Briefly noted: Leviathan Wakes — James S. A. Corey

Leviathan Wakes is defiantly, definitely okay; the biggest problem with it isn’t the novel itself but having already read Blindsight, which its some similar notes but is just a much, much better novel.

Leviathan Wakes is big on game theory, empathy, and political questions. They start early—”The temptation to have an unexplained comm failure, erase the logs, and let the great god Darwin have his way was always there” happens on page 14—and don’t really relent. Still, I dislike the implication that “the great god Darwin” thinks that individuals and small groups are inwardly selfish; evolution has also endowed us with the ability to cooperate, and humans are super-cooperators, alone among animals.

Leviathan_WakesBut the divisions among people may change shape and form, but they always remain, at least as long as we live in a world of economic scarcity. In Leviathan Wakes, Earthers, Martians, and Belters (those who grow up and/or live in the Asteroid Belt) are the primary divisions. I write this in 2016, and in the current European and American political systems there are spasms around divisions that, viewed from the proper perspective, will seem trivial. The other day I heard someone say that Trump has a point about immigrants. I agreed and amplified, suggesting that he do something about the filthy, lazy Irish and Italians, with their Papist ways and mooching dispositions. The guy I was talking to didn’t know what to do with that; the Know Nothing Party may be gone, but its ideas live on for as long as humans have a powerful psychological need to divide ourselves into tribes.

In Leviathan Wakes some descriptions are good (on a space station, “The air smelled beery with old protein yeast and mushrooms” or “The circle of life on Ceres was so small you could see the curve”), but the text can usually be described as nondescript. It’s rarely bad but rarely stellar. For example, the sentence after the one about the circle of life on Ceres is “He liked it that way,” which is representative of the novel’s language.

The sense of mystery is strong, though, and mostly excuses the sentences. You’ve read worse. You’ve read better. The plot gets sillier as the novel progresses.

What else? There is a convenient magic drive that gets people from place to place relatively rapidly. It’s hard to imagine that genetic engineering won’t have re-made the human species by the time we develop advanced space stations with room for millions of people. Did people in 1750 imagine that in 2000 we’d still be riding horses and firing muskets? Because imagining 2250 without substantial genetic engineering is hard (unless there’s an apocalypse in the meantime, which is also possible).

Leviathan Wakes is guilty of many of Charlie Stross’s space opera clichés, but I mostly forgive it. I just can’t imagine wanting to re-read it.

My Amazon review of Peter Watts’s Blindsight

People read Amazon reviews and Watts reads his, so I left this one.

Listen to the positive reviews: Blindsight is one of the most stunning and incredible novels I’ve read, ever, and that’s among all novels, not just SF. To describe Blindsight is not to do it justice: Like Ulysses, the plot can be summarized but the texture of it cannot really be conveyed save through the reading itself. Ulysses might be summarized as, “Neurotic man wanders through Dublin, gets stuck in his own head.” In that sense, Blindsight might be summarized as “The link between humans and post-humans encounters aliens, and nothing will ever be the same.

BlindsightBlindsight is on my mind because I just finished Leviathan Wakes by James S. A. Corey. It’s a competent, fun novel. It’s even good at times. But it covers territory similar to Blindsight’s, only less mind-blowing. It’s less developed. One can have literary blind sight and enjoyable read Leviathan Wakes, as I did, but reading them next to each other will show that something is missing from Leviathan Wakes. One needs total vision and a third eye to get Blindsight. To be sure, most people never reach enlightenment. But without reading it, you’ll never know if you can get there, or if you’ll be left at the foothills like most of us are.

The world is very different from ours in key ways but doesn’t yet have AI; before Firefall, Siri Keeton, narrator, who is supposed to have no feelings and only observation, is doing this:

I’d been liaising for a team at the Kurzweil Institute, a fractured group of cutting-edge savants convinced they were on the verge of solving the quantum-glial paradox. That particular log-jam had stalled AI for decades; once broken, the experts promised we’d be eighteen months away from the first personality upload and only two years from reliable Human-consciousness emulation in a software environment. It would spell the end of corporeal history, usher in a Singularity that had been waiting impatiently in the wings for nigh on fifty years.

But it hasn’t arrived. Not yet. Not in Blindsight’s world, which is also Siri’s world. To us it’s an odd one:

You hire people like me; the crossbred progeny of profilers and proof assistants and information theorists.

In formal settings you’d call me Synthesist. On the street you call me jargonaut or poppy. If you’re one of those savants whose hard-won truths are being bastardized and lobotomized for powerful know-nothings interested only in market share, you might call me a mole or a chaperone.

He works in “the rotational topology of information and the irrelevance of semantic comprehension.” Oddly, that may be what a lot of us do: understanding surfaces without understanding depth, if “surface” and “depth” have any meaning at all. That’s one of the (many) question Blindsight asks (Leviathan Wakes asks political economy and cooperation questions). To restate many of them would take many thousands of words. That is another way the novel is like Ulysses.

Has science fiction "run out of steam?"

This post began life as a Slashdot comment in response to Has Sci-Fi Run Out of Steam?:

I doubt it, any more than science or technology has run out of steam due to a lack of imagination. Rather, I wonder if the science fiction publishing business has either run out of steam or become an active roadblock between writers and readers. It seems that most publishers are trying a play-it-safe approach that demands repetition over originality. This is based partially on what I see featured in bookstores and partially on my own experience, which I discuss extensively in Science fiction, literature, and the haters. It begins:

Why does so little science fiction rise to the standards of literary fiction?

This question arose from two overlapping events. The first came from reading Day of the Triffids (link goes to my post); although I don’t remember how I came to the book, someone must’ve recommended it on a blog or newspaper in compelling enough terms for me to buy it. Its weaknesses, as discussed in the post, brought up science fiction and its relation to the larger book world.

The second event arose from a science fiction novel I wrote called Pearle Transit that I’ve been submitting to agents. It’s based on Conrad’s Heart of Darkness—think, on a superficial level, “Heart of Darkness in space.” Two replies stand out: one came from an agent who said he found the idea intriguing but that science fiction novels must be at least 100,000 words long and have sequels already started. “Wow,” I thought. How many great literary novels have enough narrative force and character drive for sequels? The answer that came immediately to mind was “zero,” and after reflection and consultation with friends I still can’t find any. Most novels expend all their ideas at once, and to keep going would be like wearing a shirt that fades from too many washes. Even in science fiction, very few if any series maintain their momentum over time; think of how awful the Dune books rapidly became, or Arthur C. Clarke’s Rama series. A few novels can make it as multiple-part works, but most of those were conceived of and executed as a single work, like Dan Simmons’ Hyperion or Tolkien’s The Lord of the Rings (more on those later).

The minimum word count bothers me too. It’s not possible for Pearle Transit to be stretched beyond its present size without destroying what makes it coherent and, I hope, good. By its nature it is supposed to be taunt, and much as a 120-pound person cannot be safely made into a 240-pound person, Pearle Transit can’t be engorged without making it like the bloated star that sets its opening scene. If the market reality is that such books can’t or won’t sell, I begin to tie the quality of the science fiction I’ve read together with the system that produces it.

If the publishing system itself is broken and nothing yet has grown up to take its place (I have no interest in trolling through thousands of terrible novels uploaded to websites in search of a single potential gem, for those of you Internet utopians out there), maybe the source of the genre’s troubles isn’t where PC Pro places it.

In addition, although science fiction publishing might appear sclerotic at times, science fiction in movies and TV shows continues unabated—many of which draw material from books. One commenter realized this: “The huge change in SF since I first started reading it in the 70’s is that these days, movie/TV SF is a gigantic, popular commercial enterprise, utterly dwarfing written SF.”

Still, I’ve found fun and fascinating SF writers thanks to the Internet: Jack Vance started as a recommendation and an article in the NYT magazine; Charlie Stross writes a blog; and others have sent good advice on where to look. But I think a lot of SF has turned towards the cerebral, towards alternate / fake worlds, and towards dealing with massive institutions on earth. These are all broad claims—too broad for a blog post—that I might follow-up in a future essay, but they’ve been churning in my mind enough for me to look for them in fiction—where they seem to be almost everywhere.

One other funny item: PC Pro uses the antiquated cliche “run out of steam,” which refers to steam engines that probably haven’t been widely used since the 19th century, to refer to a genre concerned with how the present represents the future. Maybe this indicates language itself can run far behind whatever the perceived times are.

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