Reviewed by Dev Agarwal. This review first appeared in The BSFA Review.
Allen Stroud’s name will be well known to readers in this parish. He is currently BSFA Chair and has long been prominent in genre circles. His latest novel has been positively reviewed, including in Amazing Stories, where Ernest Lilley recommended Fearless and observed that Stroud brings “a Clarkian feel that grounds the story in the best tradition of science fiction.”
Fearless is, by flavour, not only science fiction, but specifically, space opera. Space opera, as a subgenre, has arguably two sets of defining characteristics. There is its iconography of spaceships, colony worlds, disasters, piracy and spaceship battles. However, equally important are its tonal choices of larger-than-life characters, intrigue, extravagant settings and fast-paced plotting. Which Brian Aldiss neatly captured in his term “widescreen baroque.”
While it is fallacious to say that space opera is enjoying a renaissance (as it never went away) it is true to say that prominent names, including James S.A. Corey, Charles Stross and Ann Leckie, have boosted space opera and broadened its appeal. They built on the founding ideas of the original space opera and the popularity of the New Space Opera that came after it. This number of books has inevitably crowded the field and the challenge for any writer is how to make their space opera stand out.
Allen Stroud throws us into his version of the “widescreen baroque.” The novel is set in AD 2118 with habitats across the solar system (where humanity has colonised the Moon, Mars, Ceres and Europa). Fearless feels confidently New Space Opera, as it melds pyrotechnic action with ethical dilemmas and strong characterisation. This is particularly evident where Stroud challenges the male-dominated narratives of the past, to put a woman, Captain Ellisa Shann, in command of the space going vessel Khidr. Shann is one of the novel’s three first person protagonists (which also include two junior crew members, Johannson and Sellis). Shann is the most distinct of the narrators, in part because she was born without legs. Ordinarily, her story, or backstory, would include how she overcame this disability, or is defined by it. However, Stroud has said that he “wanted to portray a disabled character in space who was not attempting to overcome her disability.” Shann’s disability is a part of her, rather than all of her.
Khidr is a rescue ship and this feels like a distinct social point that Stroud makes. He is writing space opera, and enthusiastically opening its toybox for the reader. But he is not revelling in the violence of a warship. Khidr has been described by other reviewers as analogous to the coast guard or an emergency service and its purpose ordinarily, is to assist other vessels, rather than fight. New Space Opera is able to widen the narrative to include people like Shann, physically disabled but still capable, who are in space with altruistic intentions––rather than opportunistic ones.
The Khidr’s role also allows Fearless to explore similar motivations to the work of writers like Frederick Pohl and Alistair Reynolds, who have looked at blue collar workers living in space and looking to make a living rather than warriors and world-beaters. These are the people who do the unglamourous and necessary work that often gets overlooked in the widescreen baroque.
Fearless begins with a routine emergency when Shann receives a call for help from the spaceship The Hercules. They expect to offer routine assistance, but this soon leads the crew into an attempted mutiny and Shann into a political drama that spans the colony worlds. Stroud’s use of three revolving viewpoints offers differing perspectives on the mounting crises both on and off the ship.
Space opera is well known for the speed at which tension mounts and the range of the catastrophes that its characters face. In Fearless, the plot develops fast, with all the narrative acceleration and pyrotechnic action that we might expect. The Khidr deals with an onboard murder, external attack by an unidentified spaceship, and intrigue and battles across the solar system.
This setup gives Stroud an opportunity to turn a fresh authorial eye to a number of familiar tropes. Cliques in the space-going Fleet, hidden colony worlds and a tantalising alien manifestation dating back to Apollo 10 all appear. This makes for a story that is both a high-octane adventure and a character study for each of the three viewpoint characters.
In terms of plotting, Stroud walks the tightrope of completing the arc of his characters’ story by the final page and also setting up a sequel. He puts in motion a number of threads (starting with that alien manifestation that Apollo 10 encountered in real life) and it would have been unwise to try to neatly tie off all of these strands (and dissatisfying to the reader). By the end of the novel, the Khidr has discovered and abandoned artifacts and several political players remain unmasked and still working against the Fleet. At the same time, Stroud brings his novel to a satisfying dramatic crescendo.
Lastly, a mention for a stylistic decision that Stroud made. This is his use of present tense. Stroud has said that this was a deliberate choice, having experimented with the form at shorter length. Ultimately, he found that present tense added more immediacy and tension to his writing. While it can be off-putting to read a long work in present tense, Fearless may just be the right place for readers to start.
And if you like Fearless, more is on its way as Stroud is currently at work on a sequel.
Copyright Dev Agarwal.