You can also download the album here: Second Star to the Right
I just finished reading Turquoise Days, which marks for me the last of the stories I’ve read set in Alastair Reynolds’ Revelation Space Universe published so far. So I thought it proper to say a few words about the journey through this universe.
And what a journey it has been.
The first novel I ever read from Reynolds was House of Suns, which is still my favorite of his work (and pretty much the no. 1 scifi novel of all time for me). But the Revelation Space Universe does certainly compare, even if it is spread out through several novels and short stories. The scope of the world, both in terms of spacetime and imagination is mind-bending. And still, the stories remain interesting and grasping also on the human level from the first page to the last.
I started reading these stories from Revelation Space, Reynolds’ first novel and his breakthrough work. It is an amazing piece in itself. The politicking and the archaeological intrigue on the planet Resurgam, as Dan Sylveste tries to uncover a millennia old mystery is original and suspenseful. The tensions between Sylveste, the space-faring Ilya Volyova and the assassin Ana Khouri are memorable. The convoluted ending of the first RS book is somehow reminiscent of thinking about Schroedinger’s superposition principle, with a twist of 2001 thrown in, although I am still not quite sure what the hell just happened.
Redemption Ark and Absolution Gap tie up the storyline for the characters of the first novel. Redemption Ark introduces us to the conjoiners in more depth. They are a hive mind sort of community that is the most technologically advanced of the human factions in the RS Universe. The obiwankenobish Neville Clavain is sympathetic, whereas the mentally challenged Felka is one of the most intriguing characters in the series. And the zealous Skade makes for an impressive bad guy (girl) here, even though all the while the human characters are fighting for the possession of outlandish scifi weapons, a more sinister enemy is approaching in the background. Absolution Gap flirts a lot with gothic horror. The story of Quaiche has some shakespearish connotations, with a lost love that drives the man insane and creates a bizarre culture from that insanity. I really love the way the trilogy ends, with the looming threat eliminated, but with the hint of a new threat in the form of the greenfly, which are delightfully powerful and definitive to the entire RS Universe and yet are never shown in full light.
Chasm City is another of my favorites, with The Prefect not trailing far behind. They are set in the Yellowstone system that is something like the the Trantor or Coruscant of Reynolds’ universe: the commercial and political hub where it seems everybody passes through eventually. Both Chasm City and The Prefect tie in nicely with the Revelation Space trilogy, the former explaining some of the motivations of an influential character and background figure in the latter two novels of the trilogy, and the latter giving us interesting insight into the fundaments of the world itself, such as the eventual fate of the unfortunate Philip Lascaille. Both Chasm City’s Tanner Mirabel and The Prefect’s Tom Dreyfus are solid and intriguing characters that drive the story forward. The Prefect and Chasm City also give a great before/after comparison of the Yellowstone world in terms of the defining event in the RS Universe: the Melding Plague. The plague is a really cool twist that renders much of the more advanced scifi stuff defunct and gives the whole universe intriguing and gritty overtones.
It’s cool that you can hint at (and actually show in The Prefect) all the cool stuff that there once was, but have the characters actually struggle with some bubble gum and rubber band to get by. It reminds me of the New Hope / Phantom Menace and the Galactica / Caprica contrasts, but unlike these two, Reynolds manages to keep also the shiny chrome and silver version of his world intact, whereas both George Lucas and Ron D. Moore somehow lost the soul of their work with the grit.
Then there’s the collection of short stories Galactic North that gives both prequel-ish glimpses to the RS Universe, as well as ties the whole thing up in the eponymous story that works as a kind of an epilogue to the whole thing, with a cool Reynolds trademark: the thousand years chase sequence. I loved this trope to pieces when I bumped into it in House of Suns. A chase scene that takes 60 000 years and yet maintains the intensity of a 1970’s police flick is quite the stunt to pull. When it was repeated in Redemption Ark, it still stood up, and the same here. Even if the third time around this became already something to expect from Reynolds, it’s still awesome.
And last, and certainly not least the two novellas Diamond Dogs and Turquoise Days. I was quite apprehensive about these two, or more particularly the first one. While I was a horror fan as a teenager, I have developed some squeamishness for the more visceral style of horror, and tend to try to avoid it whenever I can. So when I learned that Diamond Dogs draws inspiration from the scifi slasher The Cube, I almost gave this a pass. Thank goodness I didn’t, though. While the first novella is probably the bloodiest work I’ve read from Reynolds to date, for some reason the bloodshed seems warranted.
This is not gornography, but rather quite classic gothic horror, somehow reminiscent of H.P. Lovecraft. Yes, good people find themselves in an unfixable mess, and yes, it gets nasty. But there is still something behind the story that keeps it together. Even with its weirdness to the tenth power, and the occasional gory detail, Reynolds’ work has a good heart. Not in a fluffy-happy sort of way, but rather in the way you find in Lovecraft, Shelley or Poe. There are not many happy endings. Many things are inherently skewed. But there is still some deeper notion of purpose, of depth that keeps things going.
And this brings me to Turquoise Days which I just finished. In a sense, it is a fitting end to the Revelation Space journey. While its scope is much smaller than that of many of the other stories, it has a true sense of finality and closure to it – even more so than “Galactic North”. Its bittersweet tones fit the RS Universe perfectly. The short glimpse we get to the life of Naqi manages to convey many of the themes of solitude, outsiderness and simply the weird of the world present throughout the RS books. And while the alien Pattern Jugglers are an obvious nod to Stanislaw Lem’s Solaris, Reynolds manages to give the strange algae beings a personal character of their own. The very ending is, I feel, a very suitable way to put the full stop to the series.
It has been an amazing journey. I don’t think Reynolds’ work has so much changed my world than given me an entire new world to live in. It is a rare imagination that spins up an entire living universe. And here Reynolds joins in my opinion the pantheon of great worldbuilders such as Isaac Asimov, Iain M. Banks or Dan Simmons.
What a journey indeed.
This album is about books. Books and movies, really, but mostly about books. Books are a world I live in, and out of all the worlds of books, the world of science fiction has stood paragon for me ever since I was twelve years old or so.
I must confess: I have not written the songs to the books they refer to. Rather, I have sought in the endless worlds hidden in my bookshelf for those moods and emotions that best fit the music in my mind. So it’s not like these songs were created as soundtracks for these books. But rather, they have come to be out of the same endless depths of imagination as the books and stories they are named after.
One song reminds me of the oceanic vistas in Léo’s amazing graphic novel, and is dubbed after it: Aldebaran. Another one was written when I was starting to read Hannu Rajaniemi’s outstanding Quantum Thief. It always propels my mind to the plaza in Mars where time beggars try desperately to extend their lives for one more moment of ordinary life. (Insofar as life on a futuristic transhumanist Mars can be called ordinary to begin with.)
Perhaps most significantly for this particular album, two of the songs are linked intricately to two novels by Alastair Reynolds. House of Suns may simply be the best science fiction novel I have ever read. Its outrageous scale and courage left me dumbstruck turning page after page, and the story still has not left me, some two years after reading it. The bizarre galaxy-spanning love story of Campion and Purslane is in many ways completely unique – quite a feat for a fictitious book in the 21st century. The second song, the album finale “Approaching Delta Pavonis,” links to a progression of events in Reynolds’ debut, Revelation Space. When the lighthugger Nostalgia for Infinity approaches the star Delta Pavonis, things are only beginning to happen. And a beginning, I believe, is as good a place to end as any.
At the end of the day, this music is about imagination. The worlds where my mind has wandered have left their mark, and that mark is stamped on these songs. I hope that these songs go some way to propel you too to new worlds beyond anyone else’s imagination – your own private worlds, with a shared genesis in these stories.
I hope this album gives you the odd chance to launch at the stars – and land at worlds never before seen by anybody else.