Reviewed by Nick Hubble. This review first appeared in The BSFA Review.
On one level, War of the Maps is a really well-told, slightly old-fashioned science-fiction adventure novel, which is accurately summarised by the front-cover tagline: ‘Across a giant artificial world in space, the lucidor hunts his man’. As McAuley notes in his ‘Acknowledgments’, the inspiration for the world depicted is an article by Ibrahim Semiz and Selim Oğur, ‘Dyson Spheres around White Dwarfs’. However, as he has pointed out on his blog, the story grew from ‘a character and a situation’ and an idea for the ending. Once he had the character’s voice right, the novel flowed because ‘the protagonist’s path through the world was mapped by his needs, desires and beliefs, and his interactions with other characters’. I quote at length both because this seems like useful advice for anyone wanting to write this kind of novel but also because I think this accounts for how convincing and satisfying this novel is to read; there are no false notes.
Lucidors are law-keepers in the Free State. While there are more than one in the novel, the protagonist is referred to throughout as the lucidor. Although he is retired, he is on one last mission to bring back to justice the villainous Remfrey He, who he had previously tracked down and captured at great cost but who has now been released by a political faction to go and help the war effort in neighbouring Patua against ‘the invasion’. This set-up is reminiscent of a classic Western and indeed the opening finds the lucidor on horseback fleeing bandits in a beautifully written sequence which recalls the spare poetic tone of Cormac McCarthy. While this genre setting changes – at one point later in the novel the action switches into a Hornblower-style naval voyage – the lucidor retains the moral and narrative integrity of the sheriff pursuing justice. I imagined him as like Gary Cooper or James Stewart or possibly even Joel McCrea in Ride the High Country.
The novel turns on two linked questions: is the lucidor’s single-minded hunt for Remfrey He correct, and what the right values to live by are. There is an ongoing disparity between the plain egalitarianism of the Free State and the aristocratic hierarchy of Patua. This latter contrast forms part of the war (although to be clear the two countries are ostensibly allies) mentioned in the novel’s title. The term ‘map’ refers equally to land masses, countries, societies and the genetic make-ups of organisms and thus indicates some sort of scaled fractal relationship between the particular and the universal. ‘The invasion’ is a creeping wave of mutation producing a new biology, including the ant-like ‘alter women’ whose nests are gradually overtaking the north of Padua despite the best efforts of the army.
We see what is at stake in all of these struggles through the lucidor’s various encounters with others: often women who, as the lucidor observes ‘don’t have the same obsession with hierarchy as men’. This is a point of superficial similarity between the lucidor and Remfrey He, who extols the alter-women colonies as utopias in which everyone works peacefully for the common good, even as he manipulates them for his own ends. Gary Wolfe likens Remfrey He to a Bond villain in his review of the novel for Locus and suggests that the archetypal confrontation between the two men is a little too clichéd. But I wondered if that was the point. The lucidor’s most important relationships are actually with his dead wife (in memory) and with the novel’s other main protagonists, the ‘map-reader’ Orjen Starbreaker and her steward Lyra. The standoff with Remfrey He seems more like a commentary on such male rivalries rather than the key point of the plot. Indeed, War of the Maps, with its intertextual allusions to ‘new flesh’, ‘dire wolves’ and Pratchett, may be read as a metatext subtly commenting on the traditional form of the genre and thereby opening the way to representing social change. Perhaps the novel is not so old-fashioned after all. It is certainly one that I recommend reading and which I will myself reread.
Copyright Nick Hubble. All rights reserved.