Tag: reviews

Reading List: Winterstrike

Winterstrike coverAfter a great splurge in the 1990s — evident in the list of notable works compiled by John Joseph Adams in this 2004 IROSF article — Mars sf hasn’t had all that much play in the last decade, with the most notable recent entry in the subgenre aside from the book on the desk probably being Kage Baker’s The Empress of Mars (2009). The original venue of planetary romance has, perhaps, lost some of its mystique, if not its allure: Ian McDonald’s Desolation Road/Ares Express duology aside, it’s hard to think of examples that don’t make a point of treating Mars literally, now that we know enough to do so.

Winterstrike makes a play to reclaim Mars as a venue for mythic-fantastic adventure — it tells of high adventure and political shenanigans, all set in the far-distant future when a dying sun glowers over a land long since terraformed and colonised, and technology is far more than sufficiently advanced — and arguably its greatest success is as a venue. Its Mars is a vivid place, painted in rich colours and striking contrasts; it opens with a woman in “a mass of vitrified stone striped as white as bone and as red as a still-beating heart” — a tower in a crater at the centre of the city of Winterstrike — wearing, prosaically, “woollen mittens knitted by a grandmother” (1-2). The images we’re familiar with from Spirit and Global Surveyor and the rest are buried by such language, a ghost landscape beyond the novel’s present – several layers beyond, in fact. In a later scene, one of the novel’s narrators uses some of the powerful “haunt-tech” available to the elites of this Mars to view the memories of a ruined city; it is precisely a haunting effect, and in general the deployments of this technology, which also include strange organic machines and space travel that is a kind of death, provide some of the novel’s most visceral moments, all the while contributing to the sense of an ancient world, vastly different to the one we’re starting to know. Perhaps the one attribute retained from our associations with the planet is the chill promised by the title, complete with, wittily, frozen canals running through Winterstrike’s heart.

Across this landscape run two cousins. Essegui Harn and Hestia Mar are noble daughters of the Matriarchy of Winterstrike. The former is the woman we meet in the tower, ringing the bell that marks the start of the midwinter festival of Ombre. Soon after the novel begins, her younger sister Leretui — disgraced since she was caught with a vulpen man-remnant — either flees or is abducted from the lovingly restrictive embrace of her family, and Essegui is not just charged with finding her but cursed to do so by a compulsive “geies” cast by a “majike” in the employ of her family. Hestia, meanwhile, is a spy for Winterstrike; she voluntarily indentured herself to the same majike to escape life as a political pawn for her mother. Sent to the rival Matriarchy of Caud in pursuit of an ancient weapon, she also finds a remnant of an ancient library in the form of a “ghost warrior”, whose flayed body is sustained by more ancient technology — “She moved stiffly beneath the confines of her rust-red armour: without the covering of skin, I could see the interplay of muscles” (14) – and who accompanies Hestia more or less enigmatically through the rest of the novel. Before too long, both Winterstrike and Caud have been attacked, and both Essegui and Hestia are off on longer journeys, relating their various escapades in alternating chapters.

If the greatest strength of Winterstrike is its setting, its greatest weakness is how its narrators both rush across that setting almost without pause. It’s surely telling that even two hundred pages into the novel it’s not clear what the nature of the weapon used to attack the cities is, or even exactly what it did. When they are allowed to reflect on their situations, Essegui and Hestia have fairly interesting things to report, but they’re not often given the time to make meaningful choices. Far more often the end of each short chapter sees them thrown into another peril: kidnapped, chased, shot at or otherwise attacked, and so on and so forth. It’s all beautifully constructed, with the two narratives gracefully converging for the lightest of touches, and then separating dramatically. But it’s also often somewhat unengaging. The amount of artifice involved is clear from the neatness with which the closing chapters reflect the novel’s opening, and it could be argued as appropriate to the tale’s mythic ambitions (not for nothing are fairytales invoked with reference to some character’s storylines), but by virtue of some odd “interludes” that alert us to Leretui’s situation, and the involvement of a faction on ancestral Earth, the reader is pretty much always ahead of the not entirely dynamic duo. The ennui and looming inevitability that result can also be seen as apt for a story that repeatedly emphasises that it’s taking place on an old world, one where “You know how it is, these days […] everything’s breaking down” (160), but it’s still probably the case that neither Essegui’s story nor Hestia’s is as interesting as that of Leretui, who is right at the heart of what turns out to be a plot to restore “balance” to Martian society.

Said balance, as you may guess, has to do with the absence of anything we would recognise as men, devolved in the wake of ancient, unstable genetic adaptations for the inhospitable native Martian surface into what Essegui and Hestia certainly think are various bestial subspecies. Once again, the novel’s present is shadowed by its past: “The oldest legends tell of cycles,” Leretui is told; “first women dominated, and then men, and now women again.” As far as the novel’s prime antagonist is concerned, the citizens of Mars “need to get past that kind of thinking […] need equality” (147). Bestial men is a trope that’s cropped up elsewhere in Williams’ work — it’s a feature of her Darkland/Bloodmind duology — but this is the most interestingly I’ve seen her integrate it into the fabric of a novel, since it’s far from clear that “equality” is a meaningful concept to apply to what’s left of men. That said, it becomes frustratingly clear in the last thirty pages or so that Winterstrike is not a complete story, and I suspect that if sequels ever do get published (and in the end, despite Winterstrike‘s weaknesses, I hope they do), they will gradually move towards the reintroduction of men, not least because it turns out they do still exist elsewhere in the solar system. From another point of view, what the novel’s antagonists are struggling for is an escape from the weight of history that hangs on Winterstrike: this is in very literal ways a book about how the past remains and is reconfigured into the present, and I suspect that sequels would proffer a fatalistic opinion on the possibility of that escape coming good.

Some of the future history behind Winterstrike has, I think, been outlined in other of Williams’ novels, such as Banner of Souls (2006), that I haven’t read. But even beyond this, Winterstrike felt very strongly embedded in the science fiction megatext — perhaps partly because the central trope of a woman-only world has such an illustrious history, from Herland via Whileaway, but mostly, I’m sure, because I just happen to have read a set of contemporaneous books whose themes and content set up interesting resonances. I can’t help thinking, for instance, that it would have been fascinating to have read this novel in the context of the 2009 Arthur C Clarke Award shortlist; it could be compared on the one hand with Sherri Tepper’s approach to mythologising science fiction, and on the other with Alastair Reynolds’ House of Suns, which also features two first-person narrators drawn from the same clone stock. Williams’ narrators have the same problem as do Reynolds’, namely that they sound the same (give or take slightly more indications of confidence from Hestia, and a slightly less worldly perspective from Essegui), but reading Winterstrike and occasionally being reminded that, yes, everyone is female (for some reason, perhaps not helped by the fact that she’s most often referred to by name or title and not by pronoun, I kept having to snap myself out of visualising the majike as male) is a useful underlining of how Reynolds rigged his set-up. The other book that came to mind while reading Winterstrike wasn’t nominated for the Clarke Award, but did win that year’s Tiptree; it is of course The Knife of Never Letting Go, a radically different planetary romance that portrays a society in which the gender balance is massively lopsided in the other direction, and which is an interesting contrast if only because it makes clear how matter-of-fact Williams is about the fact that her women have spread out into every social role. Perhaps it’s this very backgroundedness, relative to the gothic intensity of the other elements of Winterstrike, that led to the novel’s slightly surprising omission from the Tiptree honour list; but for me such a normalised, grounded imagining makes a significant contribution to the unarguable distinctiveness of Williams’ Mars.

Reading List: The Heritage of Hastur

The Heritage of Hastur coverWhatever the virtues of The Heritage of Hastur — and to my mind they are limited in the extreme, although apparently enough people thought it had virtues to nominate it for a Nebula Award in 1976 (although not, so far as I can tell, the Hugo Award that the back cover of the edition I read claims) — it is a deeply tedious read. This is, in part, because it contains dialogue like this —

“You’re a licensed matrix mechanic, aren’t you, Lew? What’s that like?”

This I could answer. “You know what a matrix is: a jewel stone that amplifies the resonances of the brain and transmutes psi power into energy …” (32)

— despite the fact that “As you know, Bob” must have been a cliche even in 1975. And in part it’s because Marion Zimmer Bradley is careful never to tell you just once what she can tell you three times. For example:

“Give it up, Regis. Only a catalyst telepath can ever do it safely and I’m not one. As far as I know, there are no catalyst telepaths alive now.” (33)

Two pages later, some narration from the above speaker:

Then he had at least latent laran. Arousing it, though, might be a difficult and painful business. Perhaps a catalyst telepath could have roused it. They had been bred for that work, in the days when Comyn did complex and life-shattering work in the higher-level matrices. I’d never known one. Perhaps the set of genes was extinct. (35)

And a scant three pages on, from the same narrator:

A catalyst telepath probably could have reached him. But in these days, due to inbreeding, indiscriminate marriage with nontelepaths and the disappearance of the old means of stimulating these gifts, the various Comyn psi powers no longer bred true. […] As far as I knew, there were none left alive. (38)

Nor is this the last time we are earnestly informed that a catalyst telepath is urgently needed, but that there are none left alive. The problem with this – or at least, the first problem with it — is that it all rather primes the pump, so that it’s no surprise at all when a catalyst telepath does turn up, and so that it’s blindingly obvious who said catalyst is about fifty pages before Bradley will admit it to us. And the whole novel is as thuddingly obvious as this. It certainly doesn’t help that there’s a complete lack of spark in Bradley’s writing. The Heritage of Hastur tells, according to the back cover, this epic, tragic story:

This is the complex and compelling tale of the early life of Regis Hastur, Darkover’s greatest monarch. But HERITAGE also spins the terrifying and heartbreaking story of those who sought to control the deadly Sharra Matrix, and tells how Lew Alton met and lost his greatest love, Marjorie Scott.

The two narratives are told in alternate chapters, Lew’s in the first person, and Regis’ in the third person. Despite the blurb’s emphasis, I’d say the end result is much more Lew’s book than Regis’; it’s Lew who is sent to investigate rumours of an alliance between a rogue Darkovan kingdom and Terrans, and Lew’s decision to try to use the Sharra Matrix that leads to the novel’s climax. But neither strand lives up to its promise. Here’s the young Regis, resentful of the path laid out before him by his heritage, yearning to escape offworld:

Below him an enormous cargo ship was in the final stages of readying for takeoff, with refuelling cranes being moved away, scaffoldings and loading platforms being wheeled like toys to a distance. The process was quick and efficient. He heard again the waterfall sound, rising to a roar, a scream. The great ship lifted slowly, then more swiftly and finally was gone … out, beyond the stars.

Regis remained motionless, staring at the spot in the sky where the starship had vanished. He knew there were tears in his eyes again but he didn’t care. (45)

Do you feel moved to tears by his experience? ‘cause I don’t. There’s no specificity in this image, no gnarls or details to really ground it; it’s just a generic ship, going through a generic takeoff procedure. There’s nothing to really evoke the gap between Regis’ experience of life and the life he dreams of – or rather, there’s a huge gap, indicated by “… out, beyond the stars”, that we’re left to fill ourselves.

Lew, meanwhile, is our vehicle for experiencing Darkovan psychic life. But here too Bradley’s writing is flat:

His pain tore at me; I was wide open to it. Through the clawing pain I could feel his emotions, fury and a fierce determination, thrusting his will on me. “You will!”

I’m not Alton for nothing. Swiftly I thrust back, fighting his attempt to force agreement. “There’s no need for that, father. I’m not your puppet!” (55)

To anyone who’s read – to take a recent example – Patrick Ness’s Chaos Walking books, such exchanges will seem rather lacking in intensity, and even plausibility. We’re told that there was “clawing pain”, but the experience is distanced: there’s no sense that Lew still feels that pain, looking back on it, just that he knows it was there at the time. “There’s no need for that, father”, meanwhile, sounds like a polite disagreement over tea, not a fierce riposte in the middle of a psychic duel. (Mind you, this is a novel in which the naughty words are literally censored: “He used a word which made Regis, used as his was to Guard Hall coarseness, gasp aloud and draw away, shaking and almost physically sick” [139]. So perhaps the politeness here shouldn’t be a surprise.) Later, Lew notes that in Darkovan psychic circles you have to get used “to knowing that everyone … can share all your feelings and emotions and desires”; but if there’s one thing that’s notable about Lew’s narrative, it’s that he’s locked inside his own head, with little sense of the experiences of others.

What energy the book does possess comes not from its sentences but from its melodrama; unfortunately, this is almost all psychologically unconvincing. Most notable is the aforementioned relationship between Marjorie – very nearly the novel’s only significant female character – and Lew, which is one of those supremely unconvincing romances in which the participants fall madly in love (and, inevitably, we’re told over and over that they’re madly in love) on the basis of no obvious fellow feeling whatsoever, and which consequently has absolutely no impact when it ends badly. But it infects other relationships as well: we will pass lightly over the honourable but unfortunate attempt at including gay characters, save to note that the insistence that the bad gay is bad for reasons that have nothing to do with his gayness comes, precisely because Bradley repeats it so often, to have an air of protesting too much, while it’s noticeable that the good gay remains chaste for the entire novel.

All of this is a tremendous disappointment. I did not want to dislike The Heritage of Hastur; I actually wanted quite badly to like it, since the planetary romance itch – taking the Encyclopedia of Science Fiction’s definition of the form, as “Any sf tale whose primary venue (excluding contemporary or near-future versions of Earth) is a planet, and whose plot turns to a significant degree upon the nature of that venue” – is one that I don’t find contemporary sf particularly effective at scratching. And in the abstract, the Darkover setting sounds fine and interesting. Here’s how the Encyclopedia describes it:

[…] perhaps the most significant planetary romance sequence in modern sf […]

Darkover’s inhabitants — partially bred from human colonists of a previous age — successfully resist the Empire’s various attempts to integrate them into a political and economic union. Darkovans have a complex though loosely described anti-technological culture dominated by sects of telepaths conjoined in potent “matrices” around which much of the action of the series is focused. Increasingly, questions of sexual politics begin significantly to shape the sequence, and to cast an ambivalent light upon the gender distortions forced primarily upon women (and the androgyny required by all aspirants to a higher state) through the strange exigencies of Darkovan culture.

[…] Shadowy, complex and confused, the world of Darkover is increasingly a house of many mansions; a few (either writers or readers) seem to feel unwelcome.

This is, indeed, what I want from a planetary romance: a full exploration of an alternate human society. Unfortunately, little of the sophistication claimed here is in evidence in The Heritage of Hastur. The central conflict of the book – and, I gather, the series – has to do with the relationship between Darkover, an early colony that developed its psychic potential as a result of a lack of the materials needed for more mechanistic technology, and the rest of human space, and in particular whether Darkover should join broader human society, or remain separate. This has potential — there is an obviously useful frisson to be generated from the juxtaposition of higher and lower-technology societies, not to mention the more general questions of community identity that this set-up raises – and Heritage is not entirely without moments when you can feel the weight and frustration of, as one character puts it, “living inside a dead past”, the cost of an enforced societal stasis. Even with the flatness of Bradley’s writing, it does add some shading to Regis’ otherwise by-the-numbers reluctance to embrace his destiny.

But there’s a wearying thinness to the cultural construction. We’re told that Darkover’s culture is descended from a mix of Spanish, Gaelic and English colonists; it’s good that we’re told, because to that point, names aside, the lands of the Seven Domains are to all intents and purpose a generically ersatz feudal setting. And while it is rather wonderful, in a pomp-deflating sense, that among all the grandly named nobles there is one that the text regularly insists on referring to as “Bob”, the court of which he is part, which should be (we’re told is) the best of a fusion between Darkovan custom and Terran tech, feels little different to every other place we see. And so on and so forth. Even ignoring the wince-inducing comments about “alien blood” in human lines – I hold out some faint hope that this is explained in other Darkovan books as simply a family mutation, and that Bradley isn’t actually trying to offer up human/alien interbreeding as plausible – it becomes increasingly clear that The Heritage of Hastur is not, in any meaningful sense, science fiction. The Darkovan psychics are functionally wizards, and the Sharra Matrix is your standard immensely powerful but corrupting magic item: what we have here is the most generic of fantasy narratives, complete with a map to travel across, and even some ballads.

This last problem, of course, will only be a problem for some readers. Those who see fantasy and science fiction as straightforwardly interchangeable will (assuming they can get past all the other flaws chronicled above) not be bothered by the idea that Darkover is generic fantasy with sf window-dressing. Me, though, I can’t see the point of it; and to be clear, the problem is not the fantasy so much as the generic. A large part of the point of setting a society such as Darkover within a science-fiction context – for me, the major attraction of planetary romance, which I would not dispute is a kind of fantasy – has to be that it creates a distinct perspective from which to interrogate that society’s values. But all Bradley seems to be interested in is the recreation of too-familiar tropes. In this as in other things, repetition is the novel’s undoing. As The Heritage of Hastur wears on, we’re told with increasing frequency and emphasis that Regis Hastur really is born to lead, while others are born to serve (when a friend offers him his service, it is “a pleasure and a relief” for that friend); and while we may well be meant to greet such statements with scepticism, with Regis only once allowed the faintest of twinges that something might not be right with the distribution of power in his society, clumsiness can’t help but start to look a little like convenience – or even, whatever the Encyclopedia may say about the Darkover series in the round, an endorsement.

Notes on a Shortlist

Almost everyone, it seems, agrees about at least one thing about this year’s Arthur C Clarke Award, the winner of which is announced tonight: that it’s a good shortlist. (That post now updated with more review-links, by the way.) I’m not about to break that hardening consensus, and may even raise the stakes slightly. I think the 2010 shortlist is one of the very good ones; for me, as a shortlist as a whole, probably the strongest since 2003, when Light vied against The Scar and the ultimate winner, The Separation. Two of the novels — Gwyneth Jones’ Spirit and Kim Stanley Robinson’s Galileo’s Dream — have been hailed as returns to form, two more — China Mieville’s The City & The City and Adam Roberts’ Yellow Blue Tibia — as their authors’ best to date; and the remaining two — Chris Wooding’s Retribution Falls and Marcel Theroux’s Far North — are certainly not without their champions. Perhaps the most pleasing thing about the shortlisted novels is their variety. There are more and less straightforwardly science fictional works, set in times ranging from the seventeenth century to hundreds of years hence, and if you’re not calling them sf, you could call these books crime novels, Westerns, comedies, and adventure stories. (Or just novels, of course.) It’s a good showcase. But a novel is a prose narrative with something wrong with it; and so, though it’s harder to do than it was last year, we must look for what’s wrong with these offerings.

What it isn’t, for once, is very British, and the most British book on the list — if only for its blokeish humour — is the one most people throw out of the balloon first. Retribution Falls has plenty to recommend it, particularly pace and, in its retro-magical setting, colour, and is welcome on the shortlist as an adventure story, a form too often given critical short shrift that nevertheless requires considerable craft. I kick it out of the balloon first as well, though, not for being what it is, but for flirting with smeerpdom. It seems to me that the story Retribution Falls tells is not sufficiently specific to its fantastic content: that it could be retold in another time or place without changing much more than the vocabulary. (I’d say this is partly where the omnipresent Firefly comparisons are coming from.) And that’s not enough to be the best science fiction novel of the year, the book put forward as an example of what science fiction can be and can do. There’s also the question of the book’s female characters, which aren’t exactly depicted on equal terms with the men, although on that point I’m willing to give the novel more credit for self-awareness than, say, Nic or Abigail are (although this is not to mention the question of the book’s sole near-silent ex-slave character of colour, which is harder to excuse). Such factors must be considered when assessing the book, I’d argue; the political is as inextricable a part of literary judgement as the aesthetic.

An author usually impeccable on both fronts is Gwyneth Jones, whose Spirit — being a retelling of The Count of Monte Cristo — would seem to also risk smeerpdom, but which actually passes at least that test with flying colours. I haven’t read the original, but I know its outline, and Jones does not seem to be in thrall (and in the book’s last third, seems to revise her model quite inventively, if not, in the end, entirely convincingly); nor have I read the major preceding work in Jones’ own oeuvre, the Aleutian trilogy, but there to I didn’t feel the absence of context particularly strongly. That is: Spirit is a full, contained science fiction novel. It’s about that most speculative of subjects, identity, or at least is at its best, so far as I’m concerned, when it hews closest to this theme. There’s much here about what defines us, and what might define us, in an era when space travel that treats mind and matter as interchangeable information — the raw stuff of self — and much about individuals who are defined, usually as Other. The novel’s great weakness is a lack of consistency. It really is a bit all over the place, veering from political intrigue to action-led set piece to introspective periods of what is glossed as “poetic time”; the latter are the most reliably good, and a section half-way through the novel set in a prison is seriously impressive, but the quality is never as even as it should be. A lesser but still significant weakness, I think, is a lack of freshness, a sense of being a bit second-had. Sometimes this is to good effect. I can see how Jones’ Star Trek aliens play into her theme — the alien understood as an element of humanity; or, in this case, perhaps more accurately humanity understood as an element of the alien — and I don’t want to take, for instance, Jones’ playfulness with gender, which delivers plenty of welcome perceptual jabs, for granted. But on balance, even if some aspects of the book aren’t seen as often as we might hope, there seems to me too little here that hasn’t been seen before.

Which brings me to China Mieville’s The City & The City, whose central conceit has clearly already entered the canon of Really Neat Speculative Ideas. What is so very neat about it, it seems to me now, and the novel’s greatest accomplishment, is how successful it is at exposing readers’ assumptions. To talk about The City & The City in any sort of depth is to reveal with uncommon clarity how you think about the world, about people and about fiction: all of which are always worth doing. But it is for me a less satisfying novel — certainly a less satisfying science fiction novel; I do think it reads much more interestingly as fantasy — than it a political act. Its plot is seldom remarked upon, although I note that in general this aspect seems to pick up more praise from readers who spend more time with crime novels than I do; and its narrator contains no great depths, and to my ear just a bit of strain in his voice. It’s primarily for the neatness of its conceit, I’d guess, that the novel quite deservedly won the BSFA Award — and, not surprisingly, it’s the front-runner in Liz’s poll. (The BSFA Award is not a great predictor of success in the Clarke Award, though, with only four books ever having done the double.) Mind you, if it does win, it will be a remarkable event, making Mieville the first author to win the Clarke Award three times; and three times within a decade, no less.

Now it gets really hard. Is Yellow Blue Tibia Adam Roberts’ best novel? Well, that probably depends on why you read Adam Roberts novels. There is certainly something to the idea that it’s his most relaxed, owned novel — as Jonathan put it, the work that combines Roberts’ various hats, as a writer of novels, histories, spoofs and criticism, “into one magnificent red satin topper”. In the honorable tradition of sf novels about science fiction, it surely has a spot marked out for it; it is funny; it has things to say about totalitarianism as well; it’s as technically well-formed a novel as you could wish; and its science fictional conceit delights me. To date the major charge against Yellow Blue Tibia has been Catherynne Valente’s hard-to-ignore assessment of “painfully inept cultural appropriation” (on which Roberts lightly comments here). That is: it is hamfisted as a depiction of Russian-ness. To me, the novel seems much more about popular conceptions of Russian-ness than about the thing itself. As Dan puts it, River of Gods would have been both a poorer and less honest novel if it had been written primarily with reference to depictions of India, but I don’t see that Yellow Blue Tibia is trying to be River of Gods, and I’m a little baffled that anyone tries to take it as such. It seems to me far too ironic, too playful, to self-conscious to be taken as striving — as McDonald’s novel clearly does strive — for anything approximating that horrible concept, “authenticity”. (That, and cultural appropriation strikes me as most egregious when there is a severe power imbalance in favour of the person doing the writing; and I don’t see that between the UK and Russia.) That sense of play, indeed, is one reason I read Adam Roberts; but another is to be challenged, to have my expectations about fiction and the world in general confronted in some way or another. And on that score, Yellow Blue Tibia disappoints me, seems to have fewer edges not just than Roberts’ other novels, but than other books on this shortlist.

If The City & The City is a popular choice for the award, Far North is becoming something like the reviewer’s choice, with Dan, David, Nic and Abigail all leaning in that direction, and Martin revising his odds accordingly. And for all that it’s been a long time since “the mainstream book” went home with the Clarke Award — since The Sparrow in 1998 — my head thinks that this could be Far North‘s year. It has a purity of concept and execution matched by no other novel on the shortlist, save perhaps The City & The City, and Theroux’s offering is a substantially more interesting novel of character (which does tend to be, in the end, one of the things the Clarke goes for). In its pragmatic depiction of life after ecotastrophe it eschews judgement in a way that few other such novels are able to — as Abigail puts it, it shows The Road how it’s done — and its Zone is as provocative and memorably eerie a location as antecedents. (It is also, like the previous three novels, a work that draws on Eastern/Northern Asia for its affect — a huge region, of course, but there do seem to me to be some affinities between Spirit‘s Baykonur metropolis and Chinese-influenced culture, The City & The City‘s vaguely defined border location, Yellow Blue Tibia‘s Communist Russia, and Far North‘s Siberia. And, of course, the one novel I haven’t discussed has a European setting. This is not, as I said, the most British shortlist.) In all, Far North is a novel that’s easy to argue for and hard to argue against, which is why I think it will win: after all, my mostly strongly felt argument against it, like Amanda, is simply that I like Galileo’s Dream more.

Kim Stanley Robinson’s novel, which ranges between Galileo’s lifetime and the medium-far future, is expansive and rough where Far North is contained and controlled. It is a long book and — like its protagonist — can be exasperating (although this does not mean that I agree with Rob Grant’s assessment that it is “written to impress rather than entertain“), but it nails the dismount. And more than any of the other books shortlisted, it’s the one I want to revisit. (Of course, the judges will have revisited it, and all the others.) This is partly just because Robinson’s model of human nature and culture is one I am quite strongly in sympathy with: that the world may not be sane, but that it behooves us to find as much sanity as we can, and struggle for more; that it is possible to be utopian without de-emphasizing the challenges to that position. And it’s partly because I want to explore how Robinson tackles the material that’s new to him — the alien — in more detail. But it’s mostly because I want to revisit the things that are specific to Galileo’s Dream that Galileo’s Dream does so extraordinarily well. The exploration of memory, of how human beings live in time; the science-fictional dreams that use the techniques of sf past to address the tropes of sf present; and most of all, the sophisticated analysis of what it means to write a biographical historical fiction, to intervene in the thoughts of a past life as a future traveller (or writer). You can feel the tension — can in fact see it develop over the course of the novel — between that idea of Galileo as we can imagine he might have been, and Galileo as we (as Kim Stanley Robinson) would like to be able to imagine he was. At the end of a decade that’s given us quite a lot of historical fiction novels about science, for me Galileo’s Dream stands as the best of them: and of the books on this shortlist, I think it contains the most beauty, and the most truth. And so I hope it wins this year’s Arthur C Clarke Award.

Ark

Ark cover “If the answer’s not the one you want, maybe you’re asking the wrong question.” So says Patrick Groundwater, one of the multi-billionaire founders of the Ark One project. His mantra is taken up by others during the development of the spaceship that Patrick and his compatriots hope will offer some of humanity – specifically, their children – an escape route from a drowning Earth. Patrick’s daughter Holle, in fact, uses the principle to ask the question that leads to an essential technological breakthrough. A reader, meanwhile, faced with the answer that is Ark, might struggle to find the right question. It’s not the question that ended the book’s predecessor, Flood – “What is Ark Two?” – since although that question is answered, Ark’s primary focus is Ark One. Yet nor is the question as simple as, say, “what happened next?”

For quite a long time, in fact, the question appears to be “what happened elsewhere?” Flood made it clear that, beyond the launch of Nathan Lammockson’s absurd ocean-going Ark, other projects were afoot to save some remnants of humanity from the inexorably rising waters, and indeed, one of Flood’s rescued-hostage protagonists, Lily Brooke, handed over the daughter of a friend to the Ark One project specifically. Ark reprises that scene for its opening, from the point of view of the daughter, Grace Grey, but then, rather than taking off at a tangent to its predecessor, the novel flashes back to 2025 – not too long after the start of Flood – to spend 200 pages detailing the preparation of the ship and its crew. This can feel a little familiar. There is not, for example, much room within the chronology of the flood for different kinds of stories than the ones Flood covered, with the result that Ark necessarily recapitulates some of Flood’s key notions (most notably the destabilising effect of the steadily increasing flow of refugees from drowned areas into any remaining sanctuary) and partakes of the same urgent tone.

And in the context of Baxter’s work as a whole, even the foreground is not as new as it first appears. In place of Flood’s adult characters, harried from place to place, Baxter here focuses on a group of children growing up in the closest thing to a safe haven left in America during this period. But the sun around which their lives orbit is the Ark: that one of the children sits around reading Heinlein and Niven points to the tradition this novel is in dialogue with, I think. Ark is an Engineering Project novel, and bears plenty of comparison to, say, Voyage (1997), or perhaps more significantly, given the apocalyptic context, Titan (1998). It’s a more American sort of novel than Baxter has written for a while – certainly more American than Flood, which was, for all its ostensible globe-trotting, unashamedly a very British apocalypse; here, a President frames the Ark project, and survival, as part of America’s Manifest Destiny. At the same time, this is not to say that Ark is hard sf, and in fact it comes complete with an honest-to-god Star Trek-style warp drive, to carry the Ark along in a bubble of spacetime, and enable the plot to be completed within a single lifespan. But its themes are familiar from the earlier novels — the tensions between military and civilian interests, and between science and politics as a necessary cost of any large-scale space effort; the intense training programmes, which are in a significant sense literally inhuman, and which unignorably deform the humans who pass through them.

Ark can be a sternly utilitarian novel. To fuel their project, for instance, the masters of the Ark trawl the pool of refugees – “It’s astounding the talent you can filter out of the flood of displaced” (34) – and those who get picked up in such drags, such as the engineer Liu Zheng, are under no illusions about their position. “You’re more than a commodity,” Patrick tries to tell him. “More than a set of skills.” Zheng’s reply is chilling in its bluntness: “Am I? None of us is anything without land, Mr Groundwater” (40). Much is also made of the motivating power of a central mission, of not so much the potential of humans working as part of something grander than themselves, but – once again – the necessity for it. “We are not looking for the outstanding individual,” Holle Groundwater is told. “We are looking for a crew” (63). As with Zheng, the emphasis is on individuals demonstrating their value: Holle, aged six when we meet her and in her early twenties when launch day finally comes, is our primary viewpoint in this section of the novel, but it’s by no means certain that she will last the course. We stay with her as the Ark project is taken over by the rump of the US government, as the somewhat casual but relentlessly intellectual training programme is replaced with something more sternly militaristic, as knowledge of the project becomes public and she and her peers become the last celebrities – but also as people she has trained with her whole life are gradually winnowed out of the crew selection process. The psychological consequences of such a life are, it seems, inevitable.

Jonathan McCalmont’s review of Ark argues that its essential familiarity should be balanced against Baxter’s “seemingly ever-increasing control” over his material. There is something to this. Without question, many parts of the novel are vivid. A shuttle-crash training mission is interrupted by an incursion of “eye-dees” – the refugees not authorised to enter the polder – who are scared off when one candidate, Don, starts cold-bloodedly shooting them down. And there’s a good, if brief (probably too brief) interlude in which Holle experiences life beyond the walls of the project, as one of the faceless millions of refugees. And if much of Ark’s first half feels mechanical – as in the murder-mystery plot that, when the long flashback is over, seems to have been inserted only to give Grace a narrative excuse to get to know the main Candidates – well, you might say, Baxter is often a mechanistic writer, deliberately so, and in his best novels that suits the material he’s working with. In Flood, the plot is as remorseless as the rising water, and the most notable achievement of Ark’s first half, perhaps, is to convey a sense of the mundanity of the Ark project, its fundamental grubbiness. We’re told that “The Ark was an expression of dreams, as much as logic” (83), but for 200 pages, even as the story sweeps towards the launch, and the flight plan becomes ever more delightfully unlikely, that dream is mired in much of the worst of petty humanity.

I’m less convinced by Alvaro Zinos-Amaro’s argument that the paralleling allows for a satisfying “aesthetic of symmetry”. Indeed, between the recapitulation of Flood and the echoes of the “NASA trilogy”, the questions the first half of Ark answers seem to me to be rather unsatisfying ones, to the point that when launch finally comes – in frantic, well-described scenes, although ones that are again reminiscent of earlier Baxter, in this case the novella Mayflower II (2004) – and the Ark soars free, it might be a blessed relief.

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He deliberately steadied his breathing. He turned, looking back the way he had come. And there were Earth and moon, hanging in space, visible now that the pusher plate eclipsed the sun. […] He held up his thumb, and was able to cover both of the twin worlds. In the first few days, as they had looked back at the receding home planet, they had all been shocked by how little land remained. Even Colorado, which had seemed so extensive when they were down there living on it, was only a scatter of muddy islands, threatened by the huge curdled semi-permanent storms that stalked the ocean world. But from here he could see no detail.

They had already come so far. (203)

Characters in Stephen Baxter novels are fond of remarking on how poorly humans, as a species that evolved on African plains, are adapted to life in space. But I think there is a sense in which humans-in-space is a natural focus for Stephen Baxter’s writing. The sparseness and directness of his style captures something of the all-alone-in-the-night situation of an ape on an interstellar voyage: takes the shock experienced by Wilson Argent in the above quote and makes the reader feel it as well. And the dysfunctions of Baxter’s characters – which loom as large in Ark as they ever have – seem an appropriate response to the vast concepts those apes must wrestle with. Jokes about shits-in-space aside (although, somewhat surprisingly, I don’t recall a single space-toilet scene in Ark), I can’t think of another contemporary sf writer who can so compellingly describe, as Jonathan puts it in his review, a sense of alienation in an empty universe. “They had already come so far”; but they have a very long way to go.

Which is to say that no, of course the launch doesn’t offer any relief. Not for nothing do the characters speculate that what they’ve built is merely “a prison in space” (276). The claustrophobic, crisis-riven atmosphere of much of the second-half of Ark is in an important sense merely an intensification of the atmosphere of its first half — the “bubble of safety” (60) that Holle recognises she grew up in becoming a literal bubble, the seeming-impossibility of the warp bubble shooting them off to the stars. No wonder that they turn inward, huddle inside the two counterbalanced hulls of the Ark (Seba and Halivah, named, we are told, for great-grandsons of Noah, though “Havilah” is consistently misspelled). What is in some undeniably literal ways “a whole new experiment in human affairs” (261) is, in other ways, the same-old same-old. Factions spring up in the aftermath of the chaotic launch – gatecrashers, illegals, Candidates – which quickly harden into prejudices and, crammed into the volume of three jumbo jets, the eighty or so crew find themselves frequently at loggerheads.

The hundred pages or so documenting the Ark’s journey to “Earth II” are the best of Ark, and in many ways the best of Baxter. Along with Holle, and Grace, the most prominent crew members are Kelly Kenzie, their captain – or, as she designates herself once their journey is properly underway, with what Holle considers to be utopian optimism, “speaker” – and Venus Jennings, the sf-reader I mentioned earlier, in charge of the ship’s navigation and astronomical observation. The narrative is episodic, designed to allow us to get to know the crew in their new habitat. Baxter takes us though a day in the life of the Ark in mid-journey, from Holle’s point of view: a search for a missing child, how the senior crew deal with the seductions of virtual reality “headspace”, how they plan for crew expansion (that is: having more children), the shipboard games they play and laws they develop. And he gives us striking set-pieces, such as a fire that leads to an emergency separation of the hulls. Scattered debris sparkles prettily against the brutal walls of the warp bubble. The grip of necessity, already strong in the first half of the novel, tightens here, becoming Cold Equations bullishness. When they reach Earth II, after the best part of a decade’s travel, and find it less than the brochure seemed to promise, there is the clearest sense anywhere in the book of the most interesting question Ark answers. Not: can humanity survive? But: can it adapt?

One of the major battlegrounds for these tensions is sex. The original mission design called for a balanced crew, men and women boarding two-by-two, and a plan to maximise genetic diversity by ensuring that any given pair of men and women had only one child together. (There are a handful of gay candidates, we are told, but they’re still expected to “donate their genetic material” at the appropriate time.) After the chaos of the launch, which left some of the planned crew behind, and carried away some military and other personnel who forced their way on board at the last minute, there’s an imbalance – more men than women – which undermines almost every attempt to maintain a stable society. It may (or may not) have been clear from my review so far that, even more than Flood, this is primarily a story about women. The back cover, in fact, blurbs the novel as “the story of three women, Grace, Venus and Holle and their part in our struggle to rescue a future from the waves”; a slightly odd choice given that Venus is never as prominent a character as Kelly, but certainly accurate on the principle. Indeed the most important male characters are callous patriarchs, serial abusers, or mentally ill. Make of this, as they say, what you will; I at least did not detect any essentialising conclusions to be drawn, except perhaps the trivially true point that the sort of constraints that come to define life aboard the Ark are, across the world today, usually more familiar to women than men.

It’s at Earth II and after that Ark begins to spin apart. The crew splits: some wish to attempt colonisation, some to return to Earth, and some to travel onwards, to a newly detected Earth III. Although Baxter lets the colonists go (at least for now; their descendants’ fate is chronicled in last year’s pretty good novella, “Earth II”), he clings on to the other threads. There have been hints, it’s true, that something like this might happen – seemingly superfluous chapters about some of those left behind on Earth, interspersed with the crew’s antimatter-mining efforts at Jupiter, even a brief scene from the viewpoint of an elderly Lily Brooke – but it becomes, to my mind, a near-fatal flaw, a critical loss of focus. Adam Roberts notes that he didn’t know how the novel was going to end. I have to finesse that. I certainly had a sense of how each individual thread was going to end; to the extent that I didn’t know how the novel was going to end, it was the result of being unable to find any coherence among the divergent threads of story.

Or, put another way, in the end I couldn’t find the right question to ask of Ark. It seems too much a novel of disparate parts – not by any means all bad; but not unified. Perhaps I shouldn’t be treating it so much as its own book. It’s true that the series Baxter has written over the last decade or so – the Manifold books, Destiny’s Children, even Time’s Tapestry – follow the same general pattern, in that they eschew direct continuity even as they share a setting, and can generally be read in any order, and true that readers coming cold to Ark seem to find things to enjoy. But I can’t see the separation as entirely successful in this case. To the contrary, I start to wonder how the tale would have looked if the two novels – the one story – had been published in a single volume. I can imagine an integrated Flood and Ark, in which the overarching story is the trial of living in catastrophic times envisioned as a kind of generation starship, with each new generation raised in radically different circumstances to their parents, and thus coming of age with radically different expectations. Ark emphasises this theme in its second half, as the sense of a project the drives the first half is gradually lost, but for all its lopsided structure, without the additional context in Flood the treatment lacks weight. Now, Flood and Ark would have been a beast of a book, and would certainly have sacrificed Flood’s awesome clarity; but it might also have done some things better than either book does alone, and leave me less able to frame Ark as an answer to: “what bits of story were left over from Flood?”

Cyberabad Days

Cyberabad Days coverAfter a novel as thorough as River of Gods (2004), any add-ons have to earn their keep. The stories collected in Cyberabad Days do so by fleshing out the timeline of the future, and (perhaps less nerdily) fleshing out perspectives excluded from River of Gods — and not just in the sense that none of the characters live in Bharat, the seat of the novel’s action. So, for example, in the first story, “Sanjeev and Robotwallah” (2007), we see the collapse of our India into the nation-states of McDonald’s novel, and the arrival of the “lighthoek” personal computing devices that will become ubiquitous; and we see it through the eyes of a village boy who becomes a combat-robot fan, is drawn into the circle of the child-soldiers who remote-pilot them, and confronted with the terrible mundanity of war. Convincing youthful perspectives are a feature of the book, actually, from the bratty Westerner in “Kyle Meets the River” (2006), whose father is involved in (redundant) nation-building efforts after India fractures, to “An Eligible Boy” (2006) caught, by changing demographics, in a wife-drought. The first-person, subjective account is also common, with slightly more mixed results: Hugo-winner “The Little Goddess” (2005) reads even better this time around, smoothly exploring McDonald’s future from the perspective of another kind of outsider, a young girl chosen as the Royal Kumari of Kathmandu, while “The Dust Assassin” (2008) is probably the closest thing the collection has to a weak story; it’s not long, but feels too long for the ground it covers. “The Djinn’s Wife” (2006) conceals the identity of its narrator until its final page, and in doing so plays with the idea of McDonald’s India as “exotic”, as a location for outlandish tales. Each story’s protagonist, however, is their own person; each provides an angle we haven’t had before, each explores new facets of the social and technological changes that run through this future.

Put another way:

India is her people and we are all only, ultimately, the heroes of our own lives. There is only one hero’s journey and that leads from the birth-slap to the burning-ghat. We are a billion and a half heroes. (297)

(Or indeed: “if it were a different man preparing to blow up the same bridge it would be a different story. Most idea-driven SF that purports to treat of character misses that.”)

The blockquote is from near the end of “Vishnu at the Cat Circus”, the collection’s only original work; although to compare it to any of the other tales in the book feels rather unfair, since at a shade under 100 pages it truly is a short novel, not a short story, and surely would be published and considered as such in any other genre. Couched as the seemingly-garrulous life story of an aging Brahmin, one of the genetic elite of River of Gods — engineered to live twice as long and age twice as fast as regular humans — it is both a brilliant study of another convincingly different character and, because a crucial part of that difference is the ability to see “the connectedness of things … the biggest picture” (236), the most complete description McDonald has produced of this future history. I did feel just a little pandered-to by this, actually; the transparency of what elsewhere is left to inference, the pulling-together of many threads, the revelation of What Happens Next. But to linger on that feeling would be to sell “Vishnu at the Cat Circus” very short indeed, since it’s surely forgivable in a swansong to a setting as rich as this, and since (among other things) the story is, without ever being heavy-handed, precisely about the act of storying a future, of standing back as an author (or a critic) and trying to get a sense of the whole (the sense that River of Gods refuses to allow its characters), trying to make sense of the whole. Easily worth the price of admission, as they say; one of the best things I’ve read all year, in fact.

Palimpsest

Palimpsest coverOh, this is a cold book. Its main characters, our four guides who contract the passport to the fantastical city of Palimpsest, are broken individuals all; there is almost no warmth in the very frequent sex they all engage in; and the closer they get to achieving their dream of permanently moving to Palimpsest, the clearer it becomes that for all its wonders, it is like everywhere else a place to live, not an answer. Reviews — Matt Denault, Dan Hartland, Deborah J Brannon, Annalee Newitz — rightly talk about how penetrating the novel is on the relationship between the real and the fantastic. I’m a little surprised that words like possessiveness and selfishness don’t crop up more often; they seem to me necessary to capture the full desolation of the desire that the Palimpsest virus induces, an addictive need to make a place ours, to make it us, to fill ourselves up with it: an need familiar to readers of fantasy that the novel at first mocks, with its absurdly imaginative glimpses of a city that refuse to become a whole, and then, towards the close, seems to concede. The great weakness of Palimpsest, as Dan is most forceful in articulating, is that to this end its characters are tools, not players, and they can feel a little thin, not to mention hapless (perhaps particularly the two men; the two women felt more sharply defined to me throughout). All four are victims of the story, not shapers of it — a feeling reinforced by the highly structured, highly stylised nature of the book, which clinically cycles between the characters, forcing more direction onto them than their individual lives ever seem to contain. But perhaps this is a final chill irony: an unresolvable struggle between the irresistable artifices of stories and something more fluid, less satisfying, that we have to try to recognise as life.

White is for Witching

White is for Witching coverIf there is any disappointment associated with this book, it’s that I read it too late in the year to buy it for anyone for Christmas. Oyeyemi’s third novel is, like The Opposite House, a fierce, fluid and economical tale, more explicit about its fantastic content but still laced with sufficient uncertainties that after one quick read I don’t feel able to speak authoritatively about “what happened”. I tend more to Jane Shilling‘s view of the book than Carrie O’Grady‘s, however. So, to describe its three narrators: Eliot, whose twin Miranda is at the heart of the book, and who appears to be sincerely conscientious about her worsening health; Ore, who falls into a relationship with Miranda when the two of them meet in their first year at Cambridge, and comes to visit her at home during the Christmas vacation; and 29 Barton Road, the house where Eliot and Miranda and their father Luc live in Dover, whose voice is (mostly) the voice of Miranda’s mother, and grandmother, and great-grandmother (as Dan Hartland notes, the voice of history), speaking in chorus, fearful of and prejudiced towards anyone not of the family, anyone different. Their hold over Miranda only grows. A darkly self-aware ghost story, then, with an uncommon freshness that springs from its acuity of insight into character and circumstance; a book in which the scariest thing is what the fear of other people can become, and do.

This is the Summer of Love

This is the Summer of Love coverAs I have noted before, it’s not that I deliberately disparage horror fiction. It’s just that in general, what disturbs me is not, it seems, what disturbs writers of horror, or what such writers think should disturb me. I think this is partly a matter of familiarity, and partly a matter of presentation. Editorial hyperbole, certainly, is never more distracting than when it’s telling you how you’re going to feel. So it’s a shock in itself when the introduction to a story such as Monica J O’Rourke’s “Cell” — “as fiercely uncompromising as anything we’ve published” — really does turn out to denote a story of comparable quality to the work of other newish horror writers such as Joe Hill and M. Rickert. In outline, “Cell” is formulaic: a second-person narrative in which “you” find yourself imprisoned in an unidentified prison, with your fellow inmates being carted off by black-robed folks one by one, or else banging their heads against the wall as a way of committing suicide. Two things make it work: that the narrative doesn’t flinch; and that it is self-interrogative. By the first I don’t mean that it’s graphic, but that it remains tense throughout, and stays true to the totalising, intimidating nature of its premise. (“You” pass in and out of sleep several times; on one such occasion, O’Rourke writes that sleep “has been searching the darkness for you” [74]. Were I to indulge in my own hyperbole, I’d suggest that the same could be said of this story.) And by self-interrogative, I mean that “Cell” foregrounds the nature of both second-person narration and horror fiction. The disjunct between the “you” of the story — a married caucasian Christian man with two children — and the “you” reading is never downplayed; indeed the central questions of the story involve guilt and empathy, how the former, including in the form of watching others suffer, engenders the latter, and what that implies for the sincerity of either emotion.

But self-awareness, sadly, is not always self-interrogation; if it were, then This is the Summer of Love, the first anthology edition of PS’s Postscripts magazine, which at least so far as I’m concerned has more than its share of mildly metafictional horror tales, would be much more to my taste than it is. (The anthology becomes the latest victim of my ongoing skirmishes with genre horror quite inadvertently: I read it because it’s advertised as simply a “new writers” special — albeit with a flexible definition of “new” that translates to “people who may have published quite a few stories that we think you won’t have heard of”.) Into the category of “middling success”, for instance, falls RB Russell’s “Literary Remains”. The setup involves an older woman recalling an episode from her youth: she was in her early twenties, living on her own for the first time, in a band, and working in a second-hand bookshop to make ends meet. One of the shop’s customers, an elderly man, develops a creepy but seemingly harmless mild obsession with the narrator, leading him to donate various books of ghost stories — some rare editions, some pulp, all heavily annotated. The narrator finds her interest sparked by the annotations, and from there she develops an appreciation of the man’s own, little-known, fiction. Then the man dies, and becomes posthumously successful, and the narrator finds herself visiting his flat to help with an assessment of his book collection for resale. The voice throughout is unfussy and well suited to the denoument; the trouble is that the denoument delivers nothing unexpected. That is to say, creepiness ensues, of a kind that may be in the narrator’s head (having been sensitised by the man’s fiction) or may be real and which, if real, constitutes sexual abuse. Russell leaves enough unstated, and introduces enough doubt about his narrator’s perceptiveness and accuracy of recall, for the story to work passably well, but there’s no denying its predictability, and predictability (as a story like Joe Hill’s “Best New Horror” demonstrates) is itself a form of comfort. Although that said, arguably the most terrifying sentence in the story is the first, with its utter dreariness: ‘When I look back on my life in Eastbourne in the late 1980s, I find it amazing that I could ever have had enough time and energy to accomplish what I did’ (129).

There’s a writer at the centre of “The Family Face” by James Cooper, too, and here predictability has produced a story so snug in the grooves of genre that it’s barely there to criticize. Said writer is English, called Michael, and heading to the country for a week’s peace, quiet and writing; on his way he meets an odd and apparently itinerant family, one of whose members specialises in carving uncannily life-like dolls. Michael declines to take one, but on arriving at his remote retreat he finds himself haunted by a child carrying a half-finished doll. There is a wearying laziness to the tale — Michael’s first encounter with the boy is described as being ‘as though somewhere, just out of sight, the trace of someone’s nightmare was being inexplicably defined’ (91), rather than in a way that might actually evoke nightmarishness — and by the time Michael is thinking that ‘he knew implicitly that there was nothing remotely derivative about his own mounting disquiet’ (95) all you can do is roll your eyes.

Speaking, as we were earlier, of bad ways to introduce stories, here’s another: “I believe new writers are forced to be copyists by publishers who accept only work of a kind that has been successfully received”, says Clive Johnson. Whatever the truth of this assertion — and I’ll be charitable and accept that some attenuated version of it is true for at least some publishers at least some of the time — it smacks of defensivness for a writer, let alone a relatively new writer, to introduce his work this way. Unlike “Cell”, “Pieland’s Dream” doesn’t quite escape its introduction, either. It begins as a sort of club story, with one member of a writing group relating his dream to the others (and in the process renders the introduction doubly redundant by putting very similar sentiments into the mouths of its characters), and develops into a deconstruction of the desire for and impossibility of originality, as another member of the writing group begins to experience the dream, before they all perform in a play that recreates a key scene from the dream; the story gradually tightens its grip on them, ultimately killing one of the group. What’s good is Johnson’s willingness to be inventive; there’s a decent dialogue-heavy opening section that juggles its characters well, an almost dialogue-free section of some intensity, and sections towards the end rendered as a transcript. What doesn’t work so well is pacing; none of the sections feels quite the right length, and Johnson doesn’t quite manage to balance the different levels at which the story is operating. And there’s the sense that even if the form is original, acknowledging the familiarity of the base tale does not, here as in “Literary Remains” and “The Family Face”, translate into a successful iteration of it.

There are fewer writers, but not much more success, in the non-horror tales. Deborah Kalin’s “The Wages of Salt”, for example, seems to me a classic case of an interesting setting coupled to under-developed story. Alessia is a student in New Persia, an intriguing if sometimes baffling city-state on a salt desert. (One source of bafflement: why is salt “white gold”, the basis of New Persia’s economy, given its apparent abundance?) She is researching the nature of the “theriomorphs”, nicely realized half-man half-animal creatures that occupy the salt plains around the city; that research ultimately leads her, and us, to a new understanding of the therimorphs, and her. And sadly, that — plus a few rather perfunctory exchanges on ethics and pragmatism, and the abstract value of knowledge versus the immediate value of coin — is it. Similarly inessential is Neil Grimmett’s “A Hard Water”, a short, mimetic piece about fishing. The water of the title is a spot that appears to be idyllic and undiscovered, but in actuality is a hard water, which is to say one that refuses to give up its fish. The narrator, obsessesed with the place, is one of only two fishermen to stick it out over the season, hoping to land an enormous carp. There is a sort of rivalry with the other fisherman; there is the suggestion that his wife is using his absences to have an affair; there is a climactic storm, and a hint of the immanent fantastic. It is perfectly reasonable and unexceptional.

Livia Llwellyn’s “Horses” is the most fully realized sf piece, although it certainly carries a horror glaze: it is the story of the nuclear apocalypse and after as experienced by an American Missile Facilities Technician called Angela Kingston. Its ambitions are good, aiming for a mix of McCarthy nihilism and Russ anger, but the end result is too messy and melodramatic to match either. Llwellyn aspires to the cinematic, and some images, such as an emaciated man emerging from a dark tunnel “as if a swimmer is breaking the surface of the ocean”, are vivid; but too many others, such as nuclear explosions on the horizon described as “voluptuous jets of lightning-shot ziggurats” (22), are confused (can you even have a jet of ziggurats?). Emotional moments, too, tend to be overly dramatic, such as Kingston’s acceptance of radiation poisoning on the grounds that when it reaches her heart, it will be surprised to find said organ already gone; or the establishing assertion that “In the next twenty-four hours, she’ll take the pill, or a bullet. Which one it will be, she cannot say” (16). Which is a shame, because in many ways Kingston’s dysfunctionality — suicidal yet driven to survive — is narratively and psychologically promising, at least until Llewellyn stoops to soften her (slightly) with maternal love. Even the lack of a happy ending can’t stop that feeling like a bit of a betrayal. But it is better, at least, than Chris Bell’s “Shem-el-Nessim”, the title of which is also the name of a magically bewitching perfume, which may be linked to visions of a mysterious beautiful woman, and which includes sentences of this kind: “They lay together in the failing light of a late afternoon, the indescribably oriental fragrance of her skin buffering the room’s airlessness” (64). I’m not convinced a strong perfume in an airless room would work quite like that, but fine, it’s magic; and the deployment of “oriental” makes me cringe; but what really gets my goat is the addition of “indescribably”. Admittedly it is an easy word to misuse, but here it is misused in a way that makes everything else about the sentence worse. There is no irony: this is entirely straight-faced exoticisation for no original, or even unoriginal but strongly felt, reason.

Leaving “Cell” aside, the most intriguing stories are those which open and close the collection. Like so many of the pieces here, they reflect on storytelling; but they do so via cinema rather than prose, which seems to work better. Unsurprisingly, given that it both closes and lends its title to the anthology, Rio Youers’ “This is the Summer of Love” is also more explicitly than most of the pieces here about love — as an emotion, and as a story humans tell to each other. Nick Gevers’ overall introduction to the anthology singles Youers out as a “major discovery”; he apparently has a novella, a novel, and some more shorter fiction forthcoming from PS. “This is the Summer of Love” doesn’t, by itself, justify this investment, but it doesn’t suggest it’s a terrible mistake, either. It is assured and occasionally bold work: the story of Terri and Billy, two teenagers obsessed with classic film who fall in together for a summer. The perspective is primarily Terri’s. The story opens with an exchange of overheard, unattributed dialogue: Terri (as it turns out) asking Billy to take her away to California. Billy says no, because “he knows he can only be her hero for as long as she needs one” (158), which may raise eyebrows. Flashback to when they met: Terri miserable, beaten by her father, convinced that love exists only in movies, that it is “all sweet fiction” (159). Suddenly Billy is there, and Terri has fallen head over heels: “Everything was gray next to him” (159). His smile is so beautiful it is “celluloid”(161) — a particularly effective choice that, I think. He is Brando, Dean, Stewart rolled into one.

The most appealing thing about “This is the Summer of Love” is its willingness to be shamelessly intense and (unlike, say, “Horses”) to recognize the absurdity of that intensity. It is at times hyperreal, a tale of young love and domestic abuse told with the fevered vision of Hollywood. The highs are very high, the lows very low; and the highs often disguise the lows, like the make-up Terri applies to turn the ghostly image in her mirror into a starlet. A melancholy ambivalence can be discerned: Hollywood saves Terri, day to day, possesses her in a sense, while Billy saves and possesses her in another; and at the end she achieves a happy ending, but it is happy in large part because she wants to be possessed, just not by her father. Billy’s opening worry, in other words, seems in no danger of passing: she’ll always want a hero.

And in Norman Prentiss’ opening tale, “In the porches of my ears”, out of what at first seems to be blandly middle-class American narration — meet Steve, who is snobbish enough about cinema to disdain the usual blockbuster fare, but thinks arthouse means “subtitles or excessive nudity” — but becomes slightly more warty and convincing, something quite clever and moving emerges. Steve recounts a trip to the cinema with his wife Helen, in which a (deliberately genericised version of a) Working Title-esque contemporary British romantic comedy is spoilt by the couple sitting in front, one of whom is blind and the other of whom narrates the events on screen. Steve and Helen’s annoyance appears to be validated when the woman, seemingly cruelly, changes the ending, relaying a bitter interpretation of the closing scenes that causes her companion to break down in tears; yet when Steve approaches the man afterwards to explain the real ending, the thanks he gets is deeply sarcastic.

There is an obvious commentary here on writing and rewriting, and the idea that different people get different things from stories (something of which I’m never so conscious as when reading work marketed as horror); and it’s deepened by a second part to the story, which establishes certain parallels between the two couples, and is explicit about the idea — the horror — that there may be “awful, unnarrated tragedy” (10) beneath the surface of a tale. Much is left unsaid (in the satisfying, rather than maddeningly oblique, sense), and any fantastic component is (appropriately) left to the reader to infer. But what makes the story work particularly well as an opening tale is its dark spin on the overall title: certainly love has a summer, but by implication it therefore also, inevitably, has an autumn and winter. To resist this, the tale suggests, is a kind of solipsism, a desire to make a story of love ours, to own it and make it relevant to us, to close the aching gap between story and life without regard for the consequences. As an introduction, it might be saying: do not try to make the stories that follow fit your love. Let them be their own thing. I might reply: if only more of them had managed to achieve such independence, or aspired to.

Hoshruba: The Land and the Tilism

Hoshruba The Land and the Tilism coverHoshruba is an exhausting delight. “It has consumed whole generations of readers before you”, warns the introduction to this volume, and while obsession is probably what was meant, used up works as well. My immediate feeling on turning the last of these four hundred and thirty pages of story, so remorselessly crowded with incident and imagery, was simply of being spent; and The Land and the Tilism is merely the first of a projected twenty-four comparably-sized volumes that will bring the complete work to the English-speaking world. (It is a mere five volumes in the original Urdu; but each somewhere in the region of 1,500 pages long.) Not necessarily in terms of the scope of the events described, but certainly in terms of their sheer number and duration, as an epic epic fantasy — for that is what it is and, lacking the knowledge to review it in its historical or cultural context, that’s what I’m going to review it as here — it knocks just about anything else you can think of into a cocked hat.

Some background. (Shamelessly recycled, I should note, from that introduction, elegantly composed by translator Musharraf Ali Farooqi.) You should have heard of The Adventures of Amir Hamza, a chronicle of the exploits of the uncle of the Prophet Muhammad, told in India as part of the dastan genre of oral epics. It was first collected, and no doubt at least partly composed, in the mid to late sixteenth century, incorporating many pre-existing fictions and legends, at the request of the Mughal Emperor Akbar. By the nineteenth century, however, it had become somewhat familiar. As Farooqi tells it, a group of storytellers in Lucknow decided to liven up the story with “an injection of local talent” — meaning that they would introduce into the tale elements from Indian and Islamic fantastical and folk traditions, in particular magic and magic-users, to run alongside the existing Arabian and Persian tropes.

But the new tales had to be indisputably part of the Amir Hamza cycle, for that was what audiences wanted, and were used to. The man who, in the mid-nineteenth century, probably came up with what can perhaps, crudely, be thought of as an unauthorized spin-off series (at least until authorization was provided by the approval of the audience) was one Mir Ahmed Ali. He seized on the defeat of a renowned enemy of Amir Hamza, the giant Laqa, as his point of departure. While Amir Hamza pursued Laqa, he decided, some of Hamza’s associates and relatives would find themselves entangled in events in a magical land; and these splitters would become the subjects of the new tales. By the time another Lucknow storyteller, Muhammad Husain Jah, was commissioned to produce the first (or first enduring) written version of the epic, the first volume of which appeared in 1883, Hoshruba had been a storming success for several decades. Jah’s books, on which the present translation is based, were best-sellers.

So this is clearly a notable work. The set-up runs roughly thus: out on a hunting trip, one of Amir Hamza’s sons, Prince Badiuz Zaman, accidentally kills one of the guardian sorcerers of the magical realm of Hoshruba, and in consequence is imprisoned by Afrasiyab, the Emperor. Hoshruba, we are to understand, is an immense tilism, a place created by infusing inanimate matter with magic. Most tilisms (it seems) are modestly sized, and created for a specific purpose — enchanting some bandits and preventing them from attacking you, say. Hoshruba is vastly larger, divided into three regions (Zahir, Batin and Zulmat, the manifest, hidden and dark regions), to the point where it is capable of containing other tilisms within itself. Nevertheless, Amir Hamza launches a campaign against Afrasiyab, after consultation with his diviners reveals that one of his grandsons, Prince Asad, is destined to conquer Hoshruba with the help of five tricksters. (Central to this is the acquisition of Hoshruba’s material key: as with all tilisms, control the key, and you control the fate of the tilism.) Hamza’s childhood companion Amar Ayyar is called up as lead trickster and, before long, the interlopers are fomenting rebellion within Hoshruba. The bulk of this volume (and, I presume, the bulk of Hoshruba) details the wax and wane of their struggles against Afrasiyab.

It proceeds like this:

… we return to Afrasiyab, who, after sending his reply, recited an incantation and clapped, whereupon a wisp of cloud materialized in the skies and descended to the ground. The sorcerer Ijlal, who was a king of one of the sixty thousand lands of Hoshruba and commanded an army of forty thousand sorcerers, dismounted that cloud, bowed to Afrasiyab, and asked, “Why has my master sent for me?” Afrasiyab said, “Lord Laqa has arrived in Mount Agate. He is being pestered by some creatures who have earned divine wrath and condemnation. Go forth and destroy them and rid Lord Laqa of their evil.” Ijlal answered, “As you please!” He rode the cloud back to his abode and commanded his army to get ready to March. Then he prepared himself for the journey and warfare and mounted a magic dragon. All his sorcerers also sat on magic swans, demoiselle cranes, flamingos, peacocks and dragons made of paper and lentil flour. Wielding tridents and pentadents and carrying their apparatus of sorcerery in sacks of gold cloth hanging from their necks, they departed toward Mount Agate with great pomp and ceremony, dripping wax over flaming, chaffing dishes and burning gugal to cast spells. (36-7)

Now we come to both the delight and the exhaustion. To deal with the latter first: Hoshruba is, much of the time – and not terribly surprisingly – episodic to the point of formulaic, and thus predictable. Moreover episodes are short and numerous. There are some of what we might call arc elements, but Hoshruba is predominantly what Farah Mendlesohn has called a “bracelet fantasy”; there is no necessary connection between the overarching quest and the individual adventures that take place. You can have as many links in your chain as you want, and the most common links in Hoshruba’s chain are encounters with sorcerers or sorcerersses, summoned by Afrasiyab to deal with Asad’s rebellion. So for all his grand introduction, twenty pages later Ijlal has been outsmarted by Amar Ayyar, realized Laqa is a false god, and converted to the True Faith; after which I’m not sure we ever hear from him again. And that’s actually pretty good going for a magic-user in this book. Most have had their heads cut off before half that many pages have elapsed.

Equally the book’s idiom, lavish to the point of hyperbole, can when read over a relatively short period become repetitive. Descriptions of beauty, in particular, suffer from diminishing returns. One princess is “the gazelle of the desert of beauty and a prancing peacock of the forest of splendour” (12); another is “an inestimable pearl of the oyster of love … the sun of the sky of elegance and beauty” (78-9); upping the stakes, of a third woman we are told that “no one had ever seen or heard of such splendour [no one who hasn’t read the preceding hundred pages, at least] … It seemed that her thighs were kneaded with powdered stars” (100); on the other hand, the beauty of a fourth “was so astonishing that even charming fairies were fit only to be her slave girls” (189), which seems almost mild by comparison.

As viewed with contemporary expectations of a prose narrative, these characteristics can be tiring. Particularly in the second half of the volume, once the story is up and running, there is little sense of progress. There is no map of the tilism, and judging by the way various characters zip back and forth between different locations, it may be a landscape in flux, anyway. Individual locations – cities, mountains and forests, mostly – can be strikingly described, but aside from the over-arching tripartite division of Hoshruba, there’s little sense of how the various jigsaw pieces we’re shown fit together. Nor is there much character development; there are, evidently, a great many sorcerers and sorcereresses in Hoshruba willing to try their luck against Asad and Amar (the list of “characters, historic figures, deities and mythical beings” is a healthy nine pages long), and even those who are converted to the True Faith show little sign of the interior life we expect of characters nowadays. (Technically they are persuaded to pledge allegiance to the True Faith; magic, in Hoshruba, is the province of divinity, which is why the tricksters and other followers of the True Faith have none, and if Afrasiyab’s minions genuinely converted, they would lose their magic powers and be useless to the rebel cause.) Equally, Asad and, particularly, Amar are definitionally infallible: there is no suspense about the fact of their triumph, sanctioned as it is by God, only in the detail of how it is achieved.

But that, of course, is the key to the delights of Hoshruba. Its pleasures are almost entirely immediate and local to whatever part of the story you happen to be reading: the detail of each individual adventure, or location, or character, and the constant arms race of tactics between Amar Ayyar’s tricksters and Afrasiyab’s sorcerers. The elaborately metaphoric idiom – “His mind dove into the sea of trickery and presently emerged with a pearl of thought” (110) – is to be revelled in, and is not without some self-awareness. (A list of Amir Hamza’s feared commanders includes Karit Shield-Whirler, Jamhur World-Conflagrer, and … Saif the Ambidextrous?) As is the narrative’s ludicrous casualness with huge numbers. Afrasiyab’s home base, an enormous tower called the Dome of Light, houses twelve thousand sorcerers on its first tier alone. At one point, there’s a passing mention of eighteen thousand princesses, which must be quite a family tree. And armies the size of Ijlal’s or larger are regularly disposed of in a sentence or two — this is, in one sense, the bloodthirstiest book I have ever read.

Many cultural details, Farooqi notes – styles of dress for example – are drawn from the contemporary surroundings of those who originally composed the epic. But there is, too, a constant flow of fantastic imagery; not for nothing is the tilism’s name drawn from the words for “senses” (hosh) and “ravishing” (ruba). Often, magic is instantiated in seemingly mundane items: “Sorcerers from both sides recited spells and exchanged magic citrons and limes, magic steel balls, clusters of arrows and needles, and garlands of chillies” (168). There are silver forests, rivers of blood, gemstone mountains and crystal cities, and magic beasts of every kind, as suggested in the above quote. There are magic slaves of steel, on horseback, and sorceresses who live as lightning bolts. It’s noticeable that none of these are described with the elaboration brought to bear on the characters’ appearance or actions. None of them, in other words, are described in such a way as to make them vivid and exciting; they are simply stated with the assumption that they are exciting.

And though each engagement between the tricksters and the sorcerers follows the same template – Afrasiyab calls up his latest minion (sometimes with an army, sometimes without); Ayyar or one of the other tricksters uses their skill at disguise (using magic paints and lotions) to lull said villain into a trap, at which point they use an egg of oblivion to render them unconscious, and either cut off their head, or stick a needle through their tongue to prevent spell-casting and convert them to the True Faith – over this template many elaborate variations are laid, to the point where the frantic complexity of some of the later episodes approaches farce. This sorcerer will set up a magic slave to shout out the true name of anyone who approaches; that sorcerer will reveal true faces in a magic mirror; another sorcereress will use magic water to prepare the ground in such a way as to render the tricksters unconscious; or Afrasiyab will consult the Book of Sameri, which reveals the truth of whatever is passing. (Once the existence of this tome is revealed, you do wonder why he ever does anything without consulting it first, however.) Sometimes one or more tricksters will be captured, only to be rescued by their companions before the coup-de-grace. At other times there will be a pitched battle between Afrasiyab’s latest army and whoever is on the rebel side at that point. Some characters, inevitably, do survive, and over the course of the book a substantial cast accumulates on both sides. On the rebel side the most notable is probably the sorceress Mahrukh Magic-Eye, mother of Prince Asad’s love, while on Afrasiyab’s side the most entertaining are certainly the five “beautiful, adolescent” trickster girls. Amar Ayyar and his colleagues immediately fall in love, and try to steal kisses from their beloveds; “the trickster girls,” we are told, “would let them come close then bite them” (214). The minxes.

As Anil Menon notes in his review, to allow the claim that the cover and website make for Hoshruba as “the world’s first magical fantasy epic” requires some contortion. But it does have a lot of the tropes – the quest, the secondary world, the dark lord – and in one crucial respect it is absolutely of a piece with the modern genre: this volume isn’t even close to being complete in itself. In fact, because Hoshruba – for all its frustrations, repetitions, and inconsistencies – is never less than engaging, when it does simply stop, even though we were forewarned, it’s a bit of a shock. You emerge, blinking, back into the world, because the truth of Hoshruba is that, like all good fantasies, it is itself a tilism: it infuses these inanimate pages with magic. It may be a while before I feel ready to tackle volume two but it is, in the end, a delight to be exhausted.

In Great Waters

In Great Waters coverFantasy, I think it is fair to say, is a little bit in love with acts of creation. It is the genre of extravagant creation, in fact, the fiction for which an intuitive understanding that both writing and reading are inherently creative acts is not sufficient: thus the monsters, maps and magic, and the praise for imaginative density and thoroughness. But most of this praise is directed at the density and thoroughness that goes with the creation of the world; hence, for example, the awareness — and implicit prioritization — of the story’s environment that goes with the tags “epic” and “urban”, hence the familiar litany of the famous places of fantasy. Less frequently do books stand out for creating textured and original experiences for their characters. This is not the same as saying that fantasy novels are prone to poor characterization; what I mean is that, for all its merits, in a book like The War With The Mein the characters are human on terms that we can immediately recognise and understand. Strangeness doesn’t enter into it, and not just because the characters are natives of their world. But you can argue that it should: that in a fantastical world, experience, patterns of thought, and the consequent characters should be, to some degree, alien to us.

This is, as Martin Lewis has pointed out, part of what Kit Whitfield gets up to in her very fine second novel, In Great Waters, with the additional complications that we follow both of the main characters growing up, that neither of them are ordinarily human, and that both are children of two worlds. They are hybrids, with blood from both the people of the land and the people of the sea in their veins; although beyond this similarity they mirror each other. Henry is born as Whistle, under the sea, his “bifurcated tail” marking him out as a freak, and providing a handicap that leaves him a target for bullying, and — until he realises he is more intelligent than most of his peers, and able to trick them — often struggling for food. Eventually his mother takes him to the place where “the world gave out”, that is, the shore, and abandons him. Whitfield is good on Henry’s life underwater, in his cradle, alien to us but not to him: the cruelty of it, the tribal rituals, the sense of space and motion that goes with life in three dimensions, the baffling otherness of the sky above the sea. But she is very good at Henry’s life on land, alien to him but not to us. After two days of lying in the surf, Henry is discovered by a man:

In the sea, he’d been small, smaller than other boys his age, but this skinny creature made Whistle feel tiny. Most strange of all was the tint of his skin, a pink-red pale colour like you got in the first few feet of water below the surface, before descent into the depths greyed everything out to shades of blue and green and white. The man himself gasped endlessly for air, inhaling again and again, faster than the waves beating on the shore. Whistle watched the straight limbs of the man as he paced, bizarrely inverted with his body upright as if permanently breaking the surface. (9)

The succeeding pages depict Henry’s experience of being raised by the above man to survive on land. Awareness of his position as (forgive me) a fish out of water is never neglected, and Henry’s situation quickly becomes engrossing. So he conceptualizes new information in terms of what is familiar to him — posture, and the tint of skin, in the quote above; later, he imagines soldiers as being like a shoal of fish — but more immediately, his surroundings are thoroughly strange. The world below had limits, but within itself no boundaries; on land, Henry is constantly thwarted by borders and barriers. He has trouble grasping the concept of nations, their scale and locatedness. More immediately, buildings are “an endless profusion of boxes that [daze] his focus with their stiff, enclosing order” (10; his unfamiliarity with right angles also makes the Christian cross a threatening symbol, a fact which becomes important later in the novel); clothes are “a blindfold for his body” (19); he feels constantly heavy, without the sea to support him, has to walk on crutches, and has to fight the urge to attempt to swim out the window of the room in which he is imprisoned. But as Nic Clarke notes, as good as the physical, tactile elements of Henry’s experience are, equally important are the conceptual challenges he faces. Language becomes a site of struggle. In keeping with their more animalistic intelligence, the language of the deepsmen is simple, declarative, consisting primarily of warnings or commands. English contrasts in every way: complex and contradictory, with meanings to Henry quite unlike those we might construct. One word is totemic: “to Henry, ‘understand’ meant to take up the posture of a landsman: impossible, and unwelcome” (40). So there is no sudden, total conceptual breakthrough, no moment when the nature of his new world becomes suddenly clear to Henry, only a slow, continuous, imperfect process of understanding and adaptation.

Then there is Anne. At this point some additional context is necessary. We are in early Renaissance (or thereabouts) England. The story, as told to Henry early in his captivity, is that first contact between landsmen and deepsmen took place in ninth-century Venice. The landsmen sent out ambassadors in boats, playing beautiful music; the boats were attacked and quickly sunk, and the landsmen moved into the city’s canals, resisting attempts to dislodge them. The situation worsened, and worsened again as Venice found itself under threat from land as well as sea. Then, a woman walked out of the water, and announced that she could command the deepsmen. Soon enough, Venice’s power was once again waxing, with any country dependent on trade or travel by water at the city-state’s mercy, and Angelica on the throne. An empire was forged and, ultimately, crumbled, as other countries learned to put hybrids on their thrones, to negotiate with their local deepsmen. In Anne and Henry’s time, landlocked countries remain relatively stable, but for everyone else Whitfield would have us believe (I can believe it) that times remain edgy. Deepsmen blood has become royal blood. The lines must be preserved at all costs, even as the blood thins, and in-breeding among royal families takes its toll. Every so often, a regime is deposed, as a new bastard emerges from the ocean; the last such event took place in France, a century ago. Now, Henry is being groomed for the same role in England; and Anne is the youngest granddaughter of the current king.

Anne’s narrative is, less ostentatiously but no less thoroughly than Henry’s, a masterclass in the construction of personal worlds. Like Henry, Anne has two worlds, the land and the sea; but they are not Henry’s land and sea. For Anne, the land is home, where she was born. It is still a place whose rules must be learned: her world is the court, after all. Like Henry, Anne is a disappointment to her parents, and to the court: “born a disappointment”, we are told, “but such was often the fate of royal girls” (57). A second girl, in fact, and not only that — meaning that England has no heir ready to take over from an aging king, and that marriages will have to be brokered. This fact becomes only more urgent when Anne’s father, the king’s first son, dies, because the second son, Philip, is no heir. He is, however, an extraordinary, grotesque creation, a full deepsman throwback (tail and all), dumb and violent, driven by unreflexive desire, yet horribly indulged by the landsmen around him. So where for Henry it is the physical challenges of life on land that are most immediate, for Anne it is the political challenges, the constant negotiation of the invisible protocols that shape a society. And no wonder, then, that for Anne the water — which was Henry’s cradle, yet never his home — is a place of freedom. Periodically, the court visits the coast, so that the royals may swim and negotiate with the local deepsmen tribes; but though these visits are a duty, they offer Anne a degree of mental, social and physical escape. “Anne felt stronger, wider awake […] she turned with a flex of the spine that felt almost forbidden in its ease” (78). Of course, this simplicity does not last.

As time passes — we follow both Henry and Anne from childhood to young adult-hood, although with little of the emotional familiarity that such a framework would usually imply — we see how the pair are shaped by their worlds. By their existence, for us Henry and Anne shade each other, but it is their contexts that make them different. Faced with a deteriorating situation at court, we are told that Anne, “not knowing what to do, did nothing”; and that “in consequence, rumours began to build that she was a simpleton” (80). Her deepsman heritage here comes in handy. In moments of high emotion, her face becomes lit by phosphorescence, creating a rather grisly visage — “The effect was only to cast her eyes into shadow, rendering the sockets hollow like a skull” (58) — but one that allows her to build a façade behind which Anne can maintain her own thoughts and a secret self. Of necessity, she becomes observant, careful, resourceful and brave, as she attempts to assert some measure of control over her life. Henry, meanwhile, is raised on land with the expectation that he will one day be king, and acquires the ambition and arrogance that go with that, but neither does he escape the feral, mercurial part of his nature, and he is consequently defined by fear and, inevitably, by anger. Whitfield does a marvellous job with this latter emotion, in particular: Henry is a potent portrayal of the destructive, distorting effect of anger. That he is able to use it is a hollow comfort; it defines him for too much of his life, bringing isolation and instability and reinforcing incomprehension. When he finally meets Anne, his reaction could be Philip’s, if we could believe Philip could articulate his thoughts so clearly: “He would have liked to defeat her, somehow, beat her down in a fight or make her obey him, to stop her face from troubling him any further. He wanted to eat her tongue” (222).

There is, of course, recursion here: the differing experiences of Anne and Henry create our sense that they exist in different worlds; and those different worlds give rise to differing experiences in turn. They read the world, and the world writes back on to them. But in a less subjective sense they live in the same world; and in order to make any headway against the forces that constrain them they each have to, somehow, gain the other’s world. Gradually their stories do merge: from alternating fifty-page chunks we move to alternating chapters, then paragraphs, and then finally the two are together in a single narrative. But their alliance is one of pragmatism, not romance. For Anne, Henry is a way out; for Henry, it is simply that Anne is the first person he has met to speak both his languages, the only one who has a chance of understanding both his worlds.

I have talked so little about the actual story of In Great Waters because, in a sense, it is extremely simple. Stripped down, it is a fantasy of political agency. “Given the right push”, the narrator tells us, “customs could change” (326); and Henry and Anne, thanks to their dual and doubled perspectives, can get themselves into a position from which they can give the right push. But familiar arc though this may be, it is never less than deeply felt, made credible by the texture of its protagonists’ experience. Whitfield’s language is (indeed, languages are, given the attention paid to the representation of the deepsmen tongue) carefully tailored to support her creation. The writing is not archaic, but shaped by a few choices that leave an archaic flavour in the mind: there are almost no contractions, almost no use of the continuous present tense. (I might compare the carefully complementary artifice in this novel to the carefully contrary artifice on display in Neal Stephenson’s Baroque Cycle.) Whitfield’s shifts in emotional register are adroit, and her grasp on her narrative is assured. So it is possible to believe that Henry and Anne can create their world anew.

But putting it this way is too sentimental for an unsentimental novel. To my mind there is a powerful Darwinian undercurrent to In Great Waters, not just in the portrayal of the deepsmen — their lives, red in tooth and claw, and the impression that they are water-adapted humans, part of the ecology, not magical creations — but in the clear understanding throughout the book that both Henry and Anne are unfit only to the extent that they do not match their environment. So perhaps it would be more apt to say that what they do is to open up a new niche in which they can live safely. Or to emphasize their strength, and say that like Whitfield’s first novel, Bareback (2006), In Great Waters is ultimately a story about ways of being human, however alien you seem: a reminder that more than reading or writing, the greatest act of creation available to us is living.