i wanna join, but can we do Eye of the World next... cause i am reading that and well you know... i wanna read the entire series before i take on another reading project... so maybe in a few weeks
I was unable to participate today due to family obligations but I just want to thank Mr McAuley and Annalee Newitz. I really enjoyed reading the thoughtful questions and answers. Bravo everyone!
Thank you for taking the time to answer all these questions. This is helping me to enjoy the book more.
You have mentioned several times that you wanted the characters to be pushed around by forces greater than they were. Despite that, the characters (except maybe Macy Minnot who just wants to be left alone) tend to try to manipulate everyone around them. It's not just the usual people in power strong arming the people beneath them. Loc Ifrahim manipulates those much more powerful than he is on a regular basis. It can even be benign, like when Macy's boss on earth convinces her that the best thing for her is to go to Rainbow Bridge.
Are you trying to show that all these human machinations are pointless in the big picture? Or that despite the great events occuring, these people can have some small impacts on their own lives? Maybe both? And why is Macy the only character who doesn't play this game? To me, it made her seem somewhat weak and helpless when she had great skills and could have leveraged those skills to better her lot (or at least stay out of trouble) if she were willing to play politics just a little.
I'm a bit wary of going into too much detail about the motivation of characters and why they are or are not empowered in various ways - it always sounds like special pleading when the authors says something to the effect of 'Hang on, this is what I really meant.' Bbut I would like to elaborate on your analysis just a little if that's okay, and to try to answer your questions as best I can without being too prescriptive. The author isn't the only author of the book after all; the arguments the reader has with it are important too, and I don't want to close off those arguments by saying this is how it is, no other interpretations allowed. This is how it is to me.
Macy is something of a loner, yes. An orphan by choice. And cynical or naive (take your pick) about politics. But like or not, because of who she is and where she finds herself, she discovers over and again that wanting to be left alone simply isn't an option. As we so often do, when caught up in some big historical hinge point. So when she's courted by opposing cliques in the Outer community, she does choose a side, in the end. And she does her best to make the best of that. And she does some good, IMHO. If only by helping to make the ending less absolutely certain than the winning side would want.
So no, I don't think that personal efforts are always pointless. Quite the contrary. I think we're at our best when we make the correct moral choice even when the position seems hopeless. Maybe you can't stop some big political change that's coming down the tracks, but the choices you make before it could well affect what happens to you during and after that change, and could play out in interesting ways in the long term. Winning a war isn't always the same as being right, and victory isn't always permanent. Often isn't, in fact.
(I am, as you may have gathered, fairly suspicious of Mary Sue stories where the protagonist, because of her special skills, gets hold of the levers of power and tweaks them in just the right way to achieve a happy ending for everyone who deserves it. Happens a lot in SF; not so much in the real world (unfortunately).)
@PaulMcAuley: Macy is a biologist and as apolitical as possible. I think many scientists are like her and just want to work without getting bogged down. Most learn that is not really possible if you have any ambition at all or any desire to control your own life. Is she the character that you most identify with? Does that even matter for an author?
Absolutely agree about the problems of doing science; one of the big problems with big science is that most scientists are pretty bad at politicking, even when they know it's absolutely necessary. Partly because they quite rightly refuse to deal in absolutes, the common currency of political advancement. Macy and Sri are two sides of the same coin, maybe. But I hope Macy's travails are little bit more like my own experience than Sri's.
@PaulMcAuley: God, I hope so for your children's sake. I hope you haven't planted fail-safes in your family and friends. And Sri's relationship with her sons was...dysfunctional.
I did notice that Sri is very much the opposite of Macy. She feels it is necessary to play polotics so that she can do the science she wants This seemed to reflect more on the societies they find themselves in. Maybe they just gravitated to those situations because that's the kind of people they were. Macy would be eaten alive in the upper echelon of Greater Brazil.
I have read a few of the short stories set in the Quiet War universe, but I can not find a comprehensive list of these stories anywhere. Could you kindly list them so I can hunt all of them down? Thank you!
Why did you decide to also set short stories in this universe? Were you already planning the novels when you wrote the first short stories or did the idea for the novels come after the universe? Thanks!
I started out exploring the Outer System through short stories. They became a trial run for the novels, which modify the background history that was rather unevenly developed in the stories (I didn't have a plan, and made it up as I went along). Situations and characters from a few of the stories, very radically modified, have been incorporated into Gardens of the Sun.
Here's the list of stories (and you can find one of them here):
Second Skin' Asimov's Science Fiction, 1997
'Sea Change, With Monsters' Asimov's Science Fiction, 1998
'The Gardens of Saturn' Interzone, 1998
'Reef' Sky Life, edited by Gregory Benford and George Zebrowski, Harcourt
Brace, 2000
'Making History', PS Publishing, 2000
'The Passenger' Asimov's Science Fiction, 2002
'The Assassination of Faustino Malarte' Asimov's Science Fiction, 2002
‘Dead Men Walking’ Asimov’s Science Fiction, 2006
‘Incomers’ The Starry Rift, edited by Jonathan Strahan, Viking, 2008
While I am, unfortunately, one of the people who did not like the book, it still left me with a couple questions I would like to ask about some of the choices and decisions you made in writing the book.
1 - One of the reasons I had such a problem with the work was what I perceived as a psychology of victimization among most of the main characters. All of them were victimized and exploited by the powers-that-be, both political and social, and most were relatively powerless throughout their time time on stage. My question is if this was an intentional decision to help underline the feeling of being caught up in events greater than one's self, and was this powerlessness, or the ineffectiveness of most character's actions inherent in the theme of the book?
2 - This ties into question 1. In the book, we encounter 2 major power structures, Greater Brazil and the Outer Open society. In both cases, we are shown time and again that each power structure has created it's own, slightly different, hypocritical society of exploitation, victimization, and coercion. We see this through multiple viewpoints on both sides, and before the book is done pretty much every character has been abused by one or both authorities. My question is was this intended as a critique of society and government in general and the tendency for power to corrupt, or meant as a commentary on the ways that these particular societies had brought themselves to this point?
3 - Alternate war scenarios
While reading the book, I often found myself thinking of alternate actions and scenarios that many characters, governments, or other actors could have taken that would have been more effective in achieving their goals. For example, having Avernus weaponize (or claim to weaponize) vacuum organisms to make WMDs like giant 1-shot lasers or solar-sailing earth-impacting asteroids out of various solar system objects would have fit the technology, but would have stopped the war cold. However, since the major thrust of the plot was to get the war to the state we see at the end of the book, my question is did you have to discard any ideas that would have changed the game too much?
@Briareosdx: It was very much an intentional decision to show characters - and indeed nations - caught up in a complex political situation that has an inevitable outcome. I'm not, you've probably gathered, a big fan of the Great Man theory of history. The novel isn't intended to be a critique, but an exploration of the kind of situation where people are caught between opposing and rigid ideologies rooted in unresolved conflict.
Not an uncommon situation in human history, or indeed the present.
The Outers could most certainly have attempted to develop weaponry, and take the war to Greater Brazil and her allies. But their society is based on strong principles of communitarianism and nonviolence and by turning to violent means to solve the conflict they would destroy everything they are trying to protect. And maybe they also remember what happened to the Martian settlements when they aimed an asteroid at Earth. It's certainly interesting to think about the devastating consequences for Outer society if they'd won the war, but that wasn't the kind of book I wanted to write.
@PaulMcAuley: PS I should also add that you're under no obligation to like my book - no one is, apart from, I guess, me - but thanks for taking the time to think about it and for your detailed questions.
How likely is it that we see a return of the intelligent rats on Earth in the sequel? I could have used some more of them and the Super Brights before they were left to their fate.
@â™ Final â™ is Soylent Green now.: There are intelligent rats in Gardens of the Sun, but not the feral kind Cash Baker encountered. And a kind of variation on the Super Bright theme too, come to think of it...
I just finished tonight because I've been so busy with work. I thought it was a good read and I haven't been able to get around to as much hard scifi as I'd like.
I thought it strange that all of the Outers were so homogeneous politically. Being so spread out and had so many colonies/ habitats to me would mean each colony/city/habitat would rule differently. Even though it might have been an illusion Democracy and Freedom wouldn't seem likely when you're living in environments that have to be structured and stable and are so physically fragile.
East of Eden seemed like a contraction onto itself. Greek ideals of Art, politics and polemic but Calvinistic like prudishness.
will future work go into more detail about the missions of the other daves? i thought the sections dealing with their experiences were among the strongest in the book in terms of storytelling and consider them the most sympathetic protagonists you brought to life. would be quite interested to see more of their exploits, especially their interactions with the world at large once they left their training. dave #8's struggle with inherently human desires and failings despite intense engineering and training was quite compelling.
@dlynch: There's more about Dave #8 and the consequences of his defection and his struggle to understand the world at large in the next book. (Anyone who's interested can check out the first third of Gardens of the Sunhere, by the way).
I really loved this book. I think it was an excellent choice to start the book club going.
Though the majority of the characters did seem static, I thought that it was an interesting narrative choice. The main characters are all from Earth, except for Dave #8, and Dave #8 is definitely the character who experiences the most profound change in the course of the story. Was this intentional, as Dave #8 more or less chooses to become and Outer? I was just wondering if there was some connection between character development and the individuals' identities.
Thanks for writing such an amazing book, can't wait to read the next one!
@Danielle: If by static you mean they don't change very much, then yes, absolutely, it was intentional. It seems to me that a lot of SF is predicated on the same narrative rules as Hollywood films - you know, strong characters who have a goal that they finally reach after overcoming problems and obstacles by using their inner resources, and by changing and learning. But changing and learning, and the classic filmic narfrative arc, isn't the only way of telling a story, or of defining character. You can, for instance, show how inherent qualities in a person can lead them to make the right or wrong choice when confronted with a problem or a situation; a single flaw in a character can lead to a series of bad choices with increasingly damaging consequences. I'm sure you know people like that; I'm sure you recognise a couple of people like that in the novel.
Dave #8 is perhaps the most conventional character in SF terms, don't you think? The magic kid who's cast out into the world with only a limited understanding of it. He's forced to change and develop because he wasn't fully developed to begin with (and he realises that.)
Mr. McAuley, I really enjoyed your depiction of the vacuum organisms, nanotechnology with a bit of Von Nuemann in a way I don't think I've read before. How likely do you think this stuff is?
@Grey_Area: Given that the vacuum organisms are based on wild and highly irresponsible (and highly romantic) speculation, not very likely alas. But given that the boundaries between biology and engineering are growing increasingly blurred, it might be possible to develop all kinds of synthetic organisms in the near future.
This is probably a good place to admit that I developed the vacuum organisms from a kernel or seed lodged in Michael Swanwick's Vacuum Flowers.
How big an influence is Kim Stanley Robinson? The Outer vs Earth politics, fighting a war in a fragile ecosystem and mega-engineering seemed reminiscent of the Mars books. The tour of the outer solar system reminded me of "The memory of Whiteness."
@Dr Emilio Lizardo: William Gibson usefully reminds us that SF is a genre of shared ideas and narrative strategies - that there's a common toolbox writers use and add to. There have been plenty of writers who have tried to depict the landscape of the Moon and Mars and other planets as accurately as possible (Arthur C. Clarke springs to mind straight away) but I think KSR's trilogy is codified more than any other SF work the depiction of those alien landscapes as actual places, and added considerably to the SF toolbox in that respect. So anyone, like me, who writes about the landscapes of the Solar System is as indebted to him as, say, anyone who writes about robots is indebted to Isaac Asimov. But the primary inspiration for The Quiet War and the stories about the various moons of the outer planets that preceeded it was the images returned by Pioneers 10 and 11, the two Voyagers, Galileo and of course Cassini/Huygens.
I was curious about the level of research you did. With your biology background, was a lot of the science you describe in the book something you already had in your head, or did you need to research further, and how did that affect the results? How did you decide how much detail to put in regarding the science?
@TemporalSword: A lot of the basic biology was in my head, so to speak, but I needed to get up to speed on bioremediation and so on - a very big field of hands-on research. And I spent a fair bit of time looking at glossy gardening magazines to get ideas about landscaping the various habitats - I wanted to get away from the default image of the California mall. And I did an awful lot of research on the geology of the moons of Jupiter and Saturn, of course. A book by Ronald Greeley, Planetary Landscapes was a fine introduction; it's a bit out of date now, but still a good foundation. I read all kinds of original papers based on data from Galileo and Cassini, and of course there are maps and images just a mouse click away.
Is it possible to do too much research? I certainly cut out a lot of infodumping from the first couple of drafts, and my editor rightly pointed out places that needed to be fettled down further (and there's probably still too much infodumping for some). But I do find that fun, poking around in areas of science I know little about and then speculating wildly. A lot of the stuff I didn't use was probably useful as deep background, or as mulch for growing ideas that did have some use, somewhere in the book.
Something I've always wanted to ask a hard sci-fi author: How do you find out the scientific underpinnings that you need to make things work that are outside your own area of expertise?
@Guang: I read New Scientist and Scientific American, and various internet science news sites. A good undergraduate text is probably the best place to get started in an area you know nothing about, rather than plunging straight into research papers - although you can find useful review papers on just about every topic. And sometimes I go ask someone who is an expert. Also, as I've said before, I feel that SF writers should speculate pretty wildly and freely. That's their job.
10/14/09
10/13/09
I can't wait for the next book club selection!
10/13/09
Thank you io9 fort organizing this. I look forward to the next one.
10/14/09
10/13/09
You have mentioned several times that you wanted the characters to be pushed around by forces greater than they were. Despite that, the characters (except maybe Macy Minnot who just wants to be left alone) tend to try to manipulate everyone around them. It's not just the usual people in power strong arming the people beneath them. Loc Ifrahim manipulates those much more powerful than he is on a regular basis. It can even be benign, like when Macy's boss on earth convinces her that the best thing for her is to go to Rainbow Bridge.
Are you trying to show that all these human machinations are pointless in the big picture? Or that despite the great events occuring, these people can have some small impacts on their own lives? Maybe both? And why is Macy the only character who doesn't play this game? To me, it made her seem somewhat weak and helpless when she had great skills and could have leveraged those skills to better her lot (or at least stay out of trouble) if she were willing to play politics just a little.
10/13/09
I'm a bit wary of going into too much detail about the motivation of characters and why they are or are not empowered in various ways - it always sounds like special pleading when the authors says something to the effect of 'Hang on, this is what I really meant.' Bbut I would like to elaborate on your analysis just a little if that's okay, and to try to answer your questions as best I can without being too prescriptive. The author isn't the only author of the book after all; the arguments the reader has with it are important too, and I don't want to close off those arguments by saying this is how it is, no other interpretations allowed. This is how it is to me.
Macy is something of a loner, yes. An orphan by choice. And cynical or naive (take your pick) about politics. But like or not, because of who she is and where she finds herself, she discovers over and again that wanting to be left alone simply isn't an option. As we so often do, when caught up in some big historical hinge point. So when she's courted by opposing cliques in the Outer community, she does choose a side, in the end. And she does her best to make the best of that. And she does some good, IMHO. If only by helping to make the ending less absolutely certain than the winning side would want.
So no, I don't think that personal efforts are always pointless. Quite the contrary. I think we're at our best when we make the correct moral choice even when the position seems hopeless. Maybe you can't stop some big political change that's coming down the tracks, but the choices you make before it could well affect what happens to you during and after that change, and could play out in interesting ways in the long term. Winning a war isn't always the same as being right, and victory isn't always permanent. Often isn't, in fact.
(I am, as you may have gathered, fairly suspicious of Mary Sue stories where the protagonist, because of her special skills, gets hold of the levers of power and tweaks them in just the right way to achieve a happy ending for everyone who deserves it. Happens a lot in SF; not so much in the real world (unfortunately).)
10/13/09
10/13/09
Absolutely agree about the problems of doing science; one of the big problems with big science is that most scientists are pretty bad at politicking, even when they know it's absolutely necessary. Partly because they quite rightly refuse to deal in absolutes, the common currency of political advancement. Macy and Sri are two sides of the same coin, maybe. But I hope Macy's travails are little bit more like my own experience than Sri's.
10/13/09
I did notice that Sri is very much the opposite of Macy. She feels it is necessary to play polotics so that she can do the science she wants This seemed to reflect more on the societies they find themselves in. Maybe they just gravitated to those situations because that's the kind of people they were. Macy would be eaten alive in the upper echelon of Greater Brazil.
10/13/09
I have read a few of the short stories set in the Quiet War universe, but I can not find a comprehensive list of these stories anywhere. Could you kindly list them so I can hunt all of them down? Thank you!
Why did you decide to also set short stories in this universe? Were you already planning the novels when you wrote the first short stories or did the idea for the novels come after the universe? Thanks!
10/14/09
I started out exploring the Outer System through short stories. They became a trial run for the novels, which modify the background history that was rather unevenly developed in the stories (I didn't have a plan, and made it up as I went along). Situations and characters from a few of the stories, very radically modified, have been incorporated into Gardens of the Sun.
Here's the list of stories (and you can find one of them here):
Second Skin' Asimov's Science Fiction, 1997
'Sea Change, With Monsters' Asimov's Science Fiction, 1998
'The Gardens of Saturn' Interzone, 1998
'Reef' Sky Life, edited by Gregory Benford and George Zebrowski, Harcourt
Brace, 2000
'Making History', PS Publishing, 2000
'The Passenger' Asimov's Science Fiction, 2002
'The Assassination of Faustino Malarte' Asimov's Science Fiction, 2002
‘Dead Men Walking’ Asimov’s Science Fiction, 2006
‘Incomers’ The Starry Rift, edited by Jonathan Strahan, Viking, 2008
10/13/09
While I am, unfortunately, one of the people who did not like the book, it still left me with a couple questions I would like to ask about some of the choices and decisions you made in writing the book.
1 - One of the reasons I had such a problem with the work was what I perceived as a psychology of victimization among most of the main characters. All of them were victimized and exploited by the powers-that-be, both political and social, and most were relatively powerless throughout their time time on stage. My question is if this was an intentional decision to help underline the feeling of being caught up in events greater than one's self, and was this powerlessness, or the ineffectiveness of most character's actions inherent in the theme of the book?
2 - This ties into question 1. In the book, we encounter 2 major power structures, Greater Brazil and the Outer Open society. In both cases, we are shown time and again that each power structure has created it's own, slightly different, hypocritical society of exploitation, victimization, and coercion. We see this through multiple viewpoints on both sides, and before the book is done pretty much every character has been abused by one or both authorities. My question is was this intended as a critique of society and government in general and the tendency for power to corrupt, or meant as a commentary on the ways that these particular societies had brought themselves to this point?
3 - Alternate war scenarios
While reading the book, I often found myself thinking of alternate actions and scenarios that many characters, governments, or other actors could have taken that would have been more effective in achieving their goals. For example, having Avernus weaponize (or claim to weaponize) vacuum organisms to make WMDs like giant 1-shot lasers or solar-sailing earth-impacting asteroids out of various solar system objects would have fit the technology, but would have stopped the war cold. However, since the major thrust of the plot was to get the war to the state we see at the end of the book, my question is did you have to discard any ideas that would have changed the game too much?
Again, thank you for your time.
10/13/09
Not an uncommon situation in human history, or indeed the present.
The Outers could most certainly have attempted to develop weaponry, and take the war to Greater Brazil and her allies. But their society is based on strong principles of communitarianism and nonviolence and by turning to violent means to solve the conflict they would destroy everything they are trying to protect. And maybe they also remember what happened to the Martian settlements when they aimed an asteroid at Earth. It's certainly interesting to think about the devastating consequences for Outer society if they'd won the war, but that wasn't the kind of book I wanted to write.
10/13/09
10/12/09
10/13/09
10/12/09
I thought it strange that all of the Outers were so homogeneous politically. Being so spread out and had so many colonies/ habitats to me would mean each colony/city/habitat would rule differently. Even though it might have been an illusion Democracy and Freedom wouldn't seem likely when you're living in environments that have to be structured and stable and are so physically fragile.
East of Eden seemed like a contraction onto itself. Greek ideals of Art, politics and polemic but Calvinistic like prudishness.
10/12/09
10/13/09
10/12/09
Though the majority of the characters did seem static, I thought that it was an interesting narrative choice. The main characters are all from Earth, except for Dave #8, and Dave #8 is definitely the character who experiences the most profound change in the course of the story. Was this intentional, as Dave #8 more or less chooses to become and Outer? I was just wondering if there was some connection between character development and the individuals' identities.
Thanks for writing such an amazing book, can't wait to read the next one!
10/13/09
Dave #8 is perhaps the most conventional character in SF terms, don't you think? The magic kid who's cast out into the world with only a limited understanding of it. He's forced to change and develop because he wasn't fully developed to begin with (and he realises that.)
10/12/09
10/12/09
10/13/09
This is probably a good place to admit that I developed the vacuum organisms from a kernel or seed lodged in Michael Swanwick's Vacuum Flowers.
10/12/09
10/13/09
10/12/09
10/13/09
Is it possible to do too much research? I certainly cut out a lot of infodumping from the first couple of drafts, and my editor rightly pointed out places that needed to be fettled down further (and there's probably still too much infodumping for some). But I do find that fun, poking around in areas of science I know little about and then speculating wildly. A lot of the stuff I didn't use was probably useful as deep background, or as mulch for growing ideas that did have some use, somewhere in the book.
10/12/09
10/13/09