Re-Read: Revenger by Alastair Reynolds

I’m an Alastair Reynolds fan.

Not ashamed to admit it, he writes crunchy science fiction that sits well with my critical mind. You know – the bit that competes with your enjoyment of a novel by whispering, “that’s not very realistic, is it?” in the back of your mind.

I’m not a very good fan though.

I found his books by accident, trawling the shelves of a local bookstore many years a in search of good science fiction, something which can be very hard to come by when you don’t know the genre well.

In the intervening years, I’ve read Reynolds intermittently, chancing upon one novel or another, and getting that spark of author recognition when I saw his name. I’ve enjoyed every single one, to a greater or lesser degree.

I recharged my kindle for the first time in about two years when the coronavirus-related confinement limited my entertainment options, and while flicking through books I’ve read and know well, I chanced upon Revenger. I remembered the title, recognized Alastair Reynolds’ name on the cover, which seemed familiar.

But I couldn’t remember anything about it.

Brilliant! A second run at a novel I’ve already bought, courtesy of a faulty transfer from short- to long-term memory.

The downside of reading a book you already know is that you read it much faster than the first time around, as your memory starts to fill in ever larger bits of the story for you. The upside is you get to rediscover work you enjoyed enough not to delete, which in my case is a sure measure of quality. I’m not short of memory on my kindle, but I’m still picky about what gets to fester there.

After I finished, I looked up the Wikipedia entry for Revenger and found that it’s referred to as “hard” science fiction. That I have to object to. Although much of Reynolds’ oeuvre is hard science fiction, this isn’t. The “glowy”, the “ghosty” and the “quoins” are anything but, and they’re central to the story. That said, his departure from the strict confines of hard science fiction poses no problem for me.

Fura Ness, as a protagonist, gets most of her character development out of the way in the first third of the book, and spends the rest of it coming to terms with the person she’s developed into. The world-building is, while not on a par with Seveneves, absolutely top notch. Reynolds’ willingness to kill off significant characters keeps you on your toes, but he doesn’t forego the character development of each of his victims for all that, which gives you the shock that a death in a novel ought to.

Finally, the moral complexity the book hints at is refreshing (at least to me), in a context where the real world seems ever more defined in absolutes. Even the protagonist and the anatgonist have, as we finally discover, a side to them that mitigates the obvious judgement their behaviour draws. It’s possible, in fact, that the most evil characters are on the periphery of the story, looking in.

I’d forgotten about Revenger, and I really enjoyed rediscovering it. I also discovered that there are two sequels, which I will now have to read, and other books by Reynolds that had passed unnoticed, and which will find their way onto a list that informs future reading decisions.

Sleepover – Alastair Reynolds

Originally published in 2010 as part of the  Apocalyptic SF Anthology from Mammoth Books, Alastair Reynolds’  Sleepover flew somewhat under the radar for me, in large part because I wasn’t much of a short story reader back then.

When asked to perform feats of imagination for post-apocalypse science fiction, writers have every reason to go looking for stories that lean slightly away from the traditional nuclear winter by-way-of global warming story lines that I for one find slightly over-worn, and in this Reynolds doesn’t disappoint.

The origin of the world-ending cataclysm is left a mystery for much of the story – something I didn’t find very plausible, but which works well given the well-measured parcelling out of meagre hints and misdirections. It’s not a ploy that would have worked well in a longer novel, but it’s sufficient to maintain the dramatic tension here.

I can’t fault the writing, and I can’t fault the imagination that went into the story design. Unfortunately, I can’t bring myself to love the story either. Probably because the nature of the catastrophe and the consequent relative powerlessness of both the main character and everyone else makes it difficult for me to engage.

I was curious to find out what happened next – the story leaves you more or less in the lurch and feels like an experiment in world building – but I found that my frustration at being left hanging didn’t last long and I was soon looking for a different story to read, so I wasn’t as hooked as I would have liked to be.

At under one euro, it’s good value and certainly a brief distracting read, so it still gets my recommendation, even if I’m glad it’s only on my Kindle and not taking up shelf space.