reviews

I have previously read and reviewed Tobias S. Buckell’s Crystal Rain and Ragamuffin, both of which I enjoyed. On the other hand, I am skeptical of alarmist claims about global warming. So it was with some ambivalence, a mixture of excitement and trepidation, that I began reading my advance review copy (ARC) of Buckell’s latest novel — his first foray into techno-thrillers — Arctic Rising (Tor, 2012). Though he had me worried a time or two, I was pleasantly surprised and glad I read it.

Arctic Rising is set in the near future — the Earth is warmer and the Arctic Circle is largely ice-free year-round. States and corporations are racing to take advantage of the new oversea North Pole trade route and the untapped resources made accessible by the receding ice. As you might expect, this is a situation ripe for political conflict, and environmentalists are none-too-happy with the change in climate either.

Buckell handles the environmental angle fairly gracefully. The global warming issue mainly shows up as background, for the setting, and as a plot device. Speaking of the plot, don’t read the GoodReads description of the book if you prefer to avoid major spoilers.

For the most part he avoids thumping you over the head with an ideological bludgeon. The one time I got really worried he was going to spoil the book for me was about 3/4ths of the way through when the co-founders of a green energy corporation go off on a talking point–ridden tag-team duologue, but let’s just say that the impact was lessened by the way they were subsequently portrayed.

Unlike many environmentalists I’ve encountered, Buckell has no difficulty recognizing that global warming would be harmful to some but also beneficial to others; that, contrary to the frequent warnings of doom and gloom, it wouldn’t be all bad. Sea levels would rise. But rising temperatures would open up more arable land in the north. While already hot regions might get detrimentally hotter, colder climes would get warmer as well and benefit from longer growing seasons. Resources previously buried under tons of ice would become open to exploitation. Moreover, once people have adjusted to the warmer temperatures, a return to colder temperatures of previous decades would result in winners and losers as well. There are no neutral climate changes; any changes in the Earth’s climate will have both positive and negative consequences.

As Arctic Rising opens, we are introduced to our sole viewpoint character — one Anika Duncan, a mixed-race Nigerian airship pilot for the chronically underfunded United Nations Polar Guard. As the story progresses we gradually learn more about her colorful past as a child soldier and later a mercenary pilot. When offered her dream job by the UN, prior to the start of the action, Anika had jumped at the chance for a safer, less eventful career doing what she loved.

And things were nice and quiet for Anika… until a hunch leads her to take a second look at a freighter. When something radioactive in the ship sets off her neutron scatter camera, Anika, thinking they are just nuclear waste dumpers, orders them to prepare for boarding. But the crew respond by blowing her and her co-pilot, Tom, out of the sky and into the still-frigid waters of the Arctic. Something bigger than nuclear waste dumping is going on here.

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The Door into Summer, by Robert Heinlein, is the author’s last adult novel written before his arguably three most famous works: Starship Troopers, Stranger in a Strange Land, and The Moon is a Harsh Mistress. The book benefits from the strong points that every Heinlein novel displays, but in other ways it almost feels like the author was holding back. Like Alfred Hitchcock, Heinlein had some great works mixed in with a lot of decent ones, and the present novel fits squarely into the latter category. In researching it, I came across a quote by John W. Campbell that sums up for me how I feel about certain Heinlein novels, The Door into Summer included: “Bob can write a better story, with one hand tied behind him, than most people in the field can do with both hands. But Jesus, I wish that son of a gun would take that other hand out of his pocket.”

The narrator, Dan Davis, is a gifted engineer who cannot see eye to eye with his business partner and best friend, Miles Gentry. Miles and Dan’s fiancée, Belle, conspire to steal Dan’s company from him and then send him into hibernation for thirty years. He wakes up in the year 2000, destitute, but begins working to build himself back up and maybe get some revenge. Along the way, as Dan investigates what has happened since he was put into the “Long Sleep,” strange clues begin turning up, indicating that there is more going on than he may realize.

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The Children of the Sky is the long-anticipated sequel to the Vernor Vinge’s Hugo Award–winning A Fire Upon The Deep. It is set in his Zones of Thought universe, which imagines a galaxy divided into regions that support different levels of technology and intelligence, from the easy FTL travel and posthuman Powers of the Transcend to the appropriately named Unthinking Depths at the galactic core.

The first time I read this book, I didn’t like it. I, like many others, was expecting a fast-paced adventure spanning the galaxy, such as A Fire Upon The Deep. Instead, the setting is limited to Tine’s World. I was looking for a satisfying resolution to the menace of the approaching Blight fleet, but the ahuman superintelligence stays comfortably in the background. I almost didn’t give it a second chance, but I did, and I appreciated it more the second time through. Once I got past the fact that this book was not what I was expecting, I enjoyed it, although it isn’t on the same level as A Fire Upon The Deep or A Deepness In The Sky.

The story starts 10 years after the ending of the previous book. Ravna Bergsndot leads the awakened Children, refugees from the Blight’s destruction of their home and stranded on Tine’s World. They are attempting to build a technological civilization capable of repelling the Blight with the help of the Out of Band II, the partially-functional starship that originally carried Ravna and the frozen Children to Tine’s World, and the Tines, a fascinating alien species made up of packs of 4 to 8 wolf-like creatures that act as a single individual.

Ravna and the Children have the support of Woodcarver, the ruler of an emerging empire. However, many of the Children are suspicious of Ravna’s interpretation of the Blight and the destruction of their home world, and in the far-off Tropics, a pack named Tycoon is starting an industrial revolution, assisted by Vendacious, Woodcarver’s traitorous spymaster.

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When an airplane bound for Anchorage, having departed from a remote oil refinery, crashes into a frigid Alaskan mountain removed from any sign of civilization, the handful of survivors must band together against the cold and the pack of wolves following them. Such is the scenario in director Joe Carnahan’s The Grey. If you think you have seen it before, you probably have, but probably not like this. The title is fitting both as a description of the bleak snowscape in which the actors find themselves as well as the mood that informs the work, that of an agnostic’s uncertainty and despair.

I do not expect to see another movie this good until December, unless recent trends are bucked. It is far more than a harrowing survival tale. It is also a very thoughtful piece, something made not by a technician, but by an artist. To be perfectly honest, after seeing Smokin’ Aces and The A-Team, I did not think that Joe Carnahan had it in him. But he has crafted a very effective bit of cinema, something that can appeal to someone looking for some subdued tension and sudden thrills as well as a movie-goer more sensitive to metaphors and in a more introspective mood.

The opening shots of the movie are arresting in their austerity, atmospheric in their composition. It quickly becomes apparent that time will be spent creating a character to care about. Liam Neeson, playing John Ottway, is a man who is burnt out on life, who has, in some undefined way, lost the woman he loves. He puts the business end of a loaded rifle in his mouth, and only the howling of a wolf distracts him from his suicide. He misses the window of opportunity, the moment of resolve. I was intrigued, but it was not until after the plane crash that I was sold.

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High Desert Barbecue, by libertarian author and columnist J.D. Tuccille, is a fun romp through the dry country of the southwest. The protagonists are libertarian and manage to slip in many an observation about life and the government. The antagonists are government agents, usually environmentalist wackos and bumbling idiots to boot. Mr. Tuccille does not try to hide his colors, but whatever the reader’s are he will at least find some humor and adventure in the tale, and if he is libertarian some satisfaction as well.

The story concerns a plot by environmentalists to burn out animals — humans especially — from northern Arizona so that plants may take their place at the top of the food chain and not be bothered by inferior creatures. The irony of these mammalian Forest Service enviros passionately fighting for plants, against their own kind, is thick throughout the book. One can sense the author’s amused disdain and the pleasure he takes at the antics of these defectives.

Their act of arson — referred to as “The Carthage Option” — is witnessed and filmed by Rollo, his friend Scott, and Scott’s girlfriend Lani. A chase through uninhabited territory follows, while the fire burns. The three protagonists are desperate to get the footage uploaded to the internet so that everyone can see what the government is up to. The Forest Service hippies, a group of incompetent boobs who are good for a couple dozen chuckles through the course of the story, pursue them, determined to keep the intelligence from reaching Youtube but having difficulties getting out of their own way during the chase.

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The Stygian Conspiracy, by first-time author Kodai Okuda, is a bulky tome and quite an undertaking. The myriad pages are brimming over with a story of action, science fiction, and even some horror elements. It is a tale on a grand scale, both in time and space. Not content with a small moment or two with a libertarian flavor, the story tackles the big issues and concepts and makes no apologies, without forgetting that the plot and characters come first.

The story transpires in a future in which the human race has spread out through the solar system and taken some tentative first steps towards exploring other star systems. The population is roughly divided between the Eastern socialists and the Western capitalists, the latter of the two having newly emerged as a power again on the world, or better yet solar, stage. That description and its implicit chauvinism make me cringe even as I write it, but Okuda does much better with the characters, creating roles that defy the simplistic expectations set up by that line drawn down the middle. There are good bad guys and bad good guys and even, I think, a little room for debate.

It is a bold concept and a wild ride. There are space battles and daring personal missions, enmities and romances, betrayals and tough decisions. It lacks nothing of the right ingredients to leave a voracious reader with a satisfied feeling upon completion. If the reader wants nothing more than an epic tale of adventure with some characters to care about, he may well come away from The Stygian Conspiracy without complaint.

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