I read this courtesy of NetGalley. The re-published edition, from Tor Books, is out in September 2022.
Honestly this book really shouldn’t work. It’s so full of lacunae it was like reading the second or third book in a series and not having the information to fill in the gaps. Another issue is the formatting, although I suspect that’s a matter of it being an e-ARC: there are sections where the POV suddenly changes but it’s not indicated by an extended break or anything like that. And if that’s an artistic choice rather than a formatting thing… well, I don’t particularly like it, but it did make me work harder and pay probably closer attention, so maybe that’s what Ford wanted for me. And thirdly, it’s not exactly a grand story. No explosions, no dramatic twists of fate for society, no incredible revelations.
It shouldn’t work, but it does.
It’s not a grand story: it’s an intimate one, a growing-up story – as the title suggest, ‘growing up weightless’: it’s set on the moon, not all that far into the future but far enough that there’s a settled, indeed governmentally independent, colony. And as children have done since time immemorial, some of the children of the moon are unsettled, feeling like they don’t fit in and want more/different/other. And they’re also playing games: surprisingly substantial parts of this story are the kids playing a role-playing game, as outlaws in Sherwood Forest (do I love the idea that this milieu could continue to be attractive for coming generations? yes I do).
Matt, the main character, is born into an important luna family, and is feeling the pressure to figure out what he’ll do as an adult; he basically knows, but he’s afraid to tell anyone else. He loves his friends, and acting, and the role-playing game they’ve had going for many hours now; his relationship with his family is a bit fraught. The moon is somewhere that teens can travel around quite safely, especially within their own domes; there’s excellent train networks, so you can travel between domes too – and so they do. This is pretty much how the main action happens, such as it is. This is, on reflection, a fairly claustrophobic story, as befits one set on the moon.
Along – or perhaps slightly behind – Matt’s story is his father’s, and this is where even more lacunae exist. Albin’s relationships with various figures, the decisions that need to be made for the moon’s future, even how he feels about anyone – all of this is very shadowy. Which mirrors how Matt feels about his father, really, so again maybe that really makes sense and I’m only realising as I write this just how clever and deliberate Ford was.
It probably shouldn’t have worked, but it did, and I am once again grateful that Tor is re-publishing Ford’s work, so that people like me get to appreciate it.
I read this courtesy of NetGalley; it’s out in April 2022.
Glorious. Frustrating. Confusing. Breathtaking. Heartbreaking…
It’s hard to know how to talk about this book.
The first thing that needs to be said is that it’s unfinished. The author, John M Ford, died in 2006. He had been working on this novel, it seems, for many years – at least that’s what I get from the introduction, written by a friend of Ford’s, Neil Gaiman. And so… the book is incomplete. That is, there’s no conclusion; and I suspect there are bits that might have been edited for clarity if the author had, indeed finished.
And I nearly cried when I got to the end, because this book is just so amazing. Like, this could have been the start of one of The Great Series. I’ve read only one other Ford novel, and I think a few short stories; this makes me want to go back and read absolutely everything. Because if this is the standard, well – I’ve been missing out.
Aspects is set in an alternate world. It’s kind of Britain, I think, although it doesn’t seem to be an island. It’s kind of analogous to the nineteenth century – there are trains (the Ironways), for instance, and there’s a form of electricity but some people are suspicious. But chemistry doesn’t quite seem to work the way it does here. Religion is important, but it’s not a Christianity-analogue; there’s a goddess with several faces, and matching consorts. And there’s a Parliament, with Commons and Lords, but here’s the final difference to our world: the lords are lords of the land, of religion – and of sorcery, or Craft.
So it’s kind of steampunk, but it doesn’t really fit into what I know of that category, and it’s fantasy set in an industrial context. Honestly though it just defies categorisation. It’s a deeply political work – three of the main characters are in Parliament, and at least part of the narrative revolves around machinations there, like writing a new constitution. It’s a country struggling to figure itself out several decades after becoming a republic – and it seems that the previous monarchy had been imposed by a conquering race, although that’s one aspect (heh) that I never quite got my head around. Some of the characters have the ability to use magic, which is not without its difficulties, and it’s clear that was going to a significant thread if the book had continued. There’s a romance, with its own difficulties; and such a large array of characters, all with their quirks (and bringing diversity, too) that this should have – could have – provided many, many pages of just mesmerising story. And now I’m making myself sad all over again that I’ll never read them.
Ford’s writing can be profound: “Play keeps us happy and agile, in mind and muscle; sleep and good meals keep us alive. We can misspend time – hurting people, ourselves included, making the world worse – but to ‘waste’ time – to get no motion at all, good or bad – to do that one would have to be not at alive at all” (p172 of the e-version). While I was sometimes a bit confused about what was going on, I was always captivated by the writing itself and somehow convinced – even though I don’t know Ford’s work that well – that everything would eventually make sense. And I was largely right.
Read courtesy of NetGalley.
Well that was a completely bonkers read.
When I first asked to review this, I didn’t realise it was a reprinting; I’m not enough of a Ford fan to know that he’s passed on. Then I read Charles Stross’ introduction, in which he talks about this being published in 1988 and setting out the political context for the younger audience, and I wondered what this was going to be like.
Completely bonkers, is the answer.
It’s a spy novel,
It has a possibly-undiscovered Christopher Marlowe play.
It has scholars and spies and disaffected patriots and mercenaries and… just a most remarkable cast, and a complicated narrative that eventually makes sense, and PhDs playing Diplomacy and people making Marlowe jokes and war game simulations and BONKERS.
It’s awesome. The only downside is that some bits (eg who knew who was who) got a bit complicated so reading it over a few days, I wasn’t always sure of exactly what was known to various people. But it all came good in the end. Basically.