Poseidon’s Children 2 Gollancz, 2013, 483 p
Reviewed for Interzone 250, Jan-Feb 2014.
In Blue Remembered Earth, the previous volume in Reynolds’s Poseidon’s Children sequence, the Akinya family was instrumental in the development of the Chibesa-drive engine which drastically increased the maximum speed of space travel. On the Steel Breeze is set a very long generation or so after the events of the previous book and the family is now much less powerful. Chibesa physics has allowed hollowed out asteroids dubbed holoships to be sent out in strings – Reynolds nods to history by using the term caravans – to various promising destinations in the stars. These holoships are each large enough to be able to house herds of elephants as well as the emigrating humans. Life prolongation techniques are so far advanced that withdrawal of such treatment is used as a punishment for crimes – a generation’s life span is now measured in several hundred years. Chiku Akinya, great-granddaughter of Eunice Akinya the begetter of the Chibesa drive, has an unusual triple identity. A process called Quorum Binding has stamped Chiku’s personality and memories on three indistinguishable bodies (her original and two clones) which are able to communicate almost telepathically deeply. Chiku Red set out after Eunice Akinya’s ship; Chiku Green is on the holoship Zanzibar, en route to Crucible, the extra-Solar planet with the enigmatic structure known as the mandala, discovered by the telescopic array Ocular; Chiku Yellow stayed on Earth. The novel intertwines the fortunes of the three Chikus. Making a reappearance is the artilect of Eunice – an AI in human form, as close an approximation to the human original as possible – which Chiku’s mother developed in the earlier novel. “She” is in a hidden chamber on Zanzibar tending a set of enhanced, “talking” elephants known as Trantors.
Much of the initial action takes place on Zanzibar, in whose caravan experiments to develop post-Chibesa physics have been proscribed. Travertine (who for some reason has a set of personal pronouns, ve, ver, vis, all to verself) has caused hundreds of deaths by an illegal but vital experiment. The holoships have been accelerated too much to be slowed down effectively enough by their Chibesa engines. The caravan’s politics, though, are set against the necessary research.
Back on Earth Chiku Yellow, with the aid of the merfolk of the United Aquatic Nations who reunite her consciousness with the returned Chiku Red’s, acts on a communication from Chiku Green to seek out a woman who can facilitate contact with their founder, Arethusa, who in turn may have knowledge that not all is as it seems on Crucible. This necessitates a journey to the surface of Venus (and, later, Mars and Hyperion.) Here the plot, as in Blue Remembered Earth, comes dangerously close to pulling the characters around the Solar System to show off the author’s research or to provide a set piece drama. The inevitable disaster with the space elevator connecting to Venus’s surface demonstrates the Chikus have a dangerous enemy. This is the “machine distributed consciousness” called Arachne which oversees the data produced by Ocular and has infiltrated the aug, the controlling agency of the Surveilled World familiar from Blue Remembered Earth. The secret Arachne is protecting is the presence in orbit round Crucible of over twenty enigmatic pine cone-like spaceships dubbed Watchkeepers.
Plot aplenty to be going on with then, and the above merely sketches the set-up. The playing out of the politics of Zanzibar’s caravan, involving the clandestine construction and launch of a scout ship to reconnoitre Crucible, the repression and conflict which ensues, the true situation on Crucible, fill out the story. The scout party’s meeting with Arachne’s avatar on Crucible verges on fantasy territory, though. While any sufficiently advanced technology may be indistinguishable from magic, in Science Fiction some degree of explicability is generally thought desirable.
Despite the space travelling elephants (and the light aeroplane able to fly within their hidden chamber in the holoship,) the mandala and the Watchkeepers, Reynolds doesn’t quite hit the sense of wonder button squarely with this one. The scale fails to register. (That may just have been a jaded reviewer’s perception, though.)
Yet with his holoships Reynolds has – much as he did in Pushing Ice – re-imagined the generation starship trope, albeit with less of a focus on the ships’ passengers than in novels of yore. Also in the mix, though such is the detail of Reynolds’s future that they have not yet been explored in any detail, is a Big Dumb Object in the shape of the mandala and a kind of first contact (the Watchkeepers.)
An example of the possibility of avoiding what the Watchkeepers apparently think is the inevitable conflict between organisms and artilects, Eunice poses the question of what it actually means to be human – highlighting a typically human tale of stupidities, betrayals, love and duty.
The following did not appear in the published review.
Omitted “a”, a for an, doubled “the”s, “had”s and “was”es, “assesment” “compliated” a “breaking” mechanism for slowing down, an “I have strode,” “on my behalf” instead of “on my part” plus the interesting coinage “programmemes.”