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 Fantasy. Show all posts
Showing posts with label Fantasy. Show all posts

Saturday, 11 October 2014

Book Review: Mainspring by Jay Lake - 4thwallfly

Welcome to the Fly on the 4th Wall. This science fiction book I've chosen to review this week is falls solidly into the steampunk category, a world of airships and Victorian era steam power. So, we shall be giving thanks to Brass Christ for:
Cover art copyright of Stephan Martiniere.

'Her Imperial Majesty Queen Victoria still rules New England and her American Possessions; the Royal Navy rules the skies with its mighty Airships; and Earth still turns on God's great brass gears of Heaven as it makes its orderly passage around the Lamp of the Sun from Midnight to Midnight and Year to Year.

In the town of New Haven, a Clockmaker's young apprentice is visited at midnight by a brass Angel, and told that he, and he alone, can find the Key Perilous to rewind the Mainspring of Earth. If he does not, the planet will wind down, and life will cease.' - Mainspring, Jay Lake [2007]


At heart this is an adventure story that follows young Hethor Jacques, apprentice horologist, in his journeys through both hemispheres as he struggles to do God's bidding, having to deal with the various strata of society in this clockwork world. His adventure takes him all over the world, giving a very interesting view on the setting of Mainspring as he travels to both hemispheres of Earth, crossing the infamous Equatorial Wall.

Mainspring's setting is a mixture between classic steampunk and an orrery (a mechanical representation of the solar system). Set on an Earth that remains stuck with airships and mostly steam power (there are references to electricity) it combines the airship, steam-powered worlds of steampunk with a literal interpretation of an orrery, the Earth being a planet with huge gears straddling the Equator, pulling the Earth round the Sun on a slow orbit. This is a world where few people can doubt the existence of God as they can see it in the perfection of the orbiting body, there are mysteries to Him but there is no doubt. The British Empire, such as it is, dominates most of the Northern Hemisphere, but due to the huge gear mesh called the Equatorial Wall, the British Empire in this setting never developed any colony in the South Hemisphere. The Empire's main enemy in the Northern Hemisphere is China, Imperial and just as capable when it comes to creating and using airships.


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



Food for thought

On the face of it this book is a mirror to our world's history, like most steampunk novels, though the concept of Brass Christ is definitely unusual for a variety of reasons. Christianity is not a single dominant religion anymore, having branched off long ago into multiple subsets and within the subset of those who consider themselves Christian there are massive differences in piety and interpretation of the Christian religion. To appeal to the largest audience, most authors (who have Jesus analogues or Christianity analogues) refuse to go too deeply into detail to avoid alienating some of their readers. Likewise, in this book, though God is mentioned often, and though the archangel Gabriel features an important role, Jesus is barely mentioned. This is a common taboo. However, if we strip away the setting, tear away the brass gears, we are given a world not too different from that of our ancestors.

The world setting (in terms of mentality) might be said to be around the mid 1600s, the cusp of the Renaissance (and New Rome movements) and the birth of proto-Capitalism (in Antwerp). The people have moved away from the old interpretations of Creation to a newer, more aggressive one. In Earth's history, the 1600s and 1700s saw changes in how science was approached. It was commonly reasoned by Christian scientists in the past that:
1: God created the world.
2: Therefore, all things on Earth are his creations.
3: God is perfect.
4: Therefore, all things on Earth are perfected.
5: Therefore, dissective work, to prod and poke, (be it on animals or plants) is the gravest disrespect.

Much like the book's Rational Humanism, the 1600s and 1700s saw the birth of more cynical behaviour and more questioning, pushing against the boundaries set by the Church. In Mainspring, the world is set around that change in thinking. England's empire is no longer a God-fearing one, but one that sets its stamp around the globe for England, one that no longer believes in God because there was little enough evidence in their lives. We see the analogy to the above reasoning in the form of the horologists (from horology meaning the study of time). In a world where the Earth runs on brass rails and therefore is timed to God's designs, to study time and to create machines that record time is to question God's designs, yet for Hethor, the controversy of creating such devices is long gone.

There's an interesting question towards miracles and acceptance of them. It seems strange to us that a world that runs of brass rails could ever be subject to cynicism about the existence of a Creator (regardless of whether that Creator is a God or some other being). However, I feel it merely highlights the reality that a miracle is not a miracle if it happens often enough. For the people in Mainspring, the brass rails are just a normal part of their lives, and on a cynical level, the existence of the rails is not proof of God, though they might be proof of an ordered universe totally anathema to ours.

At its heart then, the story is about faith. It's about being able to trust in God despite the world around you and on some level there is a criticism about assuming you are God's chosen people. Mainspring is a story that revolves around the power of belief in God, about one young man's journey towards a form of enlightenment as he realises that God is Love (as most Christian faiths teach today).* It is not a book that celebrates mankind's relationship with God, but rather the Earth's relationship with God. The English within the book have become prone to believing themselves masters of the world and of having a unique and special relationship with God, though as Hethor travels through the north and south hemispheres, he comes to realise that God loves all his creations, regardless of how strange or varied they might be, including the many creatures that dwell upon the Equatorial Wall.
*An example of an exception would be Westboro Baptist Church

At a deeper level, the book subtly reminds us through Hethor's powers that everything on Earth is part of God's design (a message for the reading audience). That there is no part of Creation that is not God's design. It's a small nudge that Christians should bear in mind that God does not love Christians alone (or perhaps I should say Brass Christians), but loves everyone equally. This is more akin to the God of the New Testament rather than the Old Testament. The New Testament God can be equated to Jesus, the one of the Old Testament is a rather different figure altogether. In some ways, the book is a message to reinforce the validity of the more 'modern' God. The Old Testament God is one who incites genocide amongst his followers (see: Deut. 7.1-2) and even once destroyed the entire world in a fit of anger (see: Gen. 6.17). Admittedly, the rationale was because mankind had been rather evil, but then it should be pointed out that God gave mankind free will. To give mankind free will only to turn around and destroy people for expressing it in a manner he doesn't approve of isn't really giving free will.
At all.
Not even slightly.

Mainspring takes us away from that God, to a God who puts Hethor through trial after trial to broaden his perspective of the world (painful though it is) and speaks of the singular relationship that each person maintains with God (much akin to Lutheran Protestantism), but the overall message is that the world we live in needs God and God needs people and God is Love, i.e. the world needs love freely given to continue (which is quite a romantic take). Ultimately, this book is a subtle learning process for Christians to, a reminder that even if people are not your faith or colour or race, or even species, one should still see them as another aspect of God's creation and that they deserve to be treated and viewed equally. It is a reminder that one's religion should not be something to shut out others, but a tool to accept others.
I do enjoy a nice uplifting tale.


Saturday, 30 August 2014

Book Review: The Age of Odin by James Lovegrove - 4thwallfly

Welcome to the Fly on the 4th Wall. Today we'll have a review of:
The Age of Odin - James Lovegrove
Cover art copyright of Solaris.

Before we start though, a brief word of warning. The book contains a large amount of profanity. This is because the main character is an ex-army soldier, and the book is told from his point of view.


'Gideon Coxall was a good soldier but bad at everything else, until a roadside explosive device leaves him with one deaf ear and a British Army half-pension. So when he hears about the Valhalla Project, it's like a dream come true. They're recruiting former service personnel for excellent pay, no questions asked, to take part in unspecified combat operations.

The last thing Gid expects is to find himself fighting alongside ancient Viking gods. The world is in the grip of one of the worst winters it has ever known, and Ragnarök- the fabled final conflict of the Sagas - is looming.' The Age of Odin - James Lovegrove 

The Age of Odin follows Gideon Coxall as he experiences the worst winters that Britain has ever known, driving through a storm towards as far north in England as you can get before 'Och-aye-the-noo' land. He travels with a stoner and ex-army friend with the unfortunate nickname "Abortion." From a modern perspective, the world setting at this time would be akin to the start of an ice age, the entire world experiencing a snowy winter. 

The entire story is set from Gideon's perspective from start to finish, giving us a very personal view of the events occuring around him. Gideon is determined to be master of his own destiny, which provides an odd contrast to the fact that we (the reader) are aware that the saga of Ragnarök is exactly that, a story with a fixed number of events that occur in sequence. However, the saga only really begins after Gideon finds himself before Asgard Hall (named after Asgard, the world of the Norse gods).

From there, Gideon finds drawn into a world of fantasy that somehow blends with the reality around him. It's a world so very different from our own that there are times that Gideon himself initially struggles to come to terms with the facts of his situation. Although part of that struggle is the struggle to accept that the world he thought he lived in was not the real world.

The Age of Odin is one of the many books written by James Lovegrove that have begun the 'Godpunk' genre. In fact, the entire collection is being referred to as the 'Age of Godpunk.' Godpunk is derived from the term 'Steampunk.' Steampunk is a sub-genre of science fiction that refers to (most commonly) an alternate Victorian-era Earth in which steam-powered machinery represents the height of human achievement within industrialised nations (that would resemble the Western powers at their heights during the Industrial Revolutions they experienced.

Godpunk has so far referred to a curious blend of mythology and the post-modern reality (here meaning a future not too far removed from our current existence). The Age of Odin for example, sets the saga of Ragnarök as a shadow to our own world's machinations, ending with a dramatic climax that shapes the course of the otherwise ignorant world. On the other end of the spectrum though, Age of Ra and Age of Aztec (to name two of Lovegrove's other works) reveal worlds where the mythology is a fact of life, where the world is ruled by the Egyptian and Aztec gods in turn, hence Godpunk. 

Ragnarök is part of Viking mythology and depicts a series of future events that will culminate in the effective destruction of life as we know it and restart the world afresh. It's detailed in several poems and can be treated, if you will, as an event similar to the judgement day of the bible. However, unlike judgement day (which concerns mankind alone), Ragnarök involves the Norse (Norweigian) gods in a climatic battle that ends with the death of most of the Viking pantheon and the nine-worlds in which they live. In Viking mythology, Earth (called Midgard) is just one part of nine worlds that are the totality of creation.


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




Food for thought:

At first glance, this book appears simply to be a high-octane military thriller. However, this book is about more than that. The Age of Odin, like James Lovegrove's other books is about the power of faith, about the quandary of fate and free-will, and ironically, about the strength of humanity.

The book has a plot which is over-the-top. The conceptual idea is fascinating, and despite all the profanity within the novel, I felt it had captured the spirit of a 'standard' British Army soldier quite well. The profanity and snarky humour works because Gideon Coxall is exactly that, a man who has 'cocked up everything' (Coxall get it?) and is left a somewhat bitter but defiant person. He's not normal in any meaningful way because of his penchant for violence which seems at odds with our understanding of today's society. 

The trouble with Age of Odin is a simple one. Gideon. Gideon is a self-admitted 'loser' in the sense that he can't manage to hold a job, can't live a civilian life nor manage to be a good father/husband. At the same time though, if he were a classical square-chinned Hero of Hollywood movies sort, this book wouldn't work, it'd be boring. It does mean though that the reader is left with the sense that Gideon had been awkwardly shoved into his various roles in the story.

That said, I find I can forgive this because Ragnarök itself originates from a massive epic that was unrealistic anyway (as is always the trend with mythological stories). There is no way to condense it without making the story itself feel rushed and disjointed. Many of Ragnarök's monsters and villains are strange and weird but again, this is to be expected. It is a shame to see Gideon adopting such an important role in the plot but again, I understand this as a narrative necessity to ensure the reader is able to experience as much of the Ragnarök tale as possible.

However, this book has a number of interesting concepts. The best of which is Gideon questioning Odin about God (as in with a capital G, the God that Christians believe in). Most books won't touch God because of how it can be percieved. Odin merely states that he has never met God, if he exists, but then goes on to state that if he didn't exist, Odin wouldn't want to believe in him. This is a bone of contention that is often missed from the Christian perspective. God is a model citizen (and Jesus too if you will). We are expected to emulate God to be better people, that is the nature of God. 
The gods of the Viking people were attributed all sorts of powers and credited for a great many things, but they were still human and this was because Aesir (Viking gods) were flawed creatures, prone to jealousy, anger, fear, selfishness as much as any mortal was. God is not human and from the Viking perspective, God was cruel. The Viking gods are not omnipotent, nor omniscient. The flaws in the world are just as much their fault as man's. God however, is both omnipotent and omniscient. Doesn't this imply that He was well aware what would happen in the Garden of Eden? On some level, does this not imply that He in fact sets man up for their fall from grace? 

The other interesting part of the book is the question on fate and free-will. Ragnarök is a very grim time for Odin and the other gods, not because they are fighting for their lives, nor because this marks the end of days. It is grim because Odin and the other gods are constructs of mankind's faith. They are gods because they were believed to be gods. Effectively, this means that they know when and how they die, but at the same time, they cannot do anything to change that. It raises the quesiton of free-will neatly. Odin indicates in the story that the Aesir came about because people believed in them long ago, he also indicates that the gods can only die at the right time and place. For Odin it was in the belly of Fenrir, for Thor is was in the jaws of Jormungand. On the one hand, they have no free-will, their fates are already known, told and written down long before the modern era, but on the other hand, they do not see themselves as lacking free-will because their characters are such that the alternative could not be considered. This can be extended to mankind. 

Free-will is predicated on the concept of having a choice, getting to determine your own fate. However, on some level, we cannot ever be truly free because there are some things our consciousness or inner character would not let us do. Classic arguments of free-will are often extreme examples such as: "If I can guide my own fate, I can, for example, choose to jump off a bridge." But we can use a less extreme example, "If I can guide my own fate, I can, for example, choose between eating a chocolate or a fruit." In my own case, I love chocolate and nine times out of ten the answer would be: the chocolate. In which case, do I have free-will? Or merely the illusion of it? I'm not being forced to take the option I want, but I do not necessarily consider that there is an option at all. 

To use an example from the book, at any point does Gideon have any free will? The Norns state that to a Hero there are any number of paths, but Gideon is a man built by the life he has lived (as demonstrated by the Norns), and so, was there really any other path than that which he chose?

The final food for thought is this concept of the strength of humanity. This book involves gods of all shapes and sizes, but is ultimately about mankind. Here, Odin has revealed that effectively, mankind is the ones who create gods, mankind fashions them in our image. The turning point of Ragnarök is not the gods themselves but the humans serving under them. When Loki needed to bring the tools of Ragnarök to bear, he did not take the real Fenrir, Jormungand or Nagelfar, he instead preferred to use their man-made mimics. To quote Shakespeare:
'All the world's a stage, 
And all the men and women merely players.'

The whole story works as a play on that concept. Ragnarök is almost literally a stage, it's a Viking myth with a set of pre-conceived events. The players on the stage (here the Aesir) have no choice regardless of how they feel, but to act out the play to its fulfilment, and on some base level, it implies that gods and devils arrange themselves for our (mankind's) sole amusement. 

Thanks for reading!