After I finished the fantastic Version Control, I read the excellent Keith Rowe biography by Brian Olewnick. I might still review that, but it’s a hard review to write for an audience unfamiliar with Rowe’s particular branch of experimental music.
Sadly, after those 2 great books, I’ve hit three I did not even finish. That and the relentless summer heat didn’t really urge me to start writing the reviews. Fortunately, that streak of bad reading luck came to an end, as I’ve also read a great, recent SF novella by Peter Watts, and finished yet another book on Rembrandt.
As the summer drought is still not over, I’ve decided I simply won’t bother trying to write longer, in-depth reviews for these books. I won’t even try to write up Hard To Be A God, the 1964 political allegory by the Strugatsky brothers, and the first book in that row of DNFs. I stopped after only 40 pages, not enough to write something meaningful, except that it was all too obviously allegorical for my tastes. Anyhow, without further ado, here’s those 4 mini-reviews…
Posted in Reviews
Tagged 1990s, 2000s, 2010s, Art, Art books, Caldé Of The Long Sun, Ernst van de Wetering, Gene Wolfe, Paolo Bacigalupi, Peter Watts, Rembrandt, Rembrandt: The Painter Thinking, Review, Science Fiction, short fiction, The Book of the Long Sun, The Freeze-Frame Revolution, The Windup Girl
If Nightside The Long Sun was about the protagonist’s self discovery, this second book in the series is about Patera Silk slowly discovering the true nature of his world.
The 4 volumes of The Book Of The Long Sun are set on a multigenerational starship – a fact that Tor reveals on the back cover, but one that is only revealed to the reader in this second book. It’s understandable that Tor did so, as The Long Sun is extremely hard to market: it’s an odd book: a lot more accessible than Wolfe’s magnum opus The Book Of The New Sun, but less lush, and a lot less compelling – at first sight maybe even boring. Tor might have increased its sales, spaceships sell, but the spoiler doesn’t do the reader any service: it takes away part of the joy of discovery, and it sets wrong expectations. Multigenerational starship yes, but no space opera or high tech scifi of whatever ilk. Continue reading
It was earliest morning, when even small trees cast long shadows and scarlet foxes trot denward through the dew like flecks of fire.
That’s a line from The Urth Of The New Sun, and it’s one of my favorite lines ever. Since Gene Wolfe wrote it, and Nightside The Long Sun is the first volume of The Book Of The Long Sun, a series set in the same universe as The Book Of The New Sun – one of my favorite reading experiences ever – I started this book with high expectations, the hideous cover notwithstanding. Add to that the fact that Kim Stanley Robinson has called The Book Of The Long Sun his favorite SF novel.
Indeed, novel. The 4 books in this series are actually one big book: the 333 pages of the first volume all of a sudden just stop, and Lake, the sequel, just picks up where Nightside stops. So, my definitive judgement on the Artistic Merit of this Book will have to wait until I’ve read the 3 other volumes – something I will most definitely do.
That doesn’t mean Nightside is a very good book. As with all Wolfe I’ve read, the same list of adjectives – bizarre, strange, baffling, different, mythical, mysterious and oddball – springs to mind. And harsh, and deadpan. Nightside is set in a giant generational space ship, of the spinning cylinder Rendezvous With Rama-type. It was sent from a far, far future Earth (or Urth, or the Whorl) to some distant planet. Yet Nightside doesn’t register as SF at first – as in The New Sun, the inhabitants of its world don’t understand their surroundings, aren’t even aware they are on a spaceship, and are not able to repair or even understand the technology – AI entities in the Mainframe that sometimes appear on screens are worshipped as gods. The ship has been flying for ages, and its origins are mostly lost to the book’s characters. Continue reading