Bewildered

Richard Powers has been skirting the edges of genre for years. He has exhibited the talent of consistently defying category while producing work that can, with a slight shift of perspective, be read as solidly within certain categories.

The question has always been—what category?

He has written about atomic physics, A.I., terrorism, biodiversity, virtual reality, genetic engineering, all convincingly and with a commitment to consequence found primarily in science fiction of the first water.

Now he has put science fiction itself front and center in a new novel that powerfully blends the soul of a family with the science of cosmology, neurology, and ecology and the sense of wonder that comes from imagining new worlds. Bewilderment is a profound examination of colliding worlds, both personal, global, and epistemological.

Bewilderment: A Novel: Powers, Richard: 9780393881141: Amazon.com: Books

Theo Byrne is an astrobiologist. His work requires him to imaginatively hypothesize about extrasolar planetary ecologies as part of the search for new worlds. He is plugged into the community involved with finding and identifying exoplanets and advocating for further research.

His son, Robin, nine going on ten, is, broadly speaking, a special needs kid who is both brilliant and troubled. They share a love of ecologies and a commitment to the natural world enhanced by Theo’s late wife, Alyssa, who had been a dedicated eco-warrior running a non-profit and advancing legislation in an attempt to save the ecosystem. Her ghost haunts them both, inspires them, and in some ways tortures them, especially Theo, who feels he has never risen to the level of commitment she felt.

The story is set in an alternate reality in a United States that is sliding toward autocracy, threatening Theo’s work and, ultimately, Robin’s chance for the stability he needs to be effective pursuing his passions.

All the elements of a dystopian thriller are in place, but that is not where Powers takes us. The apparatus of government is left in place and the characters struggle with it in familiar (though uncomfortable) ways. There is no revolution being planned or carried out, at least not on the page. But it sets the stage for an ongoing background dialogue about the nature of science in conflict with ideologies.

The primary story is Theo trying to provide the best possible life for Robin and it is as heartfelt and affecting as one could want. Theo is in many ways out of his depth, treading water, and fighting to keep an unsympathetic world at bay while he works to get Robin through to a place where he can function in that world.

The science fiction comes in unexpectedly and wonderfully in Theo and Robin’s relationship. Theo is a longtime fan. He mentions that he still has over 2000 science fiction paperbacks and that he was inspired to pursue science (like so many scientists and engineers) by reading SF. But the best part is how he and Robin, as part of their nightly ritual before bedtime, will go visit a planet. Theo constructs one and they travel to it. These sections are beautifully-imagined and clearly drawn from decades of science fiction. This alone justifies the genre as among the most human forms of creation.

This is not the only aspect of the novel which depends on the tools of science fiction. There is an experimental neuroscience program, there is work on a new orbital telescope (to be positioned near Saturn) to enable unprecedented views of exoplanets, there is a whole worldview in play involving a defense of science and imagination.

Powers is an artist and the work at hand reads as an eloquent study of people in conflict with the world and their own souls. It revolves around the gravity well of love and the ties of the past even as we strive to progress.

Genre has long appeared to be a sort of antithesis to what some regard as “genuine” literature, despite examples of works which function comfortably within genre conventions which no one takes as any kind of handicap. Writers like Richard Powers demonstrate the absurdity of such balkanization. But he also shows the importance of taking your starting assumptions seriously, unlike those writers who, intentionally or otherwise, lock themselves into a category of their own creation by a lack of attention to the aspects of their projects which they seem to feel do not require as much (or any) respect.

Bewilderment is a literary novel that also happens to be science fiction. And a love story. And a political drama. By paying equal attention to each element and treating them seriously, he shows both that what is otherwise “mere” genre can achieve powerful, vital humanistic effect that centers on the journey of the mind and heart through a world contoured by dreams, hopes, and the realities of an imagination unafraid to go to new worlds.

Scandal In Romania

Lord Peter Wimsey and Harriet Vane, Nick and Nora Charles, Charles and Kate Sheridan, and in one unexpected offering Clark Gable and Carole Lombard—all have one thing in common: they are all detective marriages. Husband and wife teams, solving crimes, bringing their own domestic wrinkles to the task. Agatha Christie even wrote one, Tommy & Tuppence, as did Elizabeth Peters. The couple that solves crime together is more common than might first be suspected. And all of them have the unexpected about them, aspects of their relationship that would seem to make it unlikely, unstable, or unmanageable. And yet, they work.

The hallmark of these couples, of course, is the combined ability to solve murders, but that is only an aspect of what may be the chief attraction—for them and for the reader. Along with all the other (presumed) pleasures of the relationship, the intellectual rises to the top as an aspect of love. Unspoken though it may be in many instances, these are people drawn to each other by their shared appreciation for thinking.

And acting on the results.

Odd as many of them may seem, perhaps the least likely is the marriage of a young Mary Russell to her mentor/colleague, Sherlock Holmes.

When I encountered the first volume of Laurie R. King’s series, The Beekeeper’s Apprentice, I read the description and thought: And just how does that work? Sherlock Holmes is the most dedicated bachelor in detective fiction. Many writers have attempted to explain that, even work on the assumed “romance” between Holmes and Irene Adler, and have mined the subtext of his condition for decades, sometimes to good effect.

But married?

In a display of elegant reimagining, solid logic, and excellent prose, King convinces us that her version of the Holmes Story is the true tale underlying the gloss of fiction created by Dr. Watson. In the first twenty pages a new reality is established, making these novels feel more like revealed history than fanciful speculations. As it has turned out, she established a premise that has resulted in 18 novels (give or take) and some shorter works, each one adding to the Holmes mythos and providing terrific entertainment along the way.

The series proceeds chronologically and follows history closely. From time to time we have the added pleasure of seeing a fictional character enter the story as if part of actual history (the rescue of Kim, for example—yes, Kipling’s Kim) and the new one—Castle Shade—more or less continues in that vein.

Almost literally. After wrapping up a twisted affair in the Riviera, Holmes and Russell are summoned to Romania at the request of Queen Marie. They arrive at Castle Bran where they are presented with the problem (in the form of threats against the queen’s daughter) and tasked with finding those responsible.

We are in the thick of atmospheric evocations. Castle Bran is reputedly that castle—Dracula’s. The vampire haunts the novel. Both Russell and Holmes are grounded materialists, so obviously ghosts, devils, vampires and so forth are not the perpetrators. But they are tools.

Politics play a role—this is 1925 and Romania is slowly recovering from the shocks of World War I—as does folklore. Holmes and Russell must move carefully through a landscape fraught with the kind of peril born out of superstition and the frayed sensibilities of a people still trying to find their way into a new world without losing too much of the old.

King deftly portrays the country, the culture, the politics, and the history and moves her characters through this landscape on this most delicate quest. As in past novels, King displays a deep understanding of history, and her attention to detail is everything one would expect from a Sherlock Holmes novel.

But as I said, the pleasure of this novel and all the others in the series is in the dynamic between Russell and Holmes and it remains compelling and convincing. The biggest difference between Mary Russell and her husband is age and therefore experience, but they are intellectually matched and derive a significant part of their delight in each other from that fact.

King has humanized Holmes, perhaps more believably than most other attempts, which have generally focused on the uncommon intelligence and observational skills of the detective, so much so that many incarnations have rendered the character all but a machine. The original stories show a more rounded person, someone who it must be remembered could be extraordinarily kind. Whatever the reason—fascination with the exotic if nothing else—Holmes has been too often portrayed as some kind of intellectual freak. Conan Doyle, if he had any message beyond telling a good yarn, was that the chief distinction between Holmes and his fellow humans was his willingness to Pay Attention. Yet the message received seems to have been “thank heavens there’s only one of him, no one could be like that!” King has spent time in this series, it seems, undoing the various boxes into which Holmes has been placed. (There have been a number of stories presenting the idea that Holmes was, in fact, an alien, which explained his unique powers. Fun stories, to be sure, but again that trend of removing Holmes from the realm of the human.) King’s Holmes begins as someone who had fled London, tired of The Game, but who started his career much younger than the man in Dr. Watson’s tales (a nod perhaps to Aesop, who was said to have dressed as an old man in order to be taken seriously by those who would never accept wisdom from a young man?) and was interested in his bees, his solitude, and perhaps rejuvenating himself after near burn-out. The opportunity of training a protege in the form of a young girl who invades his quiet gives him a chance to…

Well, that would seem to be an ongoing journey, for both of them. Russell/Holmes is very much a spring-autumn romance—and there is romance, albeit understated and plausibly private (these are written in first-person by Mary)—but they have found each other as rough equals and by implication natural companions.

All that is well and good, but the best part of these novels is Mary herself, who is one of the finest sleuths to be found. Tough-minded, resilient, a scholar first, detective and occasionally reluctant spy, it is from her we learn all this, her voice that takes us through the adventures, and Holmes often takes a backseat to Mary’s navigation.

And the mysteries are fine. Just the sorts of unlikely, bizarre, exotic tangles one should expect from a Sherlock Holmes tale. But again, rendered in terms of human capacity and interest. In any event, so far each book has left me happily looking forward to the next. Mary Russell and Sherlock Holmes have together reinvigorated what had come close to being overdone and overworked.

2020 and Reading for Purpose

In a year that felt more like some surreal historical melodrama that ought to be safely turned into a documentary rather than something to cling to the future like a belly-full of bad booze, what we read may have been one of the most important choices we were able to make. Our lives constrained by a pandemic, we may have lived more vicariously than ever before, but we also dealt with the world as a landscape of impending doom in ways that perhaps our parents and grandparents may have in different ways, but was unique in the manner of it collision with reality and ignorance.

I think it fair to say that never before has so much information, understanding, and intellectual resource been so available to so many and yet rejected in turn to such a degree as to challenge one’s sanity. It seemed like the more we knew, the more concrete things we could say about so many things, the more too many people flat-out denied those very things that might have made the world a better place. Watching and listening to the news day to day was an agony of frustration.

So we—some of us—turned to reading for answers as well as escape. Answers to try to make sense of things, escape to give us the spiritual resources to cope with what we learned and what we saw.

I read, cover to cover, 63 books in 2020.

What science fiction I read was related mainly to the reading group I host. I read a lot of history, political philosophy, mysteries. I did not quite finish a rather excellent biography of John Maynard Keynes, which has proven to be a timely work that throws light on the history that brought us to where we are now. Zachary Carter’s The Price of Peace should, I suggest, be read with Binyamin Appelbaum’s The Economists’ Hour. Between them they illuminate the 20th century struggle with finding our way through the morass of slogans, competing theories, political opportunists, and national identities that seem to rely on the 19th Century concepts of poverty, property, and progress to justify a kind of fearful reluctance to simply adapt.

Along with these, Shawn Otto’s The War On Science is history of the anti-intellectualism in America that has dogged us since the beginning and has resulted now in a precarious moment in which the knowledge we derive from sound scientific practice has never been more necessary to our survival while living in a time when more people refuse to acknowledge anything outside their own concepts and prejudices. Along with this, a somewhat more theoretical but complimentary work is Why Trust Science? by Naomi Oseskes.

It would seem that our greatest enemy remains ignorance. Demagogues and con artists have become far more adept at manipulating and defrauding us in greater numbers than ever before and the only defense is our ability to reason, to sort through and measure and recognize nonsense, especially when it seems enriching, empowering, and edifying. Everything has taken on an urgency that strips us of time and room to judge, to assess, to think through. Decisions must be made now, while the offer lasts, don’t be late, get yours now.

In this struggle, the only thing that we can personally do is equip ourselves with the wide gaze of grounded perspective. History, economics, philosophy. They can appear daunting. But you only have to pick a book and start. It accrues. In time, something seemingly so removed from our present experience as Jill Lepore’s The Name of War, about King Phillip’s War, which set the pattern for the European conquest of America, takes on currency in the here and now. Speaking of Jill Lepore, her newest, If Then, about the forgotten Simulmatics Incorporated and its effect on American (and global) politics is an eye-opening expose of how we managed to corrupt our political systems with introduction of demographic analysis, ad-agency thinking, and datamining.

Economics, history…what about philosophy?

Outside specialized texts, I believe one cannot do better than good science fiction. Mary Robinette Kowal’s latest in her Lady Astronaut series, Relentless Moon, offers some surprising relevancy to the present as well as a terrific yarn set in an alternate history. Annalee Newitz’s Future of Another Timeline is a rumination on choice as well as a good time-travel story. Blackfish City by Sam J. Miller examines near-future global changes and the consequences of corporate capitalism disguised cleverly as a quest/revenge/rescue narrative.

I’ve been reading aloud to my partner for a while now. We did John Scalzi’s most recent trilogy, starting with The Collapsing Empire. His approach is in some ways perhaps “irreverent” but once you get past that surface facility, it’s a first-class trilogy.

Possibly the most beautiful writing I encountered this year was Robert MacFarlane’s Underland. He’s a naturalist/explorer whose previous work has been concerned with climbing mountains and related landscapes. In this he went down. In a magnificent rumination on ecologies and the underground, both natural and artificial, he has written beautifully about a world we ignore to our peril.

Alex Ross, music critic for the New York Times, whose previous book The Rest Is Noise, about music and 20th Century history, is wonderful, has published his intricate study of Wager and the impact he had on, well, everything. Wagnerism in some senses is an expression of the often-unacknowledged influence of art on politics and identity. Ross examines how Wagner became the focal point for movements and countermovements up till the present with his outsized presence in film scores. An aspect of history that deserves a bit more attention.

I have my to-be-read pile already building for 2021. It includes several books that I hope will help me ride the unpredictable currents of our ongoing struggle with the world. But never more strongly do I feel that the encounter with other minds through the agency of the written word is one of our best tools for managing and emerging from darkness. We have such a wealth of resource. I look around at the world and cannot help but feel that if more people simply read more and more widely, things would begin to resolve. Never before have we had it thrown in our faces with such force the costs of ignorance.

Here is wishing you all a safe and aspirational year. Read on, read well.

Recurrence and Renewal

William Gibson’s new novel, Agency, is a sequel to his superb The Peripheral, which is arguably one of the best of three or four time travel novels ever written.  Here he continues with several of the same characters, still exploring the peculiarities of the Stubs, and it is clear now that the matter at hand is alternate solutions to a set of problems faced in the present world.

Wilf Netherton, Ainsley Lowbeer, Ash, and Rainey intervene in a new stub that is on the brink of nuclear war. As the narrative unfolds, it become evident that this is not Our World. The 2016 presidential election did not go the way ours did, for one thing.

But the changes seem minor as far as they go.

At a certain point, though, none of these distinctions matter, because Gibson has tapped into the truth that we all live in our own stubs. Reality is comprised of an enormous amount of shared background, but details vary across a variety of platforms—social, economic, cultural, educational, political, informational, geographical, and temperamental.

By separating them out as if they were physically distinct realities, Gibson permits an examination of the elements that comprise distinctive characteristics—with the possibility of corrective interference. In the case of the first novel, the stub was based on aspects of rural, post-agrarian southern culture. In this new novel, it is very much West Coast venture capitalist techie.

Verity has just been hired by a company called Tulpagenics to beta test an interactive piece of eyewear. Immediately, Gibson is playing a long game through naming. Verity, which is linked to truth, to verify, to, ultimately, reality, and Tulpa, a concept of spiritualism coming from the Tibetan sprulpa, meaning “emanation” or “manifestation.”

It seems simple enough. Verity, though, apparently has been chosen because she has been successfully avoiding media attention after her breakup with a billionaire entrepreneur named Stetson, who generally drew the attention of all the popular sources of celebrity quasi-news. Verity has been sleeping on the couch of a friend named Joe-Eddy, who in his own way is a highly resourceful independent…something. Her ability to stay invisible seems important to Tulpagenics for this field test.

The glasses, though…she becomes quickly acquainted with Eunice, who turns out to be an AI program of fairly unique characteristics. They begin to build rapport. In fact, Eunice becomes so important to Verity that—

Enter Wilf Netherton, Ainsley Lowbeer, and Connor from the last novel. The stubs, using the same sort of informational technology Lowbeer and Netherton avail themselves of, can interact. To remind, Connor is a veteran given purpose in The Peripheral as an operative who then becomes the chief of security (bodyguard) of his friend-elected-president, Leon. Connor is remarkable at remote operations—drones—and is enlisted here to assist Verity and Eunice to avoid capture and death at the behest of the parent company of Tulpagenics, Cursion.  (Cursion roughly means “running, to run.”)

This stub is edging close to nuclear war. Lowbeer and company are intent on bringing it back from that edge. Eunice may be instrumental to that. It is hinted at—strongly—that while the stubs are not part of the “main” continuum, events in them have an effect. Of course, there’s some question raised as to whether the London of 2136 is the main continuum, but that’s a question to be answered (perhaps) later.

Gibson’s narrative approach is fascinating. A series of otherwise ordinary-seeming actions around key moments of invention that accumulate to a climax that, in hindsight, feels right and inevitable but still comes as a surprise. Occasionally it seems that if you take any given paragraph out and examine it, there’s not much in it, but the wavefront generated in context is inexorable.  He has always presented as a “simple” writer, but this is a serious misjudgment.  And the long game he always indulges impresses in ways we least expect.

But one thing he is completely engaged with is the idea of emergent properties of intelligence. In Neuromancer the end-game was the creation-emergence of a fully autonomous A.I. In each of his fictive creations, there is this fascination and examination of what might loosely be termed Singularites (they aren’t, but the road leading to them feels the same), and in this current work he’s playing across continua while dealing with the same suite of notions about A.I. and pivot points and paradigm shifts.

It’s not that he’s writing about the same idea. It’s that the idea is so massively encompassing that one can almost say everything is about it.

In this formulation, the Singularity can be used to label any moment where enough different threads and forces converge to leverage a pronounced conceptual change. Before this moment, we knew the world one way. After it, we see things differently.

He achieved this revelation to great effect in his previous trilogy, which was not science fiction so much as science fiction-al.  It was entirely set in our present world, with only changes in emphasis about the technology and the ways in which it manifests and is manipulated, yielding a portrait of a paradigm shift in process.  He seems to be plowing the same fields in this present work, only from a determinedly SFnal position, that of a species of time travel which is based on the communication of information across continua. The effect, interestingly, is similar to what one might experience traveling from one segment of our global society to another, with the attendant culture shocks and privileged dispositions in play.

In this, Gibson shows himself to be one of the sharpest observers we have, whose work is subversively relevant. He understands how all this “development” impacts and has a genius for dramatizing emergent properties while spinning a fascinating yarn.

 

 

The Myopeia of the Lit Club

“There could be an opening of a mental space for novelists to explore this future, not in terms of travelling at 10 times the speed of light in anti-gravity boots, but in actually looking at the human dilemmas of being close up to something that you know to be artificial but which thinks like you. If a machine seems like a human or you can’t tell the difference, then you’d jolly well better start thinking about whether it has responsibilities and rights and all the rest.”

I read that with perplexed bemusement. It was said in an interview by one Ian McEwan, who has published a novel about artificial intelligence and somehow feels he is the first to discover that this thing has serious implications for people to be expressed through literature. Thus he now joins a long line of literary snobs who have “borrowed” the trappings of science fiction even as they take a dump on the genre. I would say they misunderstand it, but that presumes they have read any. What seems more likely is they’ve seen some movies, talked to some people, maybe listened to a lecture or two about the genre, and then decided “Well, if these unwashed hacks can do this, I can do it ten times better and make it actual, you know, art.”

We’ve been subjected to this kind of elitism for decades. It has now become laughable. The only reason it irks now is when someone like McEwan doubles down and makes assertions about a field he clearly doesn’t know the first thing about. Not even Margaret Atwood, back when she was loudly asserting she did not write “scifi”, was so dismissive.

The literati have been abusing science fiction for as long as it has been an identifiable thing. Even before, really, if you count the drubbing Henry James gave H.G. Wells about how he was wasting his talents on irrelevancies. And to be perfectly fair, a great deal of what has been published under that label has been less than great.  But then, per Sturgeon’s Law, 90% of everything is less than great.

(Theodore Sturgeon, Mr. McEwan—a science fiction writer you ought to check out. He wrote about love in more ways than one might believe possible. Possibly one of the best writers of the 20th Century, but he wrote in a genre that received the casual disregard of those who thought they knew what it was without having learned what it was.)

McEwan believes he has stumbled on something unique in his new book, Machines Like Us, namely the effects of true artificial intelligence on human beings and civilization. One of the earliest incarnations, however, that talk about the problem in something like modern terms is a story called A Logic Named Joe, published by Murray Leinster in 1946.

1946. Many notable examples of A.I./human interaction followed, one quite famous example being Do Androids Dream of Electric Sheep, published in 1968 by Philip K. Dick.  (If those of you in the Lit Club with Mr. McEwan don’t recognize that title, maybe you saw the movie somewhat based on it, Blade Runner.)  Many. Hal-9000 in the film 2001: A Space Odyssey; Mike the lunar computer in Heinlein’s The Moon Is A Harsh Mistress; all the machine intelligences populating Iain M. Banks’ Culture novels; D.F. Jones’ Colossus, published in 1966.

One could go on. So, nothing new. And to then suggest that none of these examples dealt with how such constructs might affect people and the world is to profess either an unwillingness to read them or an inability to understand what “affect” might mean in this case, or both. McEwan’s dismissive remarks suggest he thinks no science fiction writer has ever worked with the ethical and emotional ramifications.

I am annoyed by this for a number of reasons, not least of which is the assumption of wisdom and the myopic view represented.

I have always thought that people who are dismissive toward SF have a problem imagining the world as someday being fundamentally different. By that I mean, things will so change that they, if they were instantly transported into that future, will be unable to function. Things will be radically different, not only technologically but culturally and therefore even the givens of human interaction will seem alien.

That is the meat, bone, and gristle of science fiction and I would like someone to tell me how that it not “dealing with the effects of technology on human problems.”

Like others in this vein, McEwan fixes on some of the tropes—spaceships and so forth—without bothering about how this, too, might have an effect on the people involved.

Recently, the Guardian published an  article  that revealed many readers assuming science fiction is not “serious” when certain words appear. They dismiss it a priori with the inclusion of words like “airlock” or “trajectory” or “warp drive” or suchlike, because they automatically assume it’s for kids. Which explains why SF is so poorly regarded, but it does not explain what may be going on in the minds of these people.

Mention has been made of Kurt Vonnegut Jr. who very aggressively disavowed his relationship with science fiction. His interest was almost entirely financial. At the time he was publishing, having SF on the spine of a book almost guaranteed fewer sales, and he didn’t want critics telling people he wrote science fiction lest he lose market-share. (Personally, I think he wrote rather sloppily. I know it’s supposed to be satire and I don’t care. He did not write particularly good science fiction, probably because he was worried all the time that people might think it was.)  Margaret Atwood tried to distance herself from it at first, probably for the same reason, but then realized that we had entered a period where SF did not mean anything sales-wise. So she owned it. Emily St. John Mandel wrote a quite good post-apocalyptic novel, did due diligence with ramifications, and produced a laudable science fiction novel—only she doesn’t believe it is. Well, her privilege, but sorry, it is.

This last may be from the kind of ignorance foisted upon MFA students by so-called “masters” like McEwan. They live in the world dreamed-of by science fiction writers, the motifs surrounding them emerge from SF, the things they look forward to doing in the next 20, 30, 40 years will be more and more the stuff of Golden Age dreams found in fragments in yellowing issues of Astounding SF, Amazing, Galaxy, and Fantasy & Science Fiction, offered up by writers like Asimov, Heinlein, Clarke, and Van Vogt, and yet believe when they write about that future they are among the first and that what they write is not exactly like what they have not read.

Not read because some people they admire have also not read it and having not read it presume to dismiss it.

The impact of changing technologies on human beings has been the driver of science fiction since the beginning. To not recognize that in such a way that one assumes one will be first to do it is purest ignorance. It means either you do not know what has gone before or what has gone before is work you do not understand.

Because that change you’re trying to talk about manifests in the best of that work as real and it is not change you know how to comprehend. It frightens in the worst way possible, that of being inconceivable. (“My poor Krel…they could hardly know what was killing them.”)

I am unlikely to read McEwan’s new novel, even though I was initially interested. Having read his ill-informed opinion of science fiction, I have a hard time imagining he will have done anything better than what was done decades ago. He will have reinvented certain wheels without realizing that the car to which they’ve long been attached has in fact left the garage and is in the process of acquiring an antigravity drive.

And if you don’t think that will have a very profound effect on people that will be thoroughly addressed by many writers you still probably won’t read…

 

Reaching For Stars

Let me get straight to the point:  Mary Robinette Kowal’s new novel, The Calculating Stars, is one of the best alternate histories I have read since…

It is 1952. Dewey is president. Elma York and her husband, Nathaniel, are on vacation in the Poconos. They both work for the newly-formed National Advisory Committee for Aeronautics. Nathaniel is the chief engineer and has a reputation for putting up America’s first satellites. Elma is a mathematician, a superb one. She is also a former WASP pilot, which fact figures prominently in all that follows.

In the midst of their idyllic vacation, a meteor slams into the Atlantic just off the east coast. It destroys Washington D.C. and wreaks havoc up and down the seaboard. Elma and Nathaniel manage to get out and to her plane and west until a fighter squardon challenges them, learns who they are, and escorts them to Wright-Patterson Air Base, the only fully operational military base within range. There they learn the extent of the immediate losses.

CalculatingStars_comp_v7_final-220x338

Quickly, the government scrambles to get up and running. The only surviving member of the Cabinet is the Secretary of Agriculture, who becomes Acting President until an election can be held. This, too, is very important.

While the pieces are being picked up and some kind of order restored, Elma is asked to calculate the size of the meteor so her husband can go into the meetings with the paranoid military and convince them this was nothing to do with the Soviets. She crunches the numbers and discovers to her shock and dismay that this was an extinction-level event. In 50 or 60 years, the Earth will be too hot for survival.

Kowal lays all this out meticulously. The science has the resonance of reality.  So do the politics, the culture, the economics. In fact, this is a very well thought-out scenario. For Elma, Nathaniel, the Acting President it means one thing:  humanity has got to get off the planet.

Which kicks the space program into high gear in the early 1950s.

The novel is soaked in telling details. And while it offers plenty of science and rocket-geek delight, it is also a story of challenging culture and social norms and overcoming personal difficulties in the face of all that the 1950s—our 1950s—was about to be. Kowal brings the culture into play with a seamless grace that produces a “well, of course that had to change” which occasionally leaves a residue of embarrassment.  Embarrassment at how we know things were and even how they still are.

We talk about Wake Up Calls when faced with growing or entrenched social problems, matters of injustice, the unexamined givens of the world. Kowal delivers the ultimate Wake Up Call.

And then shows us just how resistant people can be to making absolutely necessary changes if they challenge how we believe the world ought to be.  She puts ought to be on trial in a compelling narrative that seems to be all about building the future writers like Heinlein and Clarke expected. They neglected a few of the underlying pitfalls of trying to do so.

As well, we are treated to a protagonist completely human, flawed and excellent in her abilities and craft and sensibilities. Elma York is composed of the stuff we want to cheer and she carries us along with a convincing humanity that includes a heart as large and full one could wish for.  Her relationship with Nathaniel is wonderfully portrayed.

But it is Elma’s constant checking of privilege as she works to bring women into the astronaut corps and has to face the fact that she had often been blind to things sometimes right in front of her. Living up to her own values becomes a process well worth following.

This the first book in a new series. If it continues with the same verve and attention to detail and sheer passion, we may be looking at a landmark work.