I gobbled The Fractal Prince up in just a few days, hungry to devour as many pages as possible during my daily commute between tube stations. Or maybe trying to slow down and savor them, sorry to see the book come to an end. Anything inducing such paradoxical states of mind must be more than just good. The follow-up to The Quantum Thief is full of such curiosities. It is pretty short as novels go and yet it feels vast, infinite even. The story is involved to the point of obfuscation, but each day I would sink effortlessly into its winding ways and half an hour later would pop out of the underground, one or more self-contained stories sparkling like exotic jewels in my mind. It is a labyrinth and a room full of mirrors where you can easily lose yourself (occasionally even your self) and where subliminal glimpses of massive creatures moving hidden underneath the surface will startle you, grand colorful illusions will dazzle, memes will burrow and most of what you know will be revealed as nothing more than shifting sands. Continue reading
After the release of The Quantum Thief in 2010 I wrote a gushing, ten-out-of-ten review. Its sequel – The Fractal Prince – is already on the market and I hope to subject it to blogoscopy soon. As a segue into that I decided to reread/rereview the first book, Rajaniemi’s devilishly good debut.
I have to admit my first review was a bit too ecstatic. The book is a real gem, it’s certainly among the best SF works I have read in the last years. But it isn’t a ten-out-of-ten and it’s not without shortcomings. That said, the book left me almost as hooked and craving for more as it did the first time. Continue reading
“Out of this jumbled superposition of different kinds of temporal models History does in fact emerge––as a work of art, like any other work of art, but made by everyone together.”
“Really the question became quite philosophical; how to be? What to care about? And how to become a little less solitary?”
When I first read about The Long Earth, this collaborative effort between Terry Pratchett and hard SF writer Stephen Baxter seemed to me… a little odd. As it did to quite a few, I am pretty sure. But now that I have finished the novel, I realize my suspicion was absolutely unwarranted. In fact, now I see clearly that this co-authorship is a match made in heaven. The Discworld series is, if anything, one of the biggest arenas for fictional thought experimentation ever imagined, be it related to technology, society, art, etc. Stephen Baxter, on the other hand, has the know-how to take Pratchett’s skill and panache for world creation to the next level – science fiction and its stricter adherence to mimesis. I am happy to say that the brainchild of the two authors delivers spectacularly. Continue reading
Note: This review was written some time ago for ShadowDance. What appears below is a translation of the original. Hence the recognizable formatting with “+” and “–” sections.
Kim Stanley Robinson wrote some time ago that Adam Roberts’s Yellow Blue Tibia should be awarded the Booker prize for 2009. I am not in a position to say whether I agree or not, as I rarely read the shortlisted novels. What I can agree about is that this strange and strangely-titled book absolutely deserves a spotlight. Authors of so-called “literary realism” will definitely benefit from reading it; its methods can make their stories more interesting, their worlds more imaginative and their ideas more provoking.
Adam Roberts is probably one of the currently active authors who are best versed in the genre. He is a London-based professor who specialized in Robert Browning and Victorian literature, author of Science Fiction, a critical introduction to SF,and of the comprehensive study The History of Science Fiction (to the extent such a thing can be comprehensive, of course). In addition to that Roberts maintains an active blog, where he frequently demonstrates and hones his fine critical skills and incisive humor. When an author’s name sits beneath an intellectual overview of the ideas of Frederic Jameson andbeneath popular parodies (such as The Soddit, The Sellamillion, The Dragon With a Girl Tattoo, etc.), and when that author manages to pull off roughly one good SF novel per year, take notice and keep close tabs on that particular career. Continue reading