Caveat

With regards the reviews I write, I feel it is necessary to provide this caveat.
The initial section right up to the button that opens the full synopsis is the teaser where I try to give a look into the book without revealing too much.

The section within the button is a full synopsis. No detail will be hidden at all.

Be warned!
The final section (Food for thought) is a series of thoughts on the book. This is a personal take on the book and does mention important parts of the books. It should be considered as much of a spoiler as the previous section!
Showing posts with label Dystopia. Show all posts
Showing posts with label Dystopia. Show all posts

Sunday, 14 December 2014

Book Review: Metro 2033 by Dmitry Glukhovsky - 4thwallfly

This week's science fiction book takes place deep underground in a world with little hope. Actually, in all honesty, the book's world has no hope. It is a story of the dying struggles of mankind as it turns slowly away from the world above and spins its own myths and legends in the world below.
It's Metro 2033 by Dmitry Glukhovsky.

Cover Art copyright of respective owner.

'The year is 2033. The world has been reduced to rubble. Humanity is nearly extinct. A few thousand live on, not knowing if they are the only survivors on the planet.
They live in the Moscow Metro - the biggest air-raid shelter ever build. It is humanity's last refuge. It is a world without a tomorrow, with no room for dreams, plans, hopes. Feelings have given way to instinct - the most important of which is survival. Survival at any price. 

VDNKh is the nothernmost inhabited station on its line and still remains secure. But now a new and terrible threat has appeared. Artyom, a young man living in VDNKh, is given the task of penetrating to the heart of the Metro, to the legendary Polis, to alert everyone to the awful danger and to get help. He holds the future of his native station in his hands, the future of the Metro - and maybe the whole of humanity.' Metro 2033 - Dmitry Glukhovsky [2007], Translation - Natasha Randall [2009]

Metro 2033 is set in a world of dingy darkness. The world has been ravaged by nuclear war (during a Cold War that had not remained cold but had ended up getting rather hot). The surface is an uninhabitable wasteland that belongs to the mutated creatures that now thrive in the light of the radioactive cities. Artyom is a young man whose home station is under terrible threat. He is directed by a Stalker called Hunter (Stalker is the title of near-mythic heroes who run salvage missions on the surface) to tell the heart of the metro, Polis, of the threat that faces VDNKh. This threat, coming from the next station along, the abandoned botanical gardens, is a threat that might bring ruin to the entire metro.

The story is episodic in style, each station and each step of the journey is almost an entirely separate world from the previous. Artyom's travels allow him to realise that his station is not some far-flung outpost that protects the metro alone, but merely one of many struggling for survival and within the metro itself, stations vie with each other over resources, ideology and creed.

The Moscow Metro is a classic tourist destination for visitors to Moscow thanks to the beautiful architecture within the stations, however, Metro 2033 turns away from its beauty and presents a world alone and in the dark. Mankind has become so used to the flare of emergency lighting that they are blinded by the light of the sun. Stalkers only dare operate at night.

This is not the story of a bright future, or of mankind banding together to face the threat of the ruined world. This is not the story of progressive mankind. This is the story of man's descent into smaller and smaller communities as they turn their back on the world they had once known and embrace the darkness below with their own myths and legends. Such is the darkness of the world that each station lives in that these myths and legends have taken life as facts.


Food for thought:


Frankly, this is a lovely setting. Not entirely original (though in this day and age that's a hard mantle to assume). It is a bleak tale certainly, and a bleaker setting, but this story nevertheless conjures some fantastic differences between stations and there is great detail in the world setting throughout the book in the form of the people Artyom meets and the stories they share.
However, that does lead directly to the first problem. The setting of Metro 2033 is strongly developed but mostly told to the reader by characters, rather than shown (which is always the more subtle and more interesting way to develop 'lore' around a setting). The other issue is that, despite this deep and dark (pun intended on the Metro there) setting, there is actually very little drama for Artyom. His story is less about his journey through the metro and becomes more a vehicle for the author to use to display the metro. It is only near the last quarter (or so) of the book that Artyom's tale rises to the forefront, but the majority of the book revolves more around the various stations that Artyom finds himself at.

In its own way, the author has written charicatures of ideologies and creeds in each of Artyom's encounters, one dimensional belief systems that control stations. Artyom meets with Communist stations that war with the fascist Fourth Reich, he is captured by cannibals, talks with traders of the capitalist Hansa and listens to stories from born-again Christians, Trotskyists and more. Sadly, each of these examples are rendered without much depth which results in the feeling that Metro 2033's universe is deep and intriguing but without much impact.

On the interesting side, the author frequently visits the concept of humanity and what exactly that means in this dark age. The world is grim, highlighted by small realities (the currency for example is ammunition, to have weapons and bullets is to have both physical power and spending capability). The threat to VDNKh and the rest of the metro is not at all physical but psychological. There is little humour in this book to relieve the reader of the story's tone.

However, in the midst of all this, we are treated to Artyom's education of the world he inhabits. Raised in one of the metro's far-flung outposts he is the equivalent of an unworldly, untravelled person. He is essentially himself an innocent to the metro, though this is true in its own way of each station's inhabitants. There are endless myths that Artyom cannot separate from fact because his world differs so vastly from ours. There is no ability to merely 'check' the truth, no ability to merely be sceptical as the world is dark enough to believe near anything. As an example, Artyom is told that there is a station that takes people and forces them to dig downwards. The station is run by satanists who believe that the metro and life there is merely just a layer of hell itself and that to connect the metro with the hell that ran deeper would be to bring about the end of days. He is told rumours about the Kremlin, that he should never look too closely at it, for should the light catch those domes he might be drawn in like a moth to the flames. He even encounters a society of luddites who worship a 'Great Worm' that they attribute as the creator of the metro's tunnels, arguing that mankind had arrived after it had passed to build in its wake. There's no real way that Artyom can prove or disprove anything he is told and it boils down to a simple fact for the young man. He is free to choose how he should think on his world. The world of metro is shaped mostly by belief and almost regressive 'caveman-like' behaviour of wild stories around campfires, though Artyom does not ever commit to any one of the beliefs around him.

In our world it is easy to scoff at say, the satanists for example, but in Artyom's world, a world were strange beasts roam the surface and stranger creatures threaten the metro, a world where some stations are so badly affected by horrific creations of science and a by-gone war that the tunnels must be collapsed, it would be hard to tell where truth ended and fiction started. There are stories of the souls of the dead caught in the pipes of the metro, strange anomalies that incite fear and terror, rumours of a Soviet missile base still functioning. 

It is ironic that despite the setting and the slow pace of the narrative that we are treated to fairly blunt intimations that Artyom possesses an unique destiny with even Artyom himself coming to believe that he has an allotted path, and should he continue on it he would remain unharmed. It is rare that the character of a book acknowledges his own plot-given right to survive no matter the odds.

In summary, the book has an interesting setting but fails to deliver a plot to match with it. Artyom's tale results in the feeling that even Artyom is merely along for the ride as he is taken from station to station and shown the glory (and horror) of the metro world.

Sunday, 26 October 2014

Book Review: Inverted World by Christopher Priest - 4thwallfly

Welcome to the Fly on the 4th Wall. This week's book review will skirt the edges of science fiction to a story about a city that cannot stop. No, I'm not talking about New York City.
Presenting the city in:
Inverted World by Christopher Priest:
Cover art copyright of Chris Moore/Artist Partners

'The city is winched along its tracks through a devastated world. Rails must be laid ahead of it and removed in its wake. If the city does not move, it will fall behind the 'optimum' and into a crushing gravitational field. The alternative to progress is death.

The rulers of the city make sure its inhabitants know nothing of this. But the dwindling population is growing restive. And the rulers know that the city is falling further and further behind.' - Inverted World, Christopher Priest [1974]

Inverted World delivers on its promise, presenting the story of Helward Mann (a fitting name if ever there was one) as he grows up in the city of Earth, coming to terms with the world around him in Earth's desperate struggle for survival. The people of Earth haul their city ever northwards, aiming for the ever elusive 'optimum' ahead of them, navigating a hostile landscape to do so. Helward Mann, thanks to his father's prestigious position, joins the guild of Future Surveyors and embarks on a journey that takes him away from Earth, learning about the world outside the city, the truth behind Earth's constant struggle north and the fate that awaits the city in the south.

The story is set in a universe that is the inverse of our own. We live in what is effectively (though not actually) an infinite universe on a finite planet. However, Inverted World is set in a finite universe upon an infinite planet. There's a rather impressive and enjoyable twist at the end, so not much more will be said on this beyond an explanation of the Inverted World premise.

Inverted World is told primarily from Helward Mann's point of view with only a few parts told from Elizabeth Khan's point of view, though nothing will be revealed of her either for much the same reason as above. Despite being entirely cryptic about book, I recommend reading it as it delivers a fascinating world setting and a twist that leaves you feeling delighted at the end.


Click below for the full synopsis (click to open/close):



Food for thought:

Naturally, there is one immediate problem with the book's premise. The concept of a world that has an infinite plane in two perpendicular directions is topographically impossible (the two planes would intersect each other after all as they rotate into infinity). However, that said, the concept and twist in this book is lovely. It is a complete reversal of the world we know, a world where the struggle to survive is paramount to all other things. 

One of the major themes in the book is the power of perception over our reality. We have no real way of knowing if what we perceive is actually 'real' in a factual sense, only that what we understand of the world can be verified by what we perceive. In fact, in our daily lives we take alot of things for granted which in theory are impossible, things which are verified by our perception but not by our scientific knowledge. The world around us is very different from what we perceive without the help of specialised equipment. Quantum physics proves that things exist because we detect it existing, even if we can't necessarily explain what they really appear as. For example, the electron is characterised as a physical sphere of negative charge within an atom, and there are experiments that can prove its nature as a particle. However, there are also experiments that prove the electron is not a particle but instead a wave. Quantum physics accepts that the electron displays the characteristics of a particle and a wave (despite the mutual contradictions) at the same time. It is comforting to think of electrons as a particle as this makes it easier to imagine the atom and we're all made of atoms. But even the concept of an atom is at odds with the day to day reality we observe. Atoms are proven to be 99.99% (recurring) emptiness. Given that we are made entirely of atoms then in theory we too are 99.99% emptiness and yet we perceive and interact with physical objects all the time. Likewise in Inverted World, while we accept Elizabeth Khan's perception as 'truth' (as we live in her perception of reality) we cannot necessarily say that Helward's perception of the reality around him is wrong. Reality and its perception is entirely subjective and quantum physics points out that we change the world by observing it. 

Likewise with one final example of the complexity of perception, there is no guarantee that any of use experience the same reality at all. When I look at the sky I can say 'the sky is blue.' You may be inclined to agree with me if you were to stand beside me. However, you and I could not prove that the colour we saw in the sky was the same, only that we had a mutually agreed term for what we perceived as 'blue.' As a quote, I would leave you with:
'All things are subject to interpretation. Whichever interpretation prevails at a given time is a function of power and not truth.' - Friedrich Nietzsche
There are no truths, only agreed upon interpretations that are endorsed by the majority.

The book is also a fantastic celebration of human determination. The power to survive and prosper despite the odds arraigned against us is an uplifting tale. The world of the ironically named Helward Mann is grim, founded upon a need to survive at any cost and sustained by a weak hope and yet despite this, their civilisation has existed, triumphed against the odds for two hundred years. Two hundred years of stubbornness and refusal to simply give in. In a way, it is an analogy for our own personal lives, of our own personal struggles against the world around us for our own measures of survival. 
The alternative to progress is death.

Saturday, 27 September 2014

Book Review: The Killables by Gemma Malley - 4thwallfly

Welcome to the Fly on the 4th Wall. Today's book review is set in a dystopian future, a world where Order (with a capital O) has prevailed over the chaos that had preceded it, but at a terrible cost.
We're looking at:
The Killables by Gemma Malley
Cover art copyright of Jonathan Minster

'EVERYONE ACCEPTED THAT PEOPLE WERE DIFFERENT PHYSICALLY.
BUT INSIDE?
INSIDE, THEY WERE DIFFERENT TOO. YOU JUST HAD TO KNOW HOW TO TELL, WHAT TO LOOK FOR.

Evil has been eradicated. The City has been established. And citizens may only enter after having the 'evil' part of their brain removed. They are labelled on the System according to how 'good' they are. If they show signs of evil emerging, they are labelled a K... But no one knows quite that that means. Only that they disappear, never to be seen again...' The Killables, Gemma Malley [2012]

The Killables is a brave new glance at the conceptual ideas raised by Aldous Huxley's novel 'Brave New World' that shares some similarities to George Orwell's '1984.' This is the story of Evie, citizen of the City. The City is the only remaining bastion of civilisation in a world ravaged by the scars of a long-past disaster. The City protects its inhabitants from the disorder beyond its walls, provided that its citizens continue to repress the evil amongst them. They have all undergone surgery to remove the evil parts of their brains at birth. A City's citizen can easily identify one another thanks to the identical scar they bear on their heads as a result. But Evie is different. She has nightmares. She isn't happy with her lot in life and she's all too aware that she's deviant. She isn't the ideal the City demands. Most importantly... she's not in love with the man she's promised to.

The Killables is set in a post apocalyptic future where most of the world is recovering from the wars that had raged across the planet. However, the City stands as a bastion of peace and calm in a world of survivors. It does so by maintaining a controlling System that grades the citizens within the City, rating them in a series of ranks that denote a citizen's potential for evil (i.e. an "A" is considered the safest and most selfless type of citizen while a K is someone to be shunned for their evil). Though Evie comes to realise there is more to the City than there appears at first glance. The majority of the book is told from Evie's point of view with occasional switches.

The Killables is part of a series called the same name and will continue with 'The Disappearances.'


Click below for the full synopsis (click to open/close):



Food for thought:

This is a story where the main theme, like the Puppet Masters, is about information, the effect that control of information can have and the price of freedom. Admittedly, being a 'teen'-fiction (where the principle characters are 'young adults') it doesn't go quite as far as Heinlein's story. For example, no one actually dies in the book, sure there are people who were labelled K and left to die, but Linus reveals that all those people had been saved. The only deaths that really occur in the entire novel happen as part of the story's setting, during the Horrors.

The citizens of the City in this book live in what they perceive as the last bastion of civilisation in a world left ruined by wars. Their lives are set and run entirely by the System that governs them and by the Brother that governs the System, though of course, they don't realise it. They are like the proverbial frog at the bottom of the well that looks up and sees the entirety of the world. The sky, the walls of the well and the land the frog stands on, totally unaware of the existence of a larger world beyond the wall's exterior. Just like that frog, the City's citizens live a peaceful but ignorant lifestyle. Their behaviour and lives have been controlled not by any harsh implement or physical force but by the simple fact that they have been told that their world is all that there is. To all intents and purposes they experience a closed understanding of the world that is enforced by the cult-like behaviour.

However, freedom is not necessarily better. It is a powerful concept and evokes strong emotions because as individuals, we all consider ourselves masters of our own destinies. To have freedom is something many people take for granted, but sometimes what is perceived as freedom can actually be another form of control with the illusion of free will. For example, if I asked you to pick between a blue or yellow item. I've given the illusion of freedom by granting a choice, but I have presented only two definite options without alternatives, thereby controlling the response.

Moving back to the concept of freedom, freedom is not inherently competent or even 'good.' You see elements of that in the chaos caused at the end when they have overridden the System. The citizens are not jumping up and down with joy at their new circumstance, they are mostly confused and none of them actually show direct support for or against the Brother after the accusations. Life is easier without freedom, less effort is required to exert one's desires upon the world. The Killables, like last week's The Puppet Masters, highlights the danger of never questioning the world you live in.

It also features a small link to the nature of the soul. The soul is a subject that is often separated from our 'chemical' selves. From the neurological perspective, our morality, logic and personality is linked to the chemicals received in our brains and the reactions of various parts of it to that stimuli. However, such a clinical understanding degrades the concept of the soul, something which is seen as indefinably human, this idea that our personality (what makes us 'us') is sacrosanct. You see it in the form of the experiments to remove the amygdala. Instead of resulting in human beings who are now 'good' the operation results in morally bankrupt individuals (who also appear to have lost some of their intelligence too), giving rise to this idea that you cannot clinically remove 'evil' without destroying the 'soul' of that person.

Finally, as a little something I noticed, Linus' dream for his ideal System is not unlike the dreams of the Soviet Union in the late 1950s and early 1960s. The idea that a computing system could be developed to optimise the life of the Union's citizens was part of 1959 in the USSR where slogans such as "Soviet scientists! Raise the effectiveness of scientific research, strengthen the connection between science and industry!" could be found. In some ways, The Killables can be said to be analogous of the USSR. Like the USSR, the City claimed to be an utopia for the masses within its walls but in truth was an autocratic and oppressive regime. The City had itself a wall designed to keep the outside world away from itself, much like the Iron Curtain that descended (to quote Churchill again).
Mind you, only in a minor way, does the analogy fit, but nonetheless, Linus' dream of optimisation through a computing system is remarkably similar to the Soviet dreams of the late 1950s where the long sought 'utopia' was due to arrive (much as Linus' dream was built to provide utopia) only for both dreams to collapse on themselves.