Titan Books, 2019 , 485 p. Published in Interzone 282, May-Jun 2019.
We start with a “Translator’s Note” telling us terms have been rendered into Peak English. This both frames the narrative and explains the use of “archaic Earth terms” for alien creatures and the recognisability of characters’ names.
The story itself takes place on January, a planet tide-locked to its star. Its human occupants, who still regard the arrangements on the Mother Ship that brought them there as significant, inhabit the narrow band between scorching Day and freezing Night (wherein monsters lurk.) The ship’s technology that at first sustained them has long been failing though and there are signs the environment is beginning to collapse – corrosive alkaline rain, sudden tornados. The novel’s events are situated mainly in Xiosphant – a repressive rules-based city, “nothing in this city is ever supposed to change” – and Argelo, which is much looser in organization and attitudes (“the city that never sleeps,”) with some scenes in the wildernesses between. Within the book’s seven parts alternate chapters see events from the first person, present tense viewpoint of Sophie, a would-be revolutionary in Xiosphant, and the third person, past tense perspective of Mouth, who thinks she is the last survivor of a society of Travellers known as the Citizens and is lately a member of a band of smugglers calling themselves the Resourceful Couriers, so knows the ways between the cities.
Sophie takes the blame for a theft by Bianca, her friend for whom it is obvious to the reader (though not spelled out in the narrative till near the end) she has deep feelings. As punishment, Xiosphant’s Police Force ejects Sophie from the city into the night to die. A strange encounter with a creature known to January’s humans as a crocodile (though its physical characteristics are very different from that Earth animal) saves her. During this she is somehow enabled to see the creature’s memories, including one of a complex city situated somewhere out in the night.
Mouth is exercised by the destruction of the Citizens, which she witnessed from a distance, especially since it was before they could bestow a name on her. Her attempt to secure their book of customs from Xiosphant’s Palace coincides with the failure of the revolutionaries’ take-over. She, Sophie, Bianca and others have to flee across the Sea of Murder to reach Argelo. This involves curiously cursory action scenes accompanied by extended, and hence unconvincing, dialogue. Sophie’s connection to the crocodiles (whom she names the Gelet) helps save most of them and she receives a bracelet which thereafter keeps drawing her to the night and the Gelet.
The contrast between life in Xiosphant and Argelo is marked but Mouth learns more of her background from a former Citizen, Barnabas, who left the group after achieving enlightenment, “‘The point of religion is to keep trying to reach someplace, the last thing you want is for someone to feel like they’ve reached it.’”
As far as the Science-Fictional meat of all this goes Sophie and Mouth eventually do arrive at the city in the middle of the night – but not until almost four-fifths of the way through the book. In the city they learn of the importance of the Gelet to January’s bio-friendliness – not just from transmitted memories but from a recording left by one of January’s earliest humans, “‘These natives seem to regard geoengineering and bioengineering as two branches of the same discipline.’” A tidal-locked planet would require an air-conditioning system to circulate hot air from the near side to the far side to avoid weather instability and atmospheric disruption. “‘These creatures seem to have created something better, using networked chains of flora and fauna.’” Also revealed is the crucial role the useful substance, known to the Citizens as nightfire since it glowed in the dark, played in stabilising the planet’s biosphere and in the Citizens’ demise. The Gelet’s interest in Sophie is to use her as a bridge between civilisations. She willingly accepts the sacrifice required.
A thought that speaks perhaps to the twenty-first century reader’s awareness is, “‘Progress requires us to curate the past, to remove from history things that aren’t ‘constructive.’ I don’t know if our power to forget makes humans stronger, more self-destructive, or maybe both.’”
The novel starts off intriguingly but it becomes clearer as we go on that the author’s interest is not so much in her imagined world, or her plot, as in the societies and interactions she is depicting – good stuff, but lacking something in urgency. And the book doesn’t so much end as just stop. Perhaps, at a touch under 500 pages, Anders decided she had delighted us long enough.
The following did not appear in the published review:
The sentence, “Here’s what Mouth learned about Sasha from eavesdropping,” ought to have been removed by a decent editing process.
Pedant’s corner:- Written in USian. Otherwise; “something makes me stop and examine closer” (examine more closely,) “I notice someone who seems out of place … They turn their head” (‘someone’ is singular, therefore not ‘they’, in this case ‘she turns her head’,) “now a few s cattered memories” (a few scattered memories,) “a group of students … argue about” (a group argues.) “‘He’s been making a fortune speculating on sour cherries’” (‘speculating in’ something might lead to a fortune, ‘speculating on’ it is just wool-gathering,) “a group of musicians hunch” (a group hunches.) “‘We lay there’” (We lie there; elsewhere Anders shows she does know the difference between lay and lie,) “open maw” (it’s not a mouth!) “their heads almost exploded” (used once, this phrase for an eye-opening experience appears fresh and striking; used again, not so much,) “‘I don’t even know if any Gelet ever want to meet me again’” (if any Gelet ever wants to meet me.) A chapter begins, “Ignore the buzzing from my right wrist, and I take Bianca’s wrist,” (‘I ignore’ makes more sense. This typo probably occurred because the first word of a chapter is always in a much larger font size than the others,) envelopes (envelops,) cul-de-sacs (culs-de-sac,) “which stunk just as much as she’d expected” (stank.)
