospheric, and although information is withheld such that the mystery is not solvable in detail, all of the twists and the eventual outcome are quite easy to guess well ahead of time. But the by-the-numbers mystery isn’t what gained the novel considerable acclaim since its release in 2012 and a Campbell nomination for its author, Max Gladstone. Some of the good press stems from something that is mostly outside the text: the cover, which in a refreshing change from the norm is unapologetic about depicting Tara as a person of color.
But Three Parts Dead has also earned much praise for its distinctive world. It starts with the relatively simple observation that if magic involves, as it does in many traditions, blood-sealed pacts and dangerous deals with supernatural forces, then it stands to reason there would be lawyers who would litigate those contracts. When viewed through this unusual lens, fairly conventional wizards, vampires, and gods feel fresh and different. Wizards become lawyers, necromancy becomes bankruptcy restructuring, and gods become corporations. It’s a clever bit of speculative alchemy that makes the novel stand out from the crowd, but it’s not actually all that successful.
A common criticism of Three Parts Dead has been that no rules are laid out in advance for the magic system, making the magical resolutions to Tara’s confrontations with her opponents seem arbitrary. This is true, but stated so simply it suggests that only the magic-as-physics approach of authors like Brandon Sanderson is legitimate. Unexplained magic can seem numinous, as in Tolkien, or capriciously dangerous, as in Miéville. Rules need not be stated, but it’s fair to say that a story with unexplained magic needs to do a better job than average convincing the reader to suspend disbelief lest events appear to proceed by authorial fiat.
On this point, Three Parts Dead‘s colorful world works against it, for while its constituent elements are very colorful, they never congeal into a consistent world. The fire god Kos seems like something out of a pagan pantheon, but its church is far more like the Catholic Church than any pagan analogues and the discussions of personal faith and individual relationships with the divine are straight out of Protestant theology. The steampunk tropes lightly sprinkled through the text are derived from the industrial age, vampires come from Eastern European legends, and the concept of gargoyles who turn from stone to flesh and back again comes, as far as I know, not so much from folklore as from the 90s cartoon show. Then there’s Keverin’s law firm of Kelethres, Albrecht, and Ao which, as the structure if not the sound of its name implies, takes its organization straight from modern legal firms. Mixing material from different traditions can help reinvigorate old concepts, but things can’t just be dropped in as-is, they have to be integrated with each other.
Three Parts Dead is far from the first fantasy novel (nor the last) to deploy the familiar cadences of the Catholic Church without stopping to consider whether these things actually make sense in their new milieu, but the biggest problem here is a reliance on punchline worldbuilding. You won’t know this term–I made it up while writing the previous sentence–but you are probably familiar with the technique because it’s used extensively in the Harry Potter series. The formula is to take something familiar from our world and give it a thin fantasy veneer that makes it humorous and interesting. Harry Potter has page after page of this: fantasy candy with funny flavors, fantasy books with funny titles, fantasy sports with funny equipment, and so on. Three Parts Dead isn’t so densely packed with punchlines, but they remain the core aesthetic of the worldbuilding, giving us moments like a legal document review that involves an out of body experience and drug addicts who get high on being bitten by vampires. In both Harry Potter and Three Parts Dead this material can be fun, but trying to build a serious story on such a superficial foundation is perilous. For example, addiction is obviously an extremely serious subject, but when an addict is impaling her wrist on an unconscious vampire’s fangs to get a fix, it smacks more of satire than something real. The light, gee-whiz tone also prevents the reader from ever being concerned that Tara might actually lose. Worst of all, at least for a reader like me, humorous punchlines rarely stand up to serious scrutiny.
For an example, take the premise of wizard lawyers in wizard law firms. Here Gladstone is on to something really clever, because to a layperson the law is an occult force they can only vaguely sense, a force that manifests in ancient language and strange rituals. Someone could write a great book leveraging this alignment, but Three Parts Dead is not that book. Its Craftspeople, typified by Elayne Kevarin, are not wizard-lawyer hybrids so much as characters who sometimes act like lawyers and sometimes act like wizards. There’s a mistake here that feels fundamental. Like any stereotypical fantasy wizard, Elayne Kevarin can blast people with energy, invade someone’s mind, raise zombies from corpses, and in general wield enough power to beat back an entire army of mundane people. All well and good, but then she goes to a courtroom to argue her cases. Gladstone tries to have it both ways by having Craftspeople “argue” using magic, but the contradiction is never resolved. What seems to have been forgotten is that lawyers are not themselves powerful. True power lies with the state, the leviathan of Hobbes, that compels obedience to the law. Lawyers are only powerful because they can channel some small part of that power through their knowledge and persuasive speaking. If Elayne Kevarin can blast her opponents into submission, why does she try to beat them by arguing cases in “Craft court”? Are her clients hiring her because of her magical power, or because she understands the law? If she merely understood the law and had no magical power of her own, could she still litigate? And who is the state that enforces this law which binds gods and humans, churches and nations? There is no monopoly on violence, that much is clear given the events of the novel, nor does it seem possible there a police force or even a military to enforce the court’s judgments, since these things are explicitly said to be controlled by the litigants.
A reasonable objection at this point is that this is a fun low fantasy novel, not a relentlessly serious epic like Lord of the Rings or A Song of Ice and Fire, and that what I think of as “serious scrutiny” is just killjoy nitpicking. To some degree that’s true. This is a matter of taste, and those looking for beach reading won’t be too disappointed (though they might still wish for a tighter narrative and more surprising twists), but Three Parts Dead invites this scrutiny when it quotes Bertrand Russell with its title and pauses its narrative to try to make serious observations about faith and law. It’s always good to see an author trying to break new speculative ground, but it’s also more disappointing when such efforts fail.
In what I’m pretty sure is a first for me, Strange Horizons has posted my second review for them in two months, this time of The Echo, James Smythe’s sequel to The Explorer.
Tags: Wolfgang Jeschke
Last week Strange Horizons published my review of Wolfgang Jeschke’s 2005 novel The Cusanus Game, recently translated into English for the first time.