[previously]

Here’s another quote, from rather later in the novel, just after Lindsay, who managed to get herself pregnant before the mission left Earth, has given birth.

“He could do with some more milk, if you’re up to expressing some.”

Not more tubes. He was too weak even to feed properly. She laid him down in the cot again with a breaking heart. Every instinct in her body said she should forget common sense and take him somewhere quiet to comfort and nurse him. But Hugel was a doctor, and knew better. And Lindsay was an officer, the ranking officer now that Shan was out of action.

“I’ll get on with it,” she said. (311)

This is such a brusque examination of the maternal instinct that it feels little more than functional, a device to remind us that humans are animals, but set up and dismissed in a couple of sentences so that Lindsay, and the narrative, can get on with it. Quite a lot of City of Pearl felt like this to me: it is an almost exhaustingly direct novel, with a quite narrow emotional range; like a more cynical John Scalzi, or a less schematic Isaac Asimov. What’s interesting is how this style dovetails with the novel’s content.

Constantine, we are told, is “a transparent sort of place” (61), not somewhere of great complexity or nuance, with a symbolic fascination with glasswork. More than that, the native life on bezer’ej is often see-through, as a camouflage strategy; the planet, Shan concludes, “was a transparent world” (194). The wess’har, as I’ve already described, are a moral position embodied as its extreme to enable contrast and conflict, and deployed with no ambiguity whatsoever, the dilemmas their laws produce being the equivalent of 24’s ticking bombs, in that they distort a situation beyond all likely reality to justify an extreme response. And the grand climax of Shan’s narrative is an audience with a wess’har matriarch for which she is told that she must speak with absolute directness: “Shan made a conscious effort to remove the automatic tendency to edit what she thought before it escaped her mouth. It had taken many, many years to learn to do that. Now she had to unlearn it” (355).

Not infrequently, this all starts to feel like an indulgence of the worst of sf’s world-simplifying tendencies. Yet running alongside all of the above is a determined effort to complicate choices and confuse boundaries. The wess’har are imposing their morality on others, and are resisted by the isenji. A third group of humans arrive completely without warning, with their own agenda. Constantine turns out to be not just as transparent as glass, but as fragile, an artificial ecology maintained within the native bezer’ej landscape. And – most symbolically – towards the end of the book, Aras deliberately infects Shan with c’naatat to save her life, and Shan begins to change. Judged alone, I think I would have to find City of Pearl wanting; but the dynamics it establishes are so clearly set to evolve over successive books that I can easily believe the series ends up in a more complex place.

[previously]

City of Pearl is, on one level, another entry into the proud tradition of brutal challenges to the Campbellian notion that humanity is a special case. Its particular lens for focusing this argument is ecological: the wess’har, or at least the ones we meet in this novel, are environmental fundamentalists who consider all living things to have equal rights – Aras refers to rats as “people” – and who live with as little imposition on other beings as possible. They’re also possessed of a technology level capable of wiping out large cities – say, those of the isenj – and restoring the landscape left behind to a wilderness state without too much difficulty, which makes them exactly the people you don’t want to have taken custody of a planet when you’d like to settle on it.

The first humans to reach Bezer’ej are spared by dint of the fact that they carry a gene bank of Earthly life, and found the agrarian Christian commune of Constantine. A later expedition of scientists with a military guard, led by City of Pearl’s protagonist Shan Frankland, is allowed to land because Aras is curious; it’s a decision he comes to regret.

The conflict between wess’har and human psychology and morality has strengths and weaknesses. On the plus side, having a viewpoint character with such an absolutist worldview as does Aras enables Traviss to throw her readers off balance every so often, to make them question their assumptions – as with the remark about rats noted above, or as when Aras corrects Josh, the leader of Constantine, about humans “detecting” other alien species, rather than “discovering” them; or when Josh himself mentally tuts that Shan only recognises Bezer’ej as “inhabited” when there are sentient aliens in the frame. And the colonists of Constantine, who carried their own ecological morality with them from Earth but have followed the wess’har’s lead, philosophically, during the decades of their tenure, are an interesting bunch that I wouldn’t have minded spending more time with.

But as the narrative (inevitably) heads towards conflict, it stumbles. When he allows Shan and her companions to land, Aras sets some ground rules, of which the most important is “no samples of living material”: not a blade of alien grass. It’s clear almost immediately that for most of the scientists in Shan’s party this is an unacceptable restriction on their research, but it’s not until half-way into the book that one of them manages to pick up what appears to be a dead organism from the shore and bring it back to base camp. When that happens, some of the party do object, but the scientist in question locks herself away and begins a dissection before Shan arrives to stop her.

This, of course, is enough to initiate a diplomatic crisis, and for a few pages it looks like a quite interesting one: the scientist’s actions are against wess’har morality, and though they surely have the right, and the power, to set the local rules, they can’t help seeming excessive to us; while even as we disapprove of the scientist’s actions, it’s hard not to feel some sympathy for her curiosity. (She has, after all, given up her life for the opportunity to visit another world: with slower-than-light journeys and cryogenic suspension, nobody she knew on Earth is going to be alive when she returns.) But quite quickly it’s revealed that the organism wasn’t dead, after all; and moreover that it wasn’t just any organism, it was a juvenile bezeri; and so the scientist, monstrously, has been dissecting a living child. This, I can’t help feeling, is much less interesting, because it horrifies us as much as the wess’har, which means that when Aras demands the death penalty for the scientist’s crimes, it’s a demand that comes from a recognisable place (even if we abjure capital punishment ourselves). How much more challenging it would have been to empathise with Aras if the scientist’s actions had been a crime by wess’har standards only.

[continued…]

(With profuse apologies for belatedness, here’s the start of my discussion of the Future Classic for July, Karen Traviss’ first novel City of Pearl. A bit of a curate’s egg…)

I.

Here are a couple of sentences from very near the start of City of Pearl:

Aras mimicked the lettering, copying it into the unspoiled snow beside him with a steady claw. He considered it, then brushed it away. (1-2)

Does anything here bother you? Personally, I’m bothered by that pronoun. From the claw at the end of the first of these sentences, and the fact that we know we’re starting a science fiction novel, we infer – correctly – that Aras is an alien. But for an organism not from our biosphere, how meaningful is the male pronoun likely to be? It would be understandable as the imposition of a human point of view, as in, say, Mary Gentle’s Golden Witchbreed, but there are no human characters in this scene, or indeed on the planet at this point. Later, we are told that Aras’ species, the wess’har, are matriarchal: their women are big and few and occupy ruling positions, while their men are in thrall to the feminine, and have stronger nurturing instincts. But because that initial pronoun is pure narrative imposition, the complication of the pronoun seems like an arbitrary trick. Had Traviss chosen to make Aras “she”, she could have almost as easily described wess’har society as ruled by men with enormous harems. And that bothers me, because it makes the authorial fiat involved in constructing an alien society more visible than I would like it to be.

That aside, the fact that City of Pearl includes a non-human perspective is something to be admired, and the other ways in which it is complicated are more satisfying. Aras is the last of a soldier caste, infected with a virus or micro-organism (it’s not entirely clear) his people call c’naatat that exacerbates the already-high mutability of his genetic code to enable him to adapt rapidly to environmental threats – such as, say, otherwise lethal wounds – and incorporate useful traits from other species with whom he comes into contact. This is junk science, but a very useful fictional device. As soon as Aras has touched a human, we have an excuse for the inevitable humanness of his point of view; and once (inevitably) one of the human characters becomes infected by c’naatat, you have a beautiful model system in which to play out some ideas about the self and the other.

As the first in a series of six, City of Pearl doesn’t push this notion as far or as fast as you might hope, and there are other things in its portrayal of the alien that don’t quite work – including some spectacularly ill-judged names, such as the capital city of F’nar. But by the end of the novel you do believe in the wess’har as an independent species with their own distinct culture and behavioural principles, literal and logical but without the obtuseness often assumed to accompany those characteristics. Moreover there are reasons to believe that the cultures of two of the other three species who claim a stake in the world Aras guards – namely the native, squiddish bezeri and the expansionist, arachnoid isenj – will be further developed to similarly satisfying effect. The fourth species with skin in the game, of course, is us.

[continued…]