Robert J. Sawyer: Wake (2009)

Edition: Gollancz, 2009
Review number: 1406

J.K. Rowling aside, who is the most successful science fiction / fantasy writer of all time? One candidate would be Michael Crichton, who wrote more books turned into famous films than any other writer I can think of: Jurassic Park, Westworld, The Andromeda Strain. He's not an author I like very much, either as a novelist or screenwriter; although his books are really thrillers with SF themes, I tend to find them dull and have never actually managed to get to the end of any of them; the films work rather better, but even so are not my cup of tea. This is a view I appear to share with others in SF fandom; as a writer he was rarely nominated for an award (the only major one being the British Fantasy best novel nomination in 1995) despite his popularity.

The reason I bring up Michael Crichton is that I expected Robert J. Sawyer to be a similar writer. I first came across his work through the TV series of Flashforward, based on one of his novels. I watched the first two episodes, then gave up because (like Heroes) it seemed to be rehashing the same thing every week and neither moving forward at any speed in the overall story arc nor having interesting single episode stories. But the basic idea was interesting, and seemingly tailor made for TV adaptation, especially because the final episode was scheduled be shown on the date that everyone had seen on their vision of the future. While the plot meant that a TV adaptation seemed more appropriate than film, this seemed to me to be a very Michael Crichton style idea. So I didn't really think of reading any of his novels.

I'm not entirely sure why I added Wake to my list of books to read after giving up on Flashforward. I probably saw a favourable mention in a blog somewhere, or a review on SF Site. (A bit of checking reveals that it is because of its nomination for the 2010 Hugo: one of a large number of awards and nominations.) But I am glad that I did. It turns out, you see, that Sawyer is not at all like Michael Crichton as a writer. Wake is more like Neal Stephenson or Charles Stross: someone who knows about computers and has interesting ideas about their future which they discuss through science fiction. (He is one of the most enduring online presences in science fiction, as his home domain name, http://www.sfwriter.com/, suggests.)

After that long digression, I should at least say something about what Wake is about. There are three strands to the story, all of which are about cognitive awakening. The main one is the story of Caitlin, who was born blind and who is offered the chance to regain sight through an operation which connects her visual cortex to a hardware device which she nicknames the "eye-Pod". But as well as learning to see - and this is very interestingly imagined by Sawyer - she also discovers that connecting the device to the Internet means that she can "see" the structure of the Web. And part of what she sees forms the second major strand: in the background, there are what appear to be cellular automata, which begin to seem to be an emergent intelligence from the lost an corrupted packets which never expire (Internet communication is made up of packets with a "time to live" value, decreased by one each time they pass through a router; if this value is corrupted or they pass through routers with buggy software, this could lead to packets which never reach their destination and are never destroyed). The third strand is about a chimpanzee which begins to produce representational art: recognisable portraits of one of the people who look after it. This is not so closely integrated into Caitlin's story, but that may well be left to the second part of the WWW trilogy.  A fourth strand, about a dissident Chinese blogger, has loose ends which will clearly be picked up later.

The theme is clearly the development of consciousness, and is heavily influenced not just by current ideas about how machine intelligence might arise but also by the writings of Helen Keller, on how it felt to begin to be able to connect with other people after living blind and deaf since childhood - unlike Caitlin, she was not born blind but became so following an illness as a baby. Another background influence is the work of Julian Jaynes, who controversially argued that the modern human consciousness did not come into being until very recently (3000 years ago or so), early literature describing individuals who did not act in ways commensurate with fully integrated minds. Caitlin, as a bright teenager interested in such topics because of her blindness, makes a good conduit for Sawyer to introduce the concepts he wants to discuss.

This is one way in which Sawyer achieves one goal of good science fiction writing. In a genre derided for clumsy "info-dumps", finding a naturalistic way to explain the clever ideas and concepts behind your writing is important to many authors. Readers do not want to see endless conversations in which the participants tell each other things they already know, for the benefit of the reader, or to have lengthy explanatory sections or footnotes. Sawyer manages to do this really well here, and the combination of interesting ideas and good writing makes for a fascinating and enjoyable reading experience. As the Hugo nomination shows, this is one of the SF novels of the year, and is deservedly so. My rating: 9/10.

Michael Stephen Fuchs: The Manuscript (2006)

Published: Macmillan New Writing, 2006

Sir Richard Burton was one of the most interesting Victorians - best known as a linguist and explorer, he translated the Arabian Nights into English and made the pilgrimage to Mecca forbidden to the infidel in disguise as an Arab, and co-led the expedition which discovered the source of the Nile. He is also well known to science fiction fans as the main character of Philip Jose Farmer's Riverworld series. Here, though, he appears as the author of "The Manuscript", a description of a trip he took into the Andes, discovering a remote tribe who possessed the answers to life's questions. Apparently lost when Burton's widow burnt his papers after his death, rumours suggest that The Manuscript is secretly hidden on an Internet server.

So far, so Da Vinci Code. A similar mixture of absurd and unlikely conspiracy theory and treasure hunt with a spiritual secret to be found. This is mixed in with the Internet thriller, along the lines of Neal Stephenson's Cryptonomicon, and is written by someone who knows what he's talking about. Fuchs also thankfully writes in a far less clunky style than Dan Brown, who for this reader breaks the suspense every couple of paragraphs with some poorly phrased infelicity.

That is not to say that everything is wonderful in The Manuscript. The most glaring problem is the occasional lengthy and poorly integrated "info dump", notably in the early pages where Burton's biography is shoehorned in. It would help the flow of the novel if the details are revealed as characters need to know them, with a much shorter summary at this point, and the presentation would be more elegant than it is. It's excusable because Burton is made to be so important to the story (though the authorship of the Manuscript turns out to be almost irrelevant to both its contents and the treasure hunt: it's just that an origin can be fitted into Burton's already crowded life story).

Although i haven't mentioned any of the characters so far, the central figures are well enough drawn to hold the interest, if rather glamourised. These are nerds as portrayed by Hollywood, people who prefer to work out than watch Star Trek re-runs.

The Manuscript is a successful techno-thriller, even with its absurd premise. Perhaps the geekiness of the Internet content will put some people off, butt you won't need to have heard of awk, sed or perl to enjoy the story. It works: there's tension and suspense, and the rivalry between the various groups searching for the Manuscript is well handled.

William Gibson: Pattern Recognition (2003)

Published: Viking, 2003

One of the oddest feelings when reading (or, even more, re-reading) science fiction from the past is when time has often caught up with it, and you are reading a novel of the future set at at date which is in your past. This is particularly the case with novels which were important to you personally, which were influential, and which contain much accurate prediction, as is the case for me with Gibson's first novel, Neuromancer. Almost thirty years after its publication, Gibson produced Pattern Recognition, his seventh novel and the first which is not really intended to be science fiction. (I would bet that most libraries, like the one from which I borrowed the copy I read, shelve it with that genre, however.) Five years later still, it is Neuromancer which seems to me the more contemporary of the two novels; much of the detail in Pattern Recognition seems to have dated quite quickly.

The novel is an Internet Age thriller, but unlike Neuromancer or most other novels that might be slotted into that subgenre (such as Neal Stephenson's Cryptonomicon, or Jeffrey Deaver's The Blue Nowhere), it is not about hackers, programmers or geeks. Its central character, Cayce Pollard, works as a marketing consuultant, a guru on what is cool who has a phobia about logos. Her hobby is the study of a series of film clips, mysteriously appearing one by one on the Internet, which she discusses with fellow obsessives on the Fetish:Footage:Forum (F:F:F). Where do they come from? Are they meant to form part of a single narrative film? Do they have any particular order? what are the motives and influences which govern their production? Do they have any meaning and if so what? When Cayce realises that someone else has been in the flat where she is staying on a visit to London and used her computer, she begins to feel that there might be a bigger picture behind the film segments. The discussions on the F:F:F don't seem to be dominated by conspiracy theorists, but she finds it hard not to connect the films aand the break in with the disappearance of her father on September 11 2001.

Even though Pattern Recognition is not science fiction, it is still ahead of the pack: this must be one of the earliest treatments of what is now called viral marketing (a term I am pretty sure I hadn't heard myself in 2003). There are people being paid to go round bars and mention products approvingly to strangers: I don't know if this actually happens in the physical world, but there are certainly bloggers who are paid to give good press by marketing departments. However, other details seem behind the times: did people still rely so much on physical media for swapping data as recently as five years ago?

Cayce is quite a passive heroine, but her odd phobia makes her quirky and interesting. A reaction to logos does not seem to me to be a very believable problem, as the processing required to recognise the nature of an image is surely too high level for such a visceral reaction as an allergy. Its origins are left unexplained, which makes it seem more divorced from reality. Clearly it is a satirical element, pointing to the emptiness of modern life, where such banal symbols are held in high regard, whether or not the products they adorn are worthwhile. They are such a clever concept, making customers pay a premium to advertise for the producer. Such manipulation seems miles away from the quirkiness of the film footage: but is it?

The film clips themselves are slightly odd as the focus of a novel which doesn't exist in a multimedia format. Of course, the reader can imagine them, though Gibson leaves the exact content of the clips pretty vague other than to tell you things that they don't do - for example, the clothing and backgrounds are sufficiently generic for it to be impossible to work out when they are set. This vagueness is obviously part of the reason why people want to argue about the clips, but it does make them rather lacking as the central focus of a novel, being both timeless and plotless. The passiveness of the heroine together with this indirect focus means that despite the plot of the novel suggesting a thriller, it is not really in that genre - not necessarily a bad thing, but indicating that my initial assessment of Pattern Recognition was not quite right. Since other novels by Gibson succeed very wel lin this department, the diffuseness of this one must be deliberate. However, I still felt that though Pattern Recognition is interesting and worth reading, it is not classic Gibson by any means.