Showing posts with label normal books. Show all posts
Showing posts with label normal books. Show all posts

Sunday, September 17, 2023

Bookpost 14

Bookpost Index

 

The Wizard Knight, Gene Wolfe

DNF 524/909

It feels like something impossible has happened. But I guess they can't all be winners, and while it pains me to drop a book that I would in most respects consider better than Urth, the opening act of Wizard is an absolute slog.

The book has a lot to commend it: the world is fascinating, the quality of the prose is Wolfe-standard excellent, and there is certainly a lot of stuff I am ignorant of that can be dug into. Unfortunately, Alzabo Soup has not covered this book, so my main resource is of no aid and I haven't looked into finding another.

My main issue is Able. He's basically just boring Severian, and I mean that as the greatest insult I can muster. He's the same character except less engaging at every opportunity: he's a teenager from an abusive living situation, is sexually abused by an older woman, has a way of looking at the world utterly disjointed from reality, and will do whatever anyone tells him to do with absolutely no second thoughts. But he lacks the...entertainment value? that Severian has. Able is a cipher, and while I grok that yes, he's clearly a kid from a bad home life who has been transported to a world where he is rewarded for random acts of violence, it's not really fun to read. Severian is a dunderhead and we know how his background informs his fucked up behavior and you can have loads of fun catching him in lies or laughing at how dumb he can be about basic things. Able is amnesiac and tight-lipped about what he does remember, and so when he randomly beats a ship's captain into submission for the crime of doing his job or his bizarre cruelty to Uri and Baki I just tune out because there is no coherent reason for why that I can discern.

The opening of Wizard is terribly dull and terribly slow, and when Able finally re-appears we get a scene that boils down to:

"Do you, Baki, reject Setr? Specifically you, Baki, and not me, Able, who is still going to kill Kulili because Setr told me to, I don't have to reject Setr and I not only don't have to give anyone a reason, but there is no reason. There are no thoughts whatsoever in my head."

That's what killed it for me. It's such a bizarre episode of hypocrisy and I didn't have any faith that it's be resolved, let alone even addressed.



Delta-V, Daniel Suarez

DNF 34/340

A novel about the first asteroid mining mission, or more properly the lead-up to the first asteroid mining mission. Didn't care for the prose, didn't care for the pacing. Skipped ahead and saw that most of the novel takes place on Earth.



Sacred and Terrible Air, Robert Kurvitz

The prequel of sorts to Disco Elysium and absolutely incomprehensible without having played the game. Honestly it's barely comprehensible even having played the game. But that doesn't matter, because it is incomprehensible in the way of dreams, or of certain modes of poetry. It's experiential. It is wild and vivid and beautiful and bizarre and grotesque and when it clicks...it works. I can't properly recommend it to people unless they are in for the experience. But if you are in for the experience, it's a wild ride and once I came to grips with what it was offering it was incredibly engaging in the back third.



Goddess of Atvatabar, William Richard Bradshaw

DNF 35%

Public domain hollow earth novel from 1892. It's not a good novel by any standard we'd have today, not really, but it is charming in its absolute and utter sincerity at every step. Bradshaw was, to put it bluntly, extraordinarily ignorant of how the world worked (or very good at giving that impression), and yet somehow, in a book from 1892, this never manifested as virulent racism or sexism. Like still grading on a curve but getting a full third of the way through a book of this genre from this era without getting an eyeful of that is remarkable in the extreme. Sure it's more than a little orientalist but that seems to have manifested mostly in long descriptions of how pretty the buildings are.

In its place there's a sequence where, in spite of there being absolutely no evidence to support this whatsoever, a scientist boldly declares that the language of the Atvatabari is a letter substitution cipher of English, and he is 100% correct. It's so ridiculous that it goes right back around to being charming. Also the author was apparently chair of an anti-vivisection society so that's a gold star.



Shards of Earth, Adrian Tchaikovsky

DNF 125 / 548

Another bust from a favored author, what a bummer.

It's competently written and the setting is a nice, if played rather straight to the tropes modern space-opera. FTL, aliens you can talk to, space gods, all that good stuff. Nothing revolutionary but it does for a time scratch the itch. The prologue features more or less an exact description of one of my Celestials appearing to ruin everyone's day, it's very neat.

Unfortunately, I have reached the end of my ability to stomach rustbucket spaceships with found family crews full of gold heart-bearing rogues. I get the desire to go back to Bebop, but Bebop still exists. You can watch it right now! It's still good! It's still better than all the shows and books trying to capture its magic because, here's a secret, those shows and books are imitating Firefly, which is to Bebop as the shadows flickering on the demiurge's cave wall are to the numinous.

Tchaikovsky is not able to escape this. the way characters are presented as actors in the world, the way they talk to each other, there is a Whedonish tinge to it, which had been absent from Children of Time. CoT is also one hell of an act to follow so I can be understanding to an extent, but Shards of Earth is just...plain and kinda boring. All the components are there to be great, and Tchaikovsky is more than capable of it, but it just didn't work. I wonder how much Orbit editorial dictated the tone?



Scud: The Disposable Assassin, Rob Schrab

In progress

Hell yeah let's fucking GO! Great comic. Masterclass of motion and action. Positively dripping with style. Never lets up with the bonkers, keeps everything rolling with some very sleek "yes, and"-ing. It's great! There's a universe where a tv adaptation of this comic filled the niche of Invader Zim. There is one scene of a (mostly elided) sexual encounter that has definitely not aged well and it was a major swerve from the rest of the comic but besides that, aces.

Update 9/18: Reading further, there is a noteworthydrop in quality in both writing and art after volume 15. Sussudio bears the brunt of being a woman in late-90s early-aughts alt comics, and hoo boy has that aged like fine milk.

Tuesday, July 25, 2023

Bookpost 13

Bookpost Index

 

The Sparrow, Mary Doria Russell

DNF 125/497

I tried, I tried, I gave it my best, but this book thwarted me at every turn. Its initial premise is a good solid hook - lone survivor of a Jesuit mission to an inhabited planet around Alpha Centauri returns with horrific injuries and his order attempts to piece together the narrative - and that is immediately thrown out the window by glacial pace, asynchronous chronology, and a focus on the pining and sexual tension of the main cast. By page 125 we have barely spent more than a few sentences talking about the planet, the aliens, or the mission. The sci-fi elements are hardly even there, and the more they are introduced the more things fall apart because Russell clearly either doesn't know or care.

The Death Knell (reading goodreads reviews instead of reading the book) was certainly in effect here, and those reviews revealed elements that would have me grind my teeth to dust if I had actually encountered them without forewarning.

If your book contains a meditation on theodicy, you cannot have your characters go "how can God permit such suffering" when EVERY SINGLE FUCKING THING IS YOUR OWN FAULT, BECAUSE YOU ARE STUPID AND MAKE BAD DECISIONS. Someone eats local vegetation and everyone is SHOCKED that the dumb bastard dies! None of the mission members are scientists! They don't have a first contact protocol! They have not a god damned thing that a reasonable mission would have, and somehow this farce is supposed to have a point beyond "you are all dumb stupid assholes and died because of your own fault." The absolute caucasity that is on display here boggles the imagination.

But that's all just what I have gleaned from reviews of the parts that I have not read. The really damning element comes from the interview with Russell tucked in the back of the 20th anniversary edition. Quote:

"The idea came to me in the summer of 1992 as we were celebrating the 500th anniversary of Columbus's arrival in the New World. There was a great deal of historical revisionism going on as we examined the mistakes made by Europeans when they first encountered foreign cultures in the Americas and elsewhere. It seemed unfair to me for people living at the end of the twentieth century to hold those explorers and missionaries to standards of sophistication and tolerance that we hardly manage even today. I wanted to show how very difficult first contact would be, even with the benefit of hindsight. That's when I decided to write a story that put modern, sophisticated, resourceful, well-educated, and well-meaning people in the same position as those early explorers and missionaries — a position of radical ignorance."

> mistakes

> mistakes

> mistakes

> M I S T A K E S

Let's check what ol' Chris had to say on the matter.

"A hundred castellanoes are as easily obtained for a woman as for a farm, and it is very general there are plenty of dealers who go about looking for girls; those from nine to ten are now in demand."
Golly gee willickers, Ms. Russel, how many children have to get sold into slavery before it stops being "radical ignorance"? Maybe if you ask their ghosts they can tell you more about those "mistakes".

(It's not even good Columbus apologia! She somehow manages to fail at even supporting her own odious arguments, because the entire content of the book is "this is a bad idea, undertaken by idiots, who never should have gone there in the first place and everything would be better if no one had done anything".)

Also the book has got this weird 90s racial undercurrent of "Japan as a global superpower filled with inscrutable and alien businessmen" and a frankly fucking bizarre character dynamic where one character (a Jew from Turkey) is supposed to have this deep-seated distaste for Fr. Santoz because he's hispanic and has a mustache and therefore must by the spitting image of an inquisitor who expelled Jews from Spain post-Reconquista. Straight-up just says "Yeah you know Jewish folk, they'll hold a grudge for 500 years, that's just common knowledge" and that is a fucking bonkers nonsense thing to say as not-a-joke and doubly so for an author who converted to Judaism.



Border Keeper, Kerstin Hall


A short novel, practically a novella, and another one of those lucky finds in the Tor freebie pile. The descriptions are vibrant, the pace is breakneck, and the concept is good - a witch in the middle of nowhere serves as the keeper and watcher of boundaries between the realms of the 999 demon lords of the spirit world. I was not surprised to see that there's a second novel, as it certainly feels like a setting that has not only more to explore, but a great deal under the surface that just didn't make it into the story. The ending was a bit too abrupt for my liking - maybe an extra 30 pages would have been good - but I will take fast and engaging over slow and ponderous. Additionally there are just a few too many characters with multiple names / important names that only ever exist off-screen for my liking, but concessions need to be made for something that wants to have expansive scope and short length and overall it succeeds. Good book, I recommend it.



A Strange Manuscript Found Inside a Copper Cylinder, James De Mille

DNF 38%

An antarctic lost-world story, following on the tail of Poe's Gordon Pym. Fine enough but there was not much going for it in terms of good material to swipe or steal. It gets one bonus point for not completely abandoning the frame narrative but beyond that it's by-the-numbers.

More interesting is how it, like nearly all other works of the genre, evokes the enormous psychological complex the imperial Anglosphere had about cannibalism and human sacrifice. Find a lost world and there's gonna be cannibalism and human sacrifice, that's just Victorian Science (TM). I find this interesting because of  how close so many of these authors and narratives come to the point of self-realization ("hey we're just projecting the anxieties of our own colonial monstrosity of a civilization onto our victims") and they shy away from it every time. But since they never do, it's monotonous in the extreme because they are either incapable of or have no desire to present any culture with any amount of complexity or nuance.



Medea: Harlan's World, Harlan Ellison et al

DNF 358/528

A compilation of stories set on a very unique alien planet (tidally-locked moon of a brown dwarf inhabited by two sapient species, being centipede-foxes and balloon creatures) and developed round-robin style by some rather big names of the 70s sci-fi scene, all at the behest of Harlan Ellison for a course he was teaching at UCLA in 1975. It's split into four parts:

Part One contains the technical specs of the planet Medea, which had been passed between the first four authors and collected into a booklet for the seminar.

  • Astrophysics & Geology (Hal Clement)
  • Planetology & basic biology (Poul Anderson)
  • Complex biology & sapient beings (Larry Niven)
  • Alien culture & human encounters (Frederick Pohl)


This is easily my favorite part of the book, rushed as it might have been (Ellison apparently gave people less than a day to type up their segments). It's a showcase of some truly great concept sci-fi, of loading up a setting with enough moving parts and novel ideas that it keeps rolling forward under its own momentum.

Part 2 is transcript of a seminar fleshing out Medea and working out elements of what would become the short story collection, with the panel consisting of  Thomas Disch, Frank Herbert, Robert Silverberg and Theodore Sturgeon with Ellison moderating. It is rather entertaining (if exceedingly 70s, we get a racist joke by the second page) - the authors have good rapport with each other and the circles they end up going in are more forgivable when in the format of a transcript of a live recording. Also, a surprising number of references to John Lily, was not expecting that, though given the company of the seminar I certainly should have.

Part 3 is a collection of audience-submitted questions and suggestions, which were collected in writing. Nerds don't change, though in 1975 they were a lot more likely to say "the balloons have telepathy, which is how they can fly, no further explanation."

Part 4 is the short stories, which is where everything falls apart. They did the smart thing and kept them entirely unconnected from each other plot-wise, jumping back and forth across Medea and the lifespan of its human colony, and to that extent provide a good tour of all its fun features.

Unfortunately, the short stories turned out to be mediocre at best, tiresome on the whole, and incredibly boring on occasion. The short reviews are:

  • Farside Station (Jack Williamson) - Fine enough as a story, hated the main character, who was hateable in the rather blase and mundane way of Just A Shitty Dude And While I Think Part of It Was Intentional The Times Have Changed Enough That I Honestly Can't Tell.
  • Flare Time (Larry Niven) - Gave up and skipped this one. Niven has a nigh-supernatural ability to take a concept and bleach it of anything that might potentially be interesting. An absolute bore.
  • With Vergil Oddum at the East Pole (Harlan Ellison) - My favorite of the bunch, thanks to Ellison's prose and the concept (a man exiled to near the glacial wall for unknown crimes meets a mysterious man who wanders out of the frozen wastes). Decent story.
  • Swanilda's Song (Frederik Pohl) - Also known as "70s Sci-Fi Authors Not Being Weird And Creepy About Sex Challenge (Impossible)", a challenge which it handily fails. The shaggy dog ending was mildly amusing but in an eye-rolling way that doesn't make up for the sleaze earlier. It wasn't even good or entertaining sleaze, it's just this filmy grease that I presume everything was coated in during the 70s.
  • Seasoning (Hal Clement) - Skipped. Eyes glazed over immediately, wasn't going to stick around to see if it improved. Can't say anything about it otherwise.
  • Concepts (Thomas Disch) - I could barely keep track of what the fuck was going on in this one, but it does have one of the worst sci-fi inventions I have ever seen in it: interstellar omegle that requires mutual disconnect. With a press of a button, you can lock whoever is on the other end so that they cannot disconnect, and this can go on for weeks at a time. Its userbase does exactly what you expect them to do.

At this point I stopped, leaving the remaining stories - Songs of a Sentient Flute (Frank Herbert), Hunter's Moon, The Promise (Kate Wilhelm), Why Dolphins Don't Bite (Theodore Sturgeon), and Waiting for the Earthquake (Robert Silverberg) unread and thus unable to be commented upon.

There is also art, which I thought was generally nice. I'm more forgiving of the sleaze in the art than the writing, because the art was done more skillfully.

But yeah: overall a much better worldbuilding exercise than a narrative. Ellison certainly has a talent for compiling mediocre-to-bad stories from large numbers of people.

Thursday, June 8, 2023

Bookpost 12

Bookpost Index

The Hall of the Mountain King, Judith Tarr

DNF 94/238


I grabbed this in an omnibus for two bucks at a library book sale, and I feel somewhat bad about dropping it - it is Fine Enough epic fantasy, but it is very, very much of its time (1986, specifically), and while it has no crippling flaws it is a very slow, heavy work - the omnibus pages are bigger than standard and the print is small, so those 94 pages are probably closer to 130-150 standard and just...not a lot has happened. The setup is good, in a classic sense - king whose daughter (and heir) has been missing for years is revealed to have died, with her demigod son via the sun-god delivering the news. The king's other child by a second wife is not pleased with this, nor is his mother. Classic stuff, evil jealous uncles and their sorcerous mothers. Not too big a fan of the rather uncomplicated cosmology (sun = good and masculine, dark = bad and feminine), and if it gets subverted later on I don't know. The prince is fun in the "young character who knows more than they should and uses that to freak out / mess with other people" sort of way. It was significantly more homoerotic than I was expecting (granted, I had no expectations at all going in, having never heard of the author or the book.)


It was a very interesting look into the mists of the past and books that have been forgotten, but my ADHD-addled and novelty-seeking brain couldn't find the space for it. 

 


Children of Memory, Adrian Tchaikovsky


HE'S DONE IT AGAIN, LADIES AND GENTLEMEN. Where even to begin? I'm awed by his deft handling of high concepts, his unwillingness to leave behind the close-to-home and the human elements, his ability to craft a good sentence. Children of Memory builds on its predecessors in the way all good sequels do, and he has managed to increase the scope without pigeonholing himself into a game of one-upmanship - I'd love to see a novella collection of other colony worlds and their unique stories (I appreciate that so much in this series - every planet is unique in its existential circumstances and that uniqueness makes reading about the ins and outs of terraforming mightily interesting.)


As in the other books, he can take well-trod conceptual ground and make it new and fresh again, and that is a skill often overlooked.


Skerples has said that, if this series had been released 20 years ago he would be considered a revolutionary figure in sci-fi. Certainly, the timeline where he takes off in place of Alastair Reynolds is one that is, in one small way, perhaps a little brighter.

 


Always Coming Home, Ursula K. LeGuin

Ongoing


What can I say? LeGuin's work, as always, is a beacon of calm in a chaotic world. I will have more to say in the future, for I have not finished it yet: This is a book that I need to get a copy of my own - it's not something I can just read through all at once. I go and then leave and then come back to read more.


The book is a fantastic and lived-in portrait of a people that has never existed. It feels a disservice to call it worldbuilding, it is so much more vibrant and alive than so much of spec-fic. It is LeGuin at her most LeGuin. The people and the place may exist only in the mind but in the eye of my imagination I can see the scrub hills, the morning mists, the dappled shade. Down in the valley, I can hear a distant drum and the sounds of the people singing heya...


No recommendation higher.

 


The Lady Who Picked Red Flowers Beneath the Queen's Window, Rachel Swirsky


A novella about a sorceress whose spirit is bound to the land and is summoned over and over, witnessing the great changes over the centuries and millennia.


The concept is great, and the story is at its best when we see the glimpses of the radically different cultures our narrator finds herself summoned into. But it falls afoul of one extremely specific pet peeve of mine, which is that the story sticks us with a truly piece of shit character as our POV and doesn't give us any emotional catharsis via other characters responding to our POS POV in a similar way to how we the audience are feeling.


Context: Our sorceress POV is from a culture where women who bear children are called broods and treated like cattle and men, if they are spoken about at all, are considered a sort of feral animal. While this is somewhat effective at reinforcing the theme of dredging up old poisons and mistakenly thinking that "this time it will be different", it still traps us with Ms. "Waahhhhhhh wahhhhhhh wahhhh me me me how dare these people not let me practice my genocide-based spiritual heritage" without so much as an audience-sympathetic "Shut the fuck up" from another character.


Also the academy mage that summons the sorceress gets in a sexual relationship with said sorceress which I am certain is violating some sort of ethics policy of the academy and is certainly violating the basic logic of self-preservation and I while I normally will side on the "emotional repression is generally not a good thing", maybe repress the desire to fuck the genocidal slaveowner, eh? Not gonna work out well. Something something sudden but inevitable betrayal.

 


Move Underground, Nick Mamatas

Before reading this, I would have scoffed at the idea of Jack Kerouac serving as our narrator as Cthulhu rises from the sea and reality falls apart, but honestly he might be the best version of the Lovecraft protagonist. The self-destructive nihilism of the Beat poets, awash in psychotropics and misapplied Buddhism, is the perfect vessel for the grand cosmic horror; dripping with vivid colors, grotesque imagery, utterly disjointed contents and no plot to speak of. It is a dissolution into meaninglessness but, unlike the actual On the Road, it is used here to supplement the weaknesses of its other half, to provide to the Mythos what Lovecraft and his pastichers couldn't manage to do.


Honestly by halfway through I wasn't entirely convinced that anything in it was real. Were there ever to be a book to be revealed to be the hallucinations of a man dying in a ditch of drug overdose, this is the one.


Sometimes the pastiche falters and the modern touch reveals itself. Sometimes it becomes too pat, too sensible and coherent, especially in the last quarter - but on the whole it successfully walks the balancing act.

 


Because Internet, Gretchen McCulloch

An excellent and entertaining look at the internet's influence on modern language and communication, and how those changes have shifted as social integration of the internet increased. If that piques your interest at all, track it down (and also listen to Lingthusiasm, which is more about linguistics in general and not necessarily about the internet). It's also nice to read about the internet from a POV that is of the very online, post Google pre-social media generation that I call home. Short review, so you know I liked it.

Tuesday, March 14, 2023

Bookpost 11

Bookpost Index

Children of Ruin, Adrian Tchaikovsky

He's done it again, folks! A pitch-perfect sequel, where it builds on both the themes and plot of the first book while expanding the scope AND offering meaningful change to the status quo by the end. That's how you do a fucking sequel. He's building a Star Trek space opera in his own image and I am ride-or-die for it. Unfortunately, being so ride-or-die means that I can't say too much (as you really should read it yourself), but I can say this - over the course of the book, Tchaikovsky manages to play some very standard sci-fi tropes in ways that go well beyond a fresh coat of paint. And the octopi! Not much of a spoiler to say there are octopi in this one, gotta mention the octopi - they are written so well, so simultaneously alien and understandable, empathetic and frustrating, that it has entirely overturned my ideas of how uplift as a concept can and perhaps should work in fiction. It's fucking revolutionary. The man can do a POV from an octopus and present the thought process of an octopus! The brain feels and desires, the arms work automatically to fulfill the directive. I make it sound simple, and it certainly is not.

And as with the first book, Children of Ruin is a very clear declaration that the good ending is possible - not easy, not without incredible difficulty and considerable pain - but it is possible. And that is the kind of meaningful optimism I think we all need in this age.

Something About Eve, James Branch Cabell

DNF 50%

Every Public Domain Day, I scout out the pickings to see what has been freed from the tyranny of Sunny Bono and The House of the Rat. Nothing in particular really caught my eye this year, at least of the lists that I saw circulated, but I remembered an entry in The Dictionary of Imaginary Places of some book featuring a city of wizards and a sphinx with writer's block that that was soon to be liberated from copyright.

Several sessions of flipping through the book later (as I could not remember the city's name, only the image of the sphinx), I was able to track down its source: James Branch Cabell's Something About Eve. Listed in the Dictionary as being published in 1929, I was disappointed to have to wait another two years, and so googled the book for any additional information

Turns out, it was a misprint. It had been published in 1927. Gutenberg had uploaded its ebook version literally the day prior.

So of course I began reading it.

This is a weird goddamn book. It is an immensely frustrating book that shines with brilliance on occasion. it is a very good illustration as to why time has buried Cabell.

Cabell's strain of fantasy is one of near pure farcical allegory, and thus I find that it means nothing. Subtext is and remains a tool for cowards, but Cabell seems to loathe the idea of writing about a place and time with any substance. He has made something less substantial than a dreamscape, for a dream will be content to leave some beautiful images simply because they are beautiful: Cabell sees no value in anything that does not feed back into the Point he is trying to make. He repeats the same subjects again and again. He barely describes things of importance and rambles on about shit that doesn't matter. He will use words that I have never seen before, are never explained, and when I try to google them I end up with a results page of another one of his books - which contains the word only twice, one time being the title! (The word is "Dirghic", used in reference to a mythology - I presume it is some fantastic culture, the one reference I could find that was any help described it as "pre-Ciceronean Latin" so maybe it's fantasy Etruscan?) Some of the wit has remained sharp (if quite groan-inducing), and quite a bit I can't discern if it's even supposed to be a joke.

And what is the point? "Men like chasing the idealized women they construct in their heads and that's pretty silly." It's not even a bad point! That is, indeed, a good point! There's also something in there about spirituality vs materialism but like with the first point it is so ham-fisted and inelegant that it is rendered farcical of itself.

I had wanted to pull some interesting inspirational fuel from it, but the many fantastic lands and mystic portents mean nothing, on the whole, and thus lacking substance I come up empty. What a waste.


Monster vol 1 (Viz Signature Edition), Naoki Urasawa

Monster opens with one of the best ways to make an engaging narrative - have a character with strongly-held ideals get thrown into a situation that directly challenges them. The story is just picking up speed by the point I am at, but it has remained very tense, very tightly plotted, and kept me extremely engaged. Will definitely be continuing. You can tell it's good because the review is very short.

Uzumaki, Junji Ito

I read it months ago and forgot to put it in the prior posts.

Book good. There are many good reasons it is famous - the art, the grotesquery, the pace that starts slow and dreadful and keeps picking up momentum that you can't escape from. You're already in. Cosmic horror gets bandied about a lot nowadays, mostly for stuff that doesn't deserve it. Uzumaki depicts an encounter with the impossible and unnamed, of a power that has no point we can discern. No history, no backstory. Just itself. Just its own existence.

Also it's got that very Shinto thing of "hey this natural feature that has been polluted is now a nexus for Bad Shit" and I am always a fan of that.

A Billion Wicked Thoughts, Ogi Ogas and Sai Gaddam

DNF pg 105 / 246 (plus 148 pages of notes and bibliography)

"Ogi Ogas recieved his PhD in computational neuroscience..."

"Sai Gaddamn conducted his doctoral research...on biologically-inspired models of machine learning."


And both of them are excellent supporting arguments for the importance of shoving nerds into lockers at every single opportunity. And / or mandating thorough education in the humanities for everyone.

This book is a fucking wreck. Sloppily collected data, absolute lack of actual science going on, terrible contradictory writing, lots of baseless hypotheses put forth to support some truly wretched essentialist conclusions. Absolutely no space whatsoever given to the social, political, religious, or cultural influences on sex and sexuality. Everything must be biological, but please note how neither of these jackanapes are biologists. Or sociologists. Or psychologists. They have no idea how to talk about people, and thus end up treating people like machines. They presume their data is accurate to reality when they are working with anonymized search engine data and then extrapolating from there on extremely shaky grounds.

And, I will reiterate, they entirely ignore social factors. They cite the Hatfield and Clark research paper where there is an enormous - we're talking like 50% point difference (which, granted, means jack shit because there were only nine participants) between willingness to accept invitations to sex from a stranger. Ogas and Gaddam are convinced, utterly convinced, that the only possible explanation is that men and women must have some innate biological function determining the way they feel desire. And no other factors could possibly apply.

There couldn't possibly be the influence of systematic sexism at play here. Humans are perfectly rational meat machines, right?

(Occam called, he'd like his fucking razor back, because you aren't certainly using it.)

Their conclusions are caricatures, divorced from lived experience or any humanity at all. "Men are like X, women are like Y, and we take it at face value that the porn people search for is a direct representation of how they interact with other people". Major demographics entirely disregarded (Lesbians? fugettabooudem Bi folks? Under the bus. Ace spectrum and demi friendos? Enjoy your new superpower of utter invisibility. Straight dudes who don't like watching hardcore or het women who don't like the dynamics of romance novels? Might as well ask to see Martian bigfoot!)

I know it was 2011 but their choice to quote Louis CK and Joe Rogan is... mildly telling.

Also these dumbasses unironically use the word "alpha" and that was the real breaking point.

Voyage to Arcturus, David Lindsay

Reversing the trend of the previous public domain allegorical fantasy, this one is good. It is very much an allegory of the sort-of-gnostic variety, not a narrative, don't expect cause and effect to work as if these are real people.

The book is, in many ways, incomprehensible - but I say that with affection. It is very clearly the work of a man trying to sort out some very Big Ideas of great personal importance, and wonky as it may be I find expressions such as that to be the goal of art. There are moments of episodic profundity or striking image - Lindsay works very well with colors (and not just the famous jale, ulfire, and dolm) and landscapes (well, until the last quarter, which is mostly mountains) and alien life, often in greater vividness than modern sci-fi authors. He had images in his head and needed to share them, and on the whole I think he did very well. The Big Ideas are shared less clearly, but I applaud the attempt. It's art that's fucking weird in ways that don't give a shit about what anyone else thinks, and I'll drink to that.

And for a book from 1920, I find that, while it's got a non-zero amount of old-timey sexism involved, it's less than it could have been, and he gets some bonus points by the inclusion of a character who is not only neither male nor female, but gets neopronouns - ae/aer - In 1920! (He does say that he uses them because no language on earth had the proper form of address, which is hilariously incorrect, but I'll forgive him for not knowing. He was a Scotsman in the early 20th C, we'll grade him on a curve). There's also a point where he mentions that a character's racial prejudices prevented him from seeing something clearly, which is also appreciated. Does help that this is an allegory set on a magical planet far away, difficult to be racist when the entire population of the planet is under 20 people.

Two things entertain me greatly: the use of specific, but entirely inappropriate intervals of time (two minutes is a long time!) and Maskull just saying "Thanks!" instead of the "Thank you" I would expect.

But yeah. I think Lindsay would be a fascinating author to talk shop with over lunch.

Etidorhpa, by John Uri Lloyd

DNF 15%

This book features FOUR PREFACES, followed by a prologue establishing the frame narrative (That the 'author' is one Johannes Llewellyn Llongollyn Drury who entrusted the publication of the account to J.U.L.) Llewellyn meets a strange man who appears out of nowhere, there's a bet or something, strange man disappears for a year, Llewellyn goes to a doctor who spends pages reading excerpts from other books at him all to say "get some exercise". Old Man returns again to say "hey I will now tell you a weird story of my life", and we go into the now THIRD layer of frame narrative, only to get interrupted again as the Old Man recounts a letter he received and we achieve FOUR LEVELS of rambling, senseless, directionless, and utterly dull frame narrative. Lloyd has managed to make a secret brotherhood of alchemists boring.

Leave it to the Victorians to drain any possible excitement out of a story. There's a weird hollow earth story in here somewhere, supposedly, but at 15% of the book I have seen nothing of the sort. Would be a hell of a challenge for editing practice, though.

Saturday, February 11, 2023

Book Review Special: Inanna, Lady of Largest Heart

Bookpost Index 

This was originally just going to be one of my bookpost shotgun reviews, but it swiftly became apparent that I had a lot of things to say about this frustrating, aggravating, obnoxious book.

Innana Lady of Largest Heart: Poems of the Sumerian High Priestess Enheduanna

trans. Betty De Shong Meador
DNF 107/191

The author opens the book with a description of a prophetic dream. A prophetic dream of Meador's, not Enheduanna. This was the first warning. It gets worse.

For those unaware: Enheduanna is, to the best of current historical knowledge, the earliest named author in human history (There's some dissent on this point. For cleanlinesses' sake I will be sticking with the attestation being accurate). She was the daughter of Sargon, high priestess of the moon god Nanna in the city of Ur, and lived in the mid 2200s BCE. She wrote dozens of hymns (that we know about), all widely circulated throughout the empire and copied down regularly by temple scribes. More known nowadays are her devotional poems to the goddess Inanna, found under the titles Inanna and Ebih the Hymn to Inanna, and The Exaltation of Inanna.

Betty De Shong Meador is a second-wave feminist and a self-described "Jungian Analyst". She is not a historian, nor an archaeologist, nor an anthropologist. And it shows (oh, does it show). She couches the works of Enheduanna (a more skilled writer by far) in her own interpretive brackets, spending over half the book giving extremely questionable historical context and following it up by placing the lens of a second-wave feminist writing in 2000 over the works of a temple priestess / government official / daughter of Sargon McMotherfucking of Akkad who lived over 4000 years earlier. It is both aggravating and embarrassing: Meador will bend the text over backwards to support her narrative of "once there was idealized matriarchal stone-age one-with-nature goddess worship but then patriarchy happened and Enheduanna's hymns to Inanna are representative of her personally rebellion against the patriarchy" and I will direct readers two sentences back to the part where I mention that Enheduanna was the daughter of Sargon "King of War Crimes" of Akkad, and was appointed to her office by her father, and whose work was widely distributed and copied en masse throughout the empire and for centuries afterward. Enheduanna was many things, many of them cool and many of them impressive, but a revolutionary against The Man is not one of them.

In light of this, Meador's translation of the poems feels incredibly shaky. Every artist comes into a work with an intention to fulfill, and Meador is at the very least upfront that she has taken liberties with the source text, but her attached commentary and its authoritative tone remove any benefit of the doubt that might have been achieved.

Example: In her brief translation of Dumizid-Inanna P, Meador uses "peg" instead of "plough", which is enlightening: few are the people with the wrong-headedness necessary to remove the agricultural metaphors from Sumerian erotic poetry (spoilers: it is all farming metaphors, because it's Sumerian erotic poetry, they loved fucking and they fucking loved farming. Lines 18-27 of Segment C are entirely focused on making butter-churning as horny as humanly possible.)

In less damning but still disappointing news, she elected to translate the chorus of HE-ZU-AM in the Exaltation as "Proclaim!" instead of "It is known!" or "Be it known!", thereby stripping the translation of the punchy matching syllables.

But the translation is of lesser importance for this review than Meador's actual words (rather than the words she put in Enheduanna's mouth) Here are some quotes. Page numbers are all from the 2000 U. Texas Press edition.

"The image of a goddess or a god taking a person's hand that appears in many cylinder seal carvings from this era conveys the notion, heretofore unknown, of an individual's personal relationship to a deity. The world is altered by this new recognition of the value of the individual human being." (76)
Now the first sentence might have some weight to it, but the second is a hell of a claim to make. Sumeria was many things, and a humanist utopia was assuredly not one of them.

"At the beginning of a new millennium, humanity still suffers as a result of the separation of spirit from matter that took place in antiquity. Yahweh's split and Greek-influenced Christianity's additions to the separation of good and evil provide divine sanction for the dark/light oppositional mentality that pervades our psychology. Dominant monotheistic religions effectively taught generations that evil is outside ourselves, with Satan over there, in others. We learned to deny our own potential for evil. The splitting of good and evil by the Hebrew, and the subsequent Christian, god was persuasively supported by the Greek system of logical, rational thought that eventually superseded the primacy of nature and myth." (85-86)

ZOROASTRIANISM HAS ENTERED THE CHAT.

[inhales deeply]

Satan started as a lawyer. He didn't become the adversary of God until after the Babylonian Exile, because that's when cosmic dualism got introduced via Zoroastrianism (plus a whole lot of other ideas!), which was later emphasized (but not introduced) by the influence of the Hellenic world and its philosophers. Like the ideas that went into the development of Christian hell are primarily from popular non-canonical sources like the Acts of Pilate and the Apocalypse of Peter.

Meador's retroactively applying theological stances to contexts separated from those ideas by centuries. And that's not even going into the audacity of trying to say that all Abrahamaic monotheism has the same ideas about evil. It'd be absurd to claim that all the denominations of a single one of the brothers would have the same worldview (Why you gotta do my friend and brother Pelagius dirty like that, Meador? Spinoza too.) Doubly absurd when you consider how Judaism and Islam treat the subject of personal responsibility and repentance wrt moral offenses (spoilers: it's nothing like Christianity)

(Meador makes no mention of Islam at all in this book, of course, though I suspect that's a blessing in this case.)

This is someone trying to score a slam dunk against Christianity but, instead of using the many, many legitimate avenues that already exist, has decided to try for something special and new against a target they know nothing about.

Also featured a bit before this segment - taking at face value the idea of Abraham as a historical figure she can conveniently use as the thru-line between the Sumerian pantheon and the Abrahamaic traditions, which is almost as absurd as "Moses was a priest under Akhenaten". I did not include a quote because I was tired of looking at the book and wanted to return it to the library as soon as possible. But she really does hinge an argument on the least-critical literalism I've seen outside of Christian fundamentalists.

"After Enheduanna's death, the superiority of her goddess was eroded bit by bit. the disregard for the fundamental primacy of nature and the increasing centrality of conquest, war, and armies in Mesopotamian culture glorified the conquering hero and diminished the role of goddesses in the pantheon." (109)
Let me remind you that, of the three poems dedicated to Inanna as featured in this book, the first one involves her choke-slamming a mountain named Ebih. Inanna murders a geographical feature because it exists and isn't currently groveling before her. That's it, that is the entire justification. In what conceivable universe is Inanna not associated with war and conquest? Inanna is Ishtar is Astarte is Asherah is Aphrodite is Venus Genetrix the mother of fucking Rome. Sargon (you know, Big Murder McGee?) specifically gave her credit for backing his ascent to the throne and his conquering of Mesopotamia! With an army!

"Enheduanna is caught between two vast ages, the ancient one dominated by the feminine principle of the divine in matter and the emerging new age dominated by the masculine spirit in a god that eventually existed entirely separate from matter as a result of Greek-influenced Christianity." (105)
Fuck right off with this gender-essentialist spirituality bullshit. Whatever point that could have been made about the changing of  spiritual worldviews that comes with drastic technological leaps like agriculture, metallurgy, organized states, organized warfare etc gets thrown right out the window because just like a romance language, Meador insists on gendering things that have no intrinsic gender to them. And conveniently ignores the fact that Inanna was not worshipped exclusively by women (Sargon "I got here thanks to Inanna's blessing" of Akkad, remember). She was an incredibly popular goddess.

And wasn't she decrying dualist morality systems where evil is an outside force earlier?

"The story of Ebih echoes the creation accounts in the Book of Genesis" (109)
Genesis was written two thousand years after Enheduanna lived, and furthermore drew inspiration from / was a response to the Enuma Elish, which was the primary creation account of the Babylonians during the time containing the Exile. And Babylonia =/= Sumeria.

"In the Genesis account of the Garden of Eden the author..."(109)
Authors. The Documentary Hypothesis first cropped up in the 1880s, this is not new or revolutionary information. This is literally week 1 of any decent collegiate biblical studies course.

"...attempts to grapple with the problem paradise poses. Like Mt. Ebih, the paradise where [YHWH] places Adam and Eve in is eternally abundant...A snag in the plan develops when Eve is drawn to the theriomorphic goddess, Snake, who, like her Neolithic snake sisters, carries the wisdom of the sacred in the natural world. Snake beckons Eve back into their ancient alliance where cyclic dark and light are held in a unifying round. Snake in this story plays the role of Inanna, the goddess who upholds the fundamental processes of the natural, material world." (109)
HEY. HEY, LISTEN.

YOU KNOW WHAT TEXT HAS A SNAKE THAT PREVENTS HUMANS FROM HOLDING ON TO IMMORTALITY?

YOU'LL NEVER GUESS, IT'S VERY OBSCURE, IT'S BY THIS GUY NAMED 'ANONYMOUS'. YOU'VE PROBABLY NEVER HEARD OF HIM.

It's called THE EPIC OF GILGAMESH. A story that everyone in Mesopotamia would have known - including a bunch of exiled Israelite scribes and nobles currently living in Babylon. The Serpent in Eden is the same genre of literary trick as someone using a Darth Vader voice for the Devil when he's tempting Jesus in the desert.

Instead of using that rather reasonable stroke of Occam's Razor (again, literally week 1 of Intro to Theology), Meador is projecting the snake and lizard-headed goddess figurines of the Ubaid Period (~6700-3700 BCE) forward thousands of years while simultaneously projecting backwards her own belief in an idealized matriarchal one-with-nature goddess-worship that never existed because human beings are complicated. She's manufacturing a mythos whole-cloth and has the gall to claim that it has support from the archaeological record. Write a fantasy novel like the rest of us.

Lilith is a great character and all but she was invented to fill an editing mistake.

"None of the four directions Enheduanna depicts - warrior, priestess, lover, androgyne - represent traditional female domesticity [...] [Inanna] is not the tamed wife and mother, heavy with child, her fury cooled and softened by impregnation, her protective instincts raised to shield a child." (151)

LU HAS ENTERED THE CHAT

Joke aside...actually no, no jokes aside. This bit's just bad. I had flipped ahead just to see if there was any reason to continue, found this passage, and decided that there was not.

I could almost see what she is going for with the pre-ellipsis bit... but what the fuck is "traditional female domesticity"? Traditional to whom? To an American audience in 2000? To the Akkadian Empire in 2250 BCE? To medieval Hungarian peasants? To Martians? There's going to be shit tons of variation within culture groups, both geographically and over time! Meador's making an argument by appealing to the idea of monolithic cultural legacy and setting up Inanna as a counter to those quote-unquote "traditional gender roles", which are spurious fabrications to begin with. People are complex! Culture is complex! Life is complex! "Traditional female domesticity", "traditional masculinity", that shit doesn't exist, it has never existed - it's branding. It's motherfuckers trying to sell you a past that never was. "Inanna is the opposite of this thing that has no basis in reality" is not a home-run argument - it self-undermines and turns right around to say "this image I have constructed of Inanna also has no basis in reality." (which, as we have seen, it doesn't)

And then post-ellipsis (the ellipsis is a brief mention of the Sumerian mother goddesses) we get...that. And perhaps I am blind to the rhetorical device Meador is using, but it certainly sounds like a casual dismissal of great swaths of human experience and I cannot tell if she is clumsily attempting to evoke the voice of a misogynist or if she does indeed hold that position. Considering the incredible conceptual stretches Meador makes throughout the book, I don't have enough benefit of the doubt to spare for the presumption of good faith at this point.

"I'm going to combat patriarchal oppression by replacing their needle-eye restrictive view of femininity with my own, equally restrictive view of femininity" is masterclass in hypocrisy and emblematic of this book's total failure. In trying to force Enheduanna and her work into the mold of a turn of the millennium American feminist, Meador has managed to blindly and clumsily argue for the point-of-view of the patriarchy she so fervently attempts to strive against - that there is only one correct expression of gender, that personhood is intrinsically tied to the capacity to do violence and everyone else is a kind of livestock. 

Inanna is cool. Enheduanna's poems are cool. I find the whole thing inspiring. But Inanna is also portrayed in those poems as violent to the point of psychosis and Enheduanna was the daughter of Sargon "I have run out of variants of this joke" of Akkad. We can appreciate without idolizing. I might channel the Exaltation when writing about Lu, but the whole smashing-the-foreign-nations-and that's-a-good-thing bit maybe isn't what I want to port over for that particular character and theme, you know? If the current spiritual landscape is unfulfilling, by all means make your own gods - but don't try to prune the past into shape so you can claim the benefits of an imaginary legacy.

Maybe Meador was just incapable of writing clearly, in which case the book is still bad, just for different reasons.

If you want better, freely available translations, look 'em up on ETCLS. Their version of the Exaltation is more proselike, but still pretty good. My favorite remains the Hallo / van Dijk 1968 translation, which is easy to find with a wee bit of snooping.

 

POSTSCRIPT EDIT: It occurs to me just now that if Meador really wanted to make a case of an ancient goddess getting gradually transformed and then erased through the influence of the Mediterranean powers, she should have just written about Cybele.

Friday, January 6, 2023

Dan Reviews Books, Part 10

Bookpost Index

 

Urth of the New Sun, Gene Wolfe

I do not like this book, and the more I think about it the less I like it. Makes me grumpy just mentioning it. Worst fucking thing is that if you remove literally one element, it works fine.

Hegira, Greg Bear

What if Ringworld, minus the creepy sex stuff. While admirable on principle, it runs into the same functional problems that Ringworld does: not a whole lot happens, the characters are paper-thin, and the Big Space Object Ideas are so Big and Space that the big picture is confusingly monologued to us twenty pages from the end. And so it is a very light novel of ideas, though it serves itself better than Ringworld by filling its Big Space Object with people and cultures instead of interminable fields of sunflowers.

Empress of Salt and Fortune, Nghi Vo

Another novella from the world featured in When The Tiger Came Down the Mountain, once again featuring our intrepid scholar-monk Chih recording stories of the world and its people. This time it is the life of the recently-deceased empress, as told by her handmaid, as the two clean out the lakeside manor where the empress had spent her exile.

As with Vo's other work the world is vibrant, the characters elegantly sketched, and it is precisely as long as it needs to be.

Forge of God, Greg Bear

DNF 124/473

's not bad, just not what I wanted or needed. Too many characters introduced all at once, but they felt indistinct and I would have rather just had one POV, I think. Conceptually neat but also something that, due to the ceaseless passage of time, is not as novel to me as it might have been at time of publishing, and so the slow burn does it no favors.

A Memory Called Empire, Arkady Martine

DNF 120/459

The main character of A Memory Called Empire is supposedly a competent diplomat. She is not. She is a bumbling, incompetent idiot, incapable of the most basic tasks required by her job, and this is apparently just the way it is supposed to be. It's not about a nepotism hire ending up in too deep, she just lacks the basic survival instincts necessary to function in her job.

Imagine, being the replacement ambassador of your people in the imperial capital. Your predecessor is dead under mysterious circumstances, by which I mean it is obviously murder. You represent a solar system containing at absolute maximum, 300,000 people. Your people have no fleet and no military. You have nothing to bargain with. You have no personal staff. You are flying blind, with intel that is 15 years out of date. What do you do?

If you answered "try and make friends with your imperial handler and spill state secrets to three people within 48 hours of your arrival on a whim", congrats, you are Mahit Dzmare. Her primary character trait, beyond a total lack of comprehension that she is in danger and needs to take precautions against finding herself face down in the Tiber, is a constant, unquestioned delight in the culture of the empire that has a gun pointed at the head of her entire civilization. I can only call her a weeaboo. (Teixcalaaniboo?). Congratulations, you know some pretty poetry; please recognize for a fucking picosecond that this place is built on mountains of corpses. You might as well be laying out a doormat that says "Hello Empire! Please genocide us. I will sell out everyone I know because you write pretty things about flowers." And because she is a fucking idiot, nothing she does that is intended to be cute or charming or interesting or relatable comes across as such - it's just constant aggravating nonsense.

It is slow, plodding, talks a lot while saying nothing, introduces glimpses of interesting setting elements only to do nothing with them, is entirely too squeaky-clean for a story about a god-damn space empire, and the character voices are not only identical to each other, they are all that obnoxious 20-something (as of ten years ago) not-actually-connected-emotionally-or-factually-to-the-events-at-hand Whedonesque chatter.

The most interesting sci-fi concept in the book (MC has a brain implant carrying an emulation of the previous ambassador) is literally removed from the story by the end of the first chapter. That and it's obvious that there are aliens involved out there in the background; more aliens, less Mahit.

My search for good sci-fi continues.

Children of Time, Adrian Tchaikovsky

My search for good sci-fi has found some fucking gold.

It is difficult to put into proper words how good this book is without turning into a raving madman. It is a brilliant novel of ideas, and contains moments of some real, raw humanity in it. Tchaikovsky is able to thread the needle on believable tragedy for six hundred pages - at every juncture, people make perfectly rational stupid choices, blinded by ego or ignorance or plain lack of information. And yet this unstoppable thematic lodestone - that humans are trapped by our destructive short-sightedness - does not tip over into complete despair. It easily could have, but it never did. Trapped we might be, but the potential to escape the trap is there, just beyond our reach. The spiders and their growing civilization, with all of their own trials and stumblings, give us the hope that is desperately needed. And we sympathize with the human characters - even the very hateable antagonists have moments where we can say "you're a fucking monster, but I understand how you got here." The pacing is excellent, covering thousands of years at a steady clip. Developments and status quo changes emerge, become widespread, fade into the background as if they were always there. The enormity of the cosmos and the timescale paradoxically feels claustrophobic and fragile.

It's just so fucking good. Sapient spiders train ant colonies to sequence DNA. It's that kind of book.

The Cherokee Syllabary: Writing the People's Perseverance, Ellen Cushman

In a major break with form, this is nonfiction. It is a fascinating book and I am learning a lot, though I feel like it spins its wheels and repeats its points a bit too often. But, I am much more aligned with casual info presentation so that might be on me. But that part is less important.

The important part is that the Cherokee syllabary is fucking rad. Sequoyah worked for a decade to get it right and within another decade afterwards the nation had like an 80-90% literacy rate. Because Sequoyah went and designed something that was geared specifically for his language, which in turn made it easy to learn.

So in Cherokee, which is a polysynthetic language (high morpheme count, heavy inflection, high information density), a single syllable contains both sound and grammatical meaning(s). Having a character for each vowel and consonant-vowel combo means that you get to communicated those bits of grammatical information in single characters, which means that a reader can glean stuff like person and tense just by looking at what characters are at the beginning and end of a word (because inflections come in regular slots). The example Cushman gives to illustrate this is a series of tables where the words are all in Cherokee script, with no transliteration, arranged according to person and tense, and just looking at everything all together you can see it as essentially plug-and-play word-building and once it clicks it is the coolest thing.

There's  whole lot more, too. The development of the handwritten vs the typewritten script, the foundation of the Cherokee Phoenix newspaper, and how the script became a fundamental part of Cherokee national and cultural identity. It's great stuff.

Elder Race, Adrian Tchaikovsky

The man's swiftly entered my "anything with his name on it is worth checking out" list. A novella, so I will be brief - selling point is that he uses the gimmick of alternating between the POVs of the colonial, medieval character and the high-tech "wizard" - we go back and forth between viewing the same events as a fantasy story and a sci-fi story. And unlike many other works, it's not going for a cheap "ah, look at this misguided primitives with their superstitions, let's enlighten them of how the world really works!", and for that I am endlessly thankful.
 

Sunday, October 30, 2022

New Sun Reread 2: Sword and Citadel (Plus Urth)

And so we return to the back half of Book of the New Sun.

I took these notes as I read, but I write them here after finishing Urth of the New Sun. That book will remain in the background


Prior installment here.

 

Prior revisit posts: Avatar, Lord of the Rings, Cowboy Bebop, Fullmetal Alchemist, Wizard of Earthsea

 


Sword of the Lictor


We open with a very curious development, that will remain for the rest of the back half: Severian is making sense. he is, compared to Shadow and Claw, astonishingly coherent, borderline reasonable, and even self-aware. I can only presume that this is the result of the Apu Punchau event (more on that later), though the precise mechanics elude me. Whatever the case, Sev's on his meds now. I even buy (partially) that he is displaying some degree of care and concern for Dorcas now - it's certainly not healthy, but it seems less like a hostage situation.


**


I feel like I am going to have less to talk about this time, what with the coherent thru-line of cause and effect. (ed. - I have left this in, because it is hilarious how wrong I was)


**


Sev also shows a remarkable amount of understanding regarding the autocthons in and around Thrax - that they are not savage, that so-called civilized peoples are capable of far more cruelty...but he does remain something of a judgmental bastard about it all and does repeatedly, through the back half, still call the locals of wherever he is at the time "savages". I pin that on him being a city slicker.


**


While Severian is showing some self-awareness by this point in the story (3), he is still Severian - he'll fill up the conversation with all manner of justifications as to why his behavior is so and such - it makes sense that I'm hated, but that's all on the guild. This imaginary woman that I have constructed in my head represents all women and thus I never have to ask a woman what she thinks or listen to what she says. Retributive justice is the only way to keep society working, on and on.


These are all likely rote arguments Sev has memorized.


He doesn't let Dorcas get a word in this entire conversation


**


Severian mentions a "hope of winning back her (Dorcas') old affection", but I feel like the scenes here in Thrax are just a reveal of what was already there in the relationship. (3)


**


The autocthon dressed up in the costume version of his own people's garb is terribly funny (5)


**


Severian falling for Cyriaca's costume calls back to his instantaneous belief in Agia's forged Thecla-letter. But, much more importantly, she is the first women Severian has met that has been able to properly speak for herself (5)


**


"The Autarch - may his spirit live in a thousand successors." - Cyriaca outright stating the truth of the matter, though I think that most or potentially all of such intonations do likewise. Right under our noses the entire time. (6)


**


Continuing our thread of coherence, we get some deep history from Cyriaca:

  • Humans who went to the stars removed their "wild half" - their passions, loves, emotions, so on - and gave it to their machines.
  • The machines reunite with humanity and
  • Cyriaca describes imagining this (fancifully, not accurately) as "bad machines" releasing artifacts chosen to resurrect feelings that "had been put behind them (humanity) because they could not be written in numbers."
  • The machines give every human an invisible companion (some sort of domestic AI, I think)
  • The machines wanted to fade away, but had made humanity dependent on them

**


And once again, Sev is cheating on Dorcas. Granted, we don't know what the attitudes towards open relationships are, but we've seen no indication that Dorcas is okay with this. (6)


**


The sick girl in the jacal is what I would call one of the big moral turning points for Severian. He had not healed the girl when he first visited out of fear of failure and / or retribution (3), but he decides to return - motivated either by guilt or responsibility, or something in between. And Severian not only has had a chronic issue with feeling guilty about anything, he's also typically so single minded that, so long as he is not trapped in his own memories, he will barrel along and rarely ever return to a subject that is not a woman, Vodalus in the graveyard, or Thecla. (8)


**


In another departure from the prior books, Severian is now making choices of his own accord - the choice to leave Thrax is his own. It feels like we are going through the opening acts of _Shadow_ once more, but shifted just slightly out of alignment by newly-somewhat-stable Severian (9)


**


Severian demonstrating a fear of fire in the aftermath of the salamander attack, as opposite Dorcas' fear of water (10)


**


"The kind and even noble Severian who existed only in Dorcas' mind" - yeah, don't think there was much of that, bud. Like she's not going to forget how you, after finally getting reunited at the House Absolute, spent all morning talking to Baldanders and then wandered off to rape Jolenta. Fuck off, mate - just because you realize that you're shitty and taking a modicum of responsibility doesn't mean that everyone else was ignorant of it. (10)


**


"Autocthons who have absorbed enough of our culture to want [furniture]" - note how neutral this statement is. Nothing about "being civilized" to be seen. This is one of those lines from Dorcas that serves as a good reminder that she is very aware of the world and a lot more perceptive (and less inclined to prejudices) than Severian. (11)


**


I wonder how long Dorcas has known about her death and unfinished business. I assume it has been a long time - possibly even before they left Nessus.


**


It seems to be an open secret among the populace that the Autarch serves the cacogens (12)


**


Sev doesn't even say goodbye to Dorcas. He just leaves. What a heel (12)


**


I love the descriptions of the strata of the cliffside, and must shake my fist at the heavens that Wolfe, in his Wolfeishness, never had Severian look over his shoulder to see what the gigantic mosaic was. (13-14)


**


This motherfucker shaves with his sword. And is calling himself master, now (at least to get people to do what he wants and not ask questions) (14)


**


The old man talking about Fechin will have to be a topic for another critic. As one can guess from these posts, I am not one of those who goes "every character is actually secretly another character" (15)


**


The alzabo sequence is easily one of my favorite parts in all of Book of the New Sun. A great monster, perfectly-escalated tension, the horror of it all is so finely tuned. (16)


**


More signs of Severian's moral development: he shows mercy to Agia a second time; he shows a sort of mercy to the alzabo, though it was selfishly motivated / the only real way to survive the night. This causes a problem later, when it attacks Casdoe, her father, and Young Severian - "Now there was a choice, and I hung back." The Claw has been reflecting him, becoming less effective the more thoughtful / doubtful / reflective he has become. (17)


**


Severian makes an error here - not a surprising one, considering how he was raised - in claiming that the mountains were old. If they are tall and sharp, they're quite young, and might be the last mountains formed before Urth's core cooled (18)


**


"When a man becomes an animal, he becomes a dangerous animal" (18)


**


Severian is still not wearing a shirt, the absolute dumbass (18)


**


Of The Boy Called Frog I will say little, other than, bearing in mind what we learned from Cyriaca, I feel like it has the trademark signs of being made by the culture-bearing machines as part of their gift to humanity.


**


"For an angel is often only a demon who stands between us and our enemy" (19)


**


Severian has, for most of this book so far, been showing a much clearer delineation between his own memories and those of Thecla's. Here we get a very curious memory emerging, where it seems that it was Thecla that made the first move on Severian. I feel that this is the case, given that Severian does not seem to be the type to admit on his own that he was being used / abused in that manner on his own.


It gives us, additionally, a two more interesting details about how his memory works: he can be pulled out of his memories by someone intruding on the scene, and he really does drop into Thecla's voice when reciting those memories aloud. (20)


**


I am amused at how Severian finds it so easy to imitate the way the sorcerers speak - he's back in his element as a showman once more. (21)


**


Useful for our purposes, I think, is the commentary on how "magical" lore is rarely passed down, on grounds that those who possess it rarely have children to pass it too, friends to sustain it after their deaths, and devote most of their lives to hoarding it so no one can have it later. (22)


**


"By some idiotic error, I contrived to lose my way" - Well, at least he's consistent.


**


I have come to enjoy the Typhon sequence much more on this second reading, especially with all the information we glean afterwards. There's so much good stuff to be had for a timeline reading.

  • Typhon just chews the scenery constantly and does an excellent job of playing the tyrant that he is
  • Obvious temptation-in-the-desert imagery is obvious.
  • Typhon is returned to life through re-hydration, which makes me think that it was a state of preparation for space travel (given that we know he built this place as a launch point)
  • "It is the face men are accustomed to obey" - Unfortunately, he is spot on the money with this.
  • We learn that he was alive in the time of the Conciliator, and that there was a rebellion in this age.
  • We learn that he was alive for when the sun began to fail (due to the black hole), and I think it's likely that the black hole was specifically a way of crippling his capital world (as he says he ruled many planets in his day)
  • The ship-tenders escaped without Typhon, and left him behind to face the brewing rebellion. This is strange, given that the ships at the Citadel never launched. And does bring up the question "what of Valeria?" - was her line the one that remained loyal, waiting for Typhon to arrive?
  • I love how Severian ends up killing him - the technique he describes, as I found out writing this, doesn't actually work. Which makes it possible that he might have just pushed Typhon out the eye when he wasn't expecting it.

**

This is the part with the content warning: this next section is about child abuse, and I will advise any folks who do not want to deal with this subject to ctrl-f "Thecla had anime eyes" and keep reading from there. We're going to be here a while.


Out of fucking nowhere Severian assures the reader that absolutely nothing untoward happened between him and Younger Severian. Which, of course, makes all the readers immediately suspicious - as they should be.


(I will also forward this by mentioning, for those who have not heard me speak of it before, that my first job out of college was in a group home for sex offenders with mental health issues. It should not surprise anyone who has gotten this far - in the books or in life - to hear that Severian is real, and I have met him. Multiple times over.)


So. Potentialities.

  • Option A) Nothing happened; Severian is an idiot, totally oblivious to how that statement made him look, and he never edits anything anyway.
  • Option B) Nothing happened; Severian is attempting to get in front of potential criticism with a denial that just makes him look worse, because he is an idiot.
  • Option C) Something happened; Severian cut it out of the narrative and either what passes for his conscience or the Autarchs in his head made him slip up, and his automatic response is a bizarre deflection / justification and hoping that the reader will either buy it or not notice.

Let's look at that deflection: after his denial he follows it with claiming that Dorcas and Jolenta had a sexual relationship, that this definitely did not (no way this isn't a lie) inspire feelings of jealousy in him...and then compares his relationship with Younger Severian to this imagined Dorcas x Jolenta thing and says Dorcas would have been jealous if she knew about the relationship with Younger Severian and "if only she had loved me as I had loved her."


(And do remember, this whole subject is introduced by Severian going "Younger Severian is dead, now I know how Dorcas felt when Jolenta died".)


Jesus H. Christ there is a lot to unpack here.


Right, so Dorcas x Jolenta could be Severian just being horny and making shit up for his own pleasure. That's well within his character (though you would think we would have been told of it before), and he does only say that he believed it to be the case. It could be legit; I could see those two in an any-port-in-a-storm arrangement. Not beyond belief, especially when they are financially and socially dependent on a weird almost-mute giant, a robot, and the creepiest man on earth.


(I do not buy Sev's claims, or even Jolenta's claims, of her being the most beautiful woman in the world and instantly gets everyone attracted to her. I think both of them are exaggerating - Sev's descriptions of her seem to indicate she is Deviantart-level disproportionate, and Talos' handiwork, without maintenance, is revealed to be rather sloppy.)


The fact that Severian decides to compare his relationship with the Young Severian to this purported but unverifiable Dorcas x Jolenta is the damning evidence, I feel. In attempting to deny an accusation that isn't being made by anyone but himself, he pulls an immediate 180. He literally goes "I didn't do that thing, what actually happened is exactly that thing that I just said I didn't do."


EQUIVOCATING. LIKE. A. MOTHER. FUCKER.


And with him bringing jealousy into the equation, saying "you had a secret relationship, and I totally was definitely not at all jealous (never mind that I have cheated on you with multiple other women by this point), but you would totally be super jealous if you knew about this relationship that I had..."


He abused Younger Severian in an attempt to emotionally injure his ex-not-actually-girlfriend, who is not only not present, but is currently hundreds of miles away.


I feel like Literary Occam's Razor supports this hypothesis - Severian is meant to serve as the worst man in the world for the thematic purposes of the story. In his laundry list of crimes, befitting the worst man in the world, I would consider the presence of this particular horror to be in line with the theme. No pulling of the punch.


And if you thought it was bad already, we're like halfway done with this three-ring circus of awful. Now we dive into the particulars of context.


There is a depressingly common trend of the abuse of children in Book of the New Sun -

  • "She was a pretty girl who looked several years younger than she really was. Perhaps that's why he took a fancy to her." (Shadow 20) - Thecla heavily implying that Fr. Inire was a predator, or otherwise that such a scenario is common enough among the nobility.
  • Lomer claims to have been imprisoned for assault of a 14 year old (Claw 15)
  • I frankly do not want to type out what is implied of Baldanders (Sword 35)
  • Dorcas died when Ouen was 4, and she's around Severian's age now (Lost the citation on this)
  • The doctor in Vodalus' ziggurat (Citadel 26) - This one is tricky, because the deflection he gives ("You can keep yourself youthful with the breath of the young") is hardly the most bonkers thing someone has said in this book - Severian saying "there was nothing - not even an admission [...] that could have convinced me so completely as his denial" makes me quite certain that doc is either lying or that both factors are true. The important thing is that Severian, in this particular case (why this particular one?) wants to convince the reader that he believes the doctor. As always, he is ineffectual.
  • All this combined leads me to another factor: Sev might have made this denial because he is writing for an audience that would expect it, and knows that they would.

Severian grew up in an environment that was rife with abuse - we get explicit confirmation of physical abuse and extreme neglect multiple times throughout Book of the New Sun. That there was sexual abuse going on is a given, and the odds Severian being the victim of such abuse are high. The perpetrator in such a case, I will make no guesses at - not enough evidence. But, if it did happen, that trauma has to manifest somewhere, and I think it is one of the building blocks (part, but not the entirety) of Severian's need to constantly reassure himself and the audience of his maturity, and it has fueled his "I always need to be in control" through-line in his relationships. Performative masculinity as a defense mechanism against being victimized, and to cover and underlying extreme discomfort with and ignorance of sexuality. His conspicuous refusal to describe two particular sexual acts he witnesses others doing (Drotte raping a client, Agia and Agilus in the prison), and his seeming gormlessness about sexuality in the Gurloes flashback in Claw 7, the Thecla flashback in Sword 22, and the episode at the House Azure are in line with this train of thought. He only likes talking about it if he has absolute control of it.


(A relevant aside - of the clients I dealt with in the group home, certain patterns and factors were extremely common, to the point of near-omnipresence. This is all my own observations. Let's run Severian through the list)

  • Familial instability - No parents or proper caretakers present; extreme poverty (Check)
  • History of abuse - Physical abuse confirmed; sexual abuse highly likely; witnessed severe physical trauma on daily basis from young age (Check)
  • Untreated mental illness - I cannot make diagnoses, but even by his own reckoning he is not mentally stable (Check)
  • Lack of meaningful sex education - I would presume that the only such learning he got on the subject was its usage in torture; no condom usage; does not even consider STDs regardless of number of partners (Check)
  • Lack of means to effectively communicate about sex and sexuality - Never seen to have conversation with partner about needs / expectations / boundaries. Bases behavior on idealized / demonized projection of partner or of male-female relationships in general rather than actuality; no conceptualization of consent (Check)
  • Lack of opportunity for healthy expressions of sexuality - Teenage and adult torturers banned from visiting the Witches' Tower; No female presence outside of clients or major events; no same-age female peers; environment of sexual shame and repression (Check)
  • Performative toxic masculinity - Environment of extreme misogyny; feminine viewed as weak and something to be dominated in the other / eliminated in the self, except in those cases where a false image might be sequestered off and worshipped; masculine ideal of man-as-dominator; ideal / self-conceptualization must be upheld at all costs - cannot permit self to appear weak / feminine in front of others; cannot permit self to appear weak / feminine to self. (Check)

And if things were not complicated enough, Severian is not just Severian at this point in the story - he's got Thecla up in his head too


And Thecla has a few points in particular that give me trouble.


Point the First: In Sword 22, we get a memory from Sev's POV where Thecla admits to making sexual advances towards him prior to any action on his part.


Point the Second: In Claw 18, Severian gets an unfiltered Thecla memory of her time in the dungeons, where she describes Severian as her "boy lover".


Point the Third: We are never, at any point, given Thecla's age. I do not think she is particularly old, but I'd say at least a decade older than Sev. More than enough of a gap to throw up enormous alarm bells. (because remember: Severian is 17-19)


Point the Fourth: As we see in the Antechamber, and later, Severian is anomalously kind to children, or is portraying himself as such - he is kind to no one else that we have seen. With all that we have seen and established before, that is suspicious as _hell_ and would be in line with grooming behavior. And worth noting, that all such incidents are post-Thecla.


So. Drawing to the end this wretched, overlong section, I will summarize my thoughts on the matter as simply as I can.

  • Sexual abuse is common within the Commonwealth.
  • Severian comes from an environment where sexual abuse was highly likely, if not endemic.
  • Severian demonstrates many red-flag behaviors and risk factors that match up with the real-life sex offenders I worked with.
  • Thecla's behavior in the Oubliette and her influence on Severian via the alzabo is suspect.

What's to be done with this? I do not know. As far as I can remember, this aside is the last time Younger Severian is ever mentioned, at least until Urth of the New Sun (I look in there now, and Sev has the fucking gall to to say "But can you say I harmed you without cause?" to the gathered shades of his life). There is no addressing of this bizarre paragraph at any point - and even the rape of Jolenta is addressed in Urth (with a denial, predictably).


I do not know what to make of this. I have written nearly two thousand words about a single paragraph and I can draw no satisfactory conclusion. There's not enough non-circumstantial evidence, not enough to convict - least not with my reading of the text.


Fucking hell.


**


There is a really strange glitch in the description of Pia - Severian describes her has having both "rounded hips" and being so thin he can count ribs. (28)


Also strange is that he says he owes something to a man with a name similar to the hetman's...whose name is Zambdas, which is nothing similar to anyone else we have met. (Also I can't find this passage again, I feel like I am either imagining or misplacing it.)


**


We are told that there were poisons used by young exultant women to increase their eye size. Ergo, Thecla had anime eyes. I will not be accepting questions at this time. (29)


**


"The young man I once was was gone" is a marked divergence from his early exclamations of "I am a man now", and at his point in the story I feel like it is actually finally correct. (29)


**


"Indestructible corpses I had seen littering the refuse heaps about the mines of Saltus" - we saw the cryotubes, not the corpses themselves, at the time. If this is true, I think that it's as good as confirmation that Typhon's desiccated state was indeed preparation for space travel. (30)


**


Sev describes Lune as being 50k leagues (~150k miles) away from Urth. This is curious, because the moon is going to get further away from us with time, not come closer. Obviously, the moon has been subject to megascale engineering, what with the terraformation - this closeness means the tides will be higher (and perhaps, a premonition of what waits for us in Urth. (32)


**


The Baldanders sequence is a return to the unfiltered pulp we saw with the man-apes - though elevated to higher thoughts. The mad scientist in the castle, as he is always meant to be. I wondered on my first read, as I still wonder now, if Baldanders' mind was dulled by the distance between himself and his equipment. His relation to the Wives of Abaia is coincidental, ultimately. He is not the only monstrous doctor to be found here in Book of the New Sun, though perhaps he is the one who fills the role best.


And yet, ultimately, for all his cruelty and intelligence, he's fucking awful at his self-imposed job. Perhaps we should be thankful for that; that he decided that his castle being looted was better for disseminating knowledge than making a school. He accomplished absolutely nothing besides petty tyranny.


**


The three heirodules say "our desire to advance your race, not to indoctrinate it", which is a noble goal but they are doing a shit-ass job of it, hanging around Baldanders and not telling him anything reasonable and letting him terrorize the lake folk. That's not treating the material conditions that cause the world to be shit - if you actually want to help, help in the fight against poverty and ignorance. Not whatever the fuck is going on. More on this later. (33)


**


"His head rose from the mist, just as I have seen the mountaintops lifted above it at dawn" is easily one of my favorite lines in the entire book - Wolfe's prose at its most masterful (35).


**


Severian ends Sword with Terminus Est destroyed, the true Claw revealed, and a mind-opening experience with an end result he describes as "happy obedience to what I knew not, obedience without reflection...without the tincture of rebellion." And to that I can only say - Severian, as much as he might try to resist, performs the secret task of the torturers nearly without fail - he is an absolute stooge (38).

 


Citadel


Arioch is added to Erebus and Abaia. I know Scylla is also included in their number. Arioch only appears here. (1)


**


We open with singing soldiers. Always either soldiers or the working class. (1)


**


As we got parallels to Shadow in Sword, now we get parallels of Claw - another resurrection of another dead soldier. (1-2)


**


I love the first interaction with the Pelerine - Severian thinks she's talking to him about Miles, when it is in reverse and he is simply too fucked up from starvation and fever to realize it. (4)


**


"That's impossible," Severian says about people memorizing things (the Ascians and their permitted speech, specifically) (5)


**


I love the lazaret sequence, it's easily my favorite part of all of Book of the New Sun.


For those unaware (or who missed when I spoke of it before) this sequence is framed around a story contest among the soldiers recovering in the lazaret. Folia, who has found herself with multiple suitors hoping to marry her and settle down, announces that the best storyteller (as judged by the weirdo in the black cloak) will be the winner, because she doesn't want to have to spend winters with boring stories.


Between each story, there's a chapter spent on a conversation between Severian and one of the Pelerines in the field hospital


The format is great as well - after the parties are introduced and the rules laid out, we get a chapter dedicated to one of the stories, then a chapter dedicated to Severian conversing with someone in the field hospital about something else. It's a nice breather, a splash of color and variety, a look at the world and people outside of Severian's myopia, and ends with the first of...four? (Lazaret, Sand Garden, Dorcas, return to Citadel...yeah, four) emotional climaxes of the book.


In order, it goes like this:

  • Chapter 7) Hallvard's Story - "The Two Sealers"
  • Chapter 8) Severian speaks with an unnamed sister of the Pelerines
  • Chapter 9) Melito's Story - "The Cock, the Angel, and the Eagle"
  • Chapter 10) Severian speaks to Ava, a sister of the Pelerines
  • Chapter 11) Loyal to the Group of 17's Story - "The Just Man"
  • Chapter 12) Severian speaks with Winnoc, a slave of the Pelerines
  • Chapter 13) Folia's Story - "The Armiger's Daughter"
  • Chapter 14) Severian speaks with Mannea, directress of the Pelerines, and returns the Claw to its altar.

Hallvard's story is one of grisly murder in his own family, where one of his uncles kills another over breaking an oath. it gives us some minor details of the southern islands - that land is inherited through the matrileneal line, that Erebus sends raiding ships, that when a man dies they will hang a painted sealskin in the home until no one alive remembers the man it memorializes.


Melito's story is an animal fable - a rooster grown much to full of itself challenges an angel to a duel, attempts to back out as a coward, and the angel has him killed by an eagle. Melito describes it as the worst story he knows (and that if he wins on his worst story, Folio will have many better ones to listen to in the future.


Loyal to the Group of 17 tells a story - with Folia translating his rote proverbs on his behalf - of a man mistreated by the other members of a collective farm. He goes to the capital to file a complaint, returns, and is beaten again. This cycle repeats three more times, until at last the other farmers grow fearful that the Group of Seventeen will at last act, stirred by the Just Man's persistence.


**


I'll use this segue to talk about how much I love the Ascians - both for the sheer horror of their brutal hive-society and the enslavement under Erebus, and the fact that Wolfe does not withhold humanity from them. Anywhere else, any other story, they would be the faceless, unquestioned enemy - and the Ascians themselves are explicitly trying to eliminate individual identity and all traces of what we would call humanity. But even with all of that, we see them as they are - slaves of a power they cannot resist. Desperate, starving, held by such great despair and deprivation that many kill themselves the moment they have weapons in their hands. Stripped of language. Treated as machines to such a degree that they leave the dead where they fall, don't bother to repair their own war machines, don't bother setting guards because they cannot conceive of escape. Their endless ranks stretch from horizon to horizon, and are filled with children, old men, pregnant women.


And, as we see with Loyal to the Group of 17, their humanity is not completely extinguished. Even Severian - even Severian! - can see this.


This is Wolfe at his very best.


**




Well, we're here. My favorite part of all of Book of the New Sun. After 3.5 books and countless misogynistic rants and episodes of abuse - at long last, we have reached the point where Severian finally - finally - shuts the fuck up and lets a woman speak for herself.


Character development, everyone!


Several factors go into this, I think: First and foremost he is on the brink of death from starvation and fever, to the point of hallucinations. Difficult tomake an argument in that state. Secondly, this is a development on what we saw with Cyriaca - who was the first woman who got to say her piece, but Severian was still doing his creep thing throughout. Thirdly, and the one I put a lot of emphasis on personally, is that Folia is a soldier - she exists outside the hierarchy of male and female that Severian has constructed for himself. And so, in his weakened state, he cannot summon the means to build a box to put her in.


With Severian no longer able to maintain his editorial filter, we get a glimpse of people as they more accurately are - and lo, it turns out that women are autonomous beings and this woman is exercising her agency.


It helps, as well, that her story is the richest and most complex of the four. Superficially it is a folktale, but I suspect she is metaphor-making of her own position. (A self-possessed woman offers a challenge to three suitors - sounds familiar, no?) The Armiger's Daughter has released a bird into the world, with a ring around its foot. The man who returns the ring wins the right of marriage.


The Lark appears in human form to all three suitors - it is characterized both as bird and as angel, and more indirectly as the Armiger's Daughter (read: Folia) herself. Suitors 1 and 2 both try to fight and kill the Lark-Angel-Woman, hoping to take the ring round their boot by force. The third, though, listens to what she has to say, and becomes her companion on a long journey (he is offered the quick path to his goal, and the good path. With the wisdom afforded only to folktale heroes, he chooses the good over the quick) where they have many swashbuckling adventures and at last return to the Armiger's manor home, to find the Daughter there, with the bird tweeting happily in its cage (for birds return to their roosts). They marry, and all is well.


**


The story contest does not have a conclusion - while Severian is off visiting Master Ash, the camp is bombed by the Ascians and the soldiers in the lazaret are killed. Severian stumbles across Folia at death's door, and with her last words she asks that he share the stories. (Severian says he kisses her; in a moment of perhaps too much credit to Severian - and also wishing to maintain thematic wholeness and hold onto that character development - I imagine this as upon the forehead.)


We do not know which story he would have picked as the winner.


For my part - Folia's the winner by a country mile. I think that there may have been a chance that she would choose Loyal to the Group of 17, but that is a could have been.


**


Wind back the clock a bit.


**


"I am saying that the things we love in others and admire in ourselves spring from things we do not see and seldom think about" (8)


**


Severian feels relief at the greater world's ignorance of the torturers - reaffirmation that they are nothing, in the grand scheme. More character development. (8)


**


In the lazaret there is a soldier named Emilian, whom Thecla knows, and Severian speaks to him in Thecla's voice. (8)


**


Ava gives us a lot of interesting tidbits: the Pelerines are a mostly aristocratic order (explaining the exultants we keep seeing among them), other religious orders are more open to the lower classes (though we do not see them, except perhaps a mention in passing comparison as Sev leaves Agia's shop in Shadow). Captured Vodalarii seem to have become cut off by their inherited memories, entering an analeptic-triggered solipsism (which Severian has avoided, thanks to the Claw).


She says also three ways that humans might lose their humanity

  • There are those who give it up willingly (Zoanthropes)
  • There are those who lose it without intending to in seeking to enhance or transcend it (Baldanders)
  • There are those who have it stripped from them (the Ascians)

I propose an additional fourth

  • Those who repress their humanity through their devotion to another thing (torturers)

(10)


**


"Let those who cannot be just be kind" - this is from Loyal to the Group of 17. Even in the depths of their oppression, even in their own prescribed speech, humanity lingers (11)


**


We learn from Winnoc that Palaemon was once exiled from the order - and thus is the master who argued for his release. (12)


hey, isn't it funny that Gurloes doesn't really factor into anything when Sev returns to the Citadel?


**


"The darker a man was, the more of a slave they made him" - the idea that the institution of American racism was a grotesquery of such enormity that memories of it linger until the very end of the posthistoric era feels...appropriate. Alas, its memory seems to have outlived baseball and blues.


**


Winnoc calls the latrines "the jakes" which means that Wolfe knows what the jakes are, and this weird little phrase is like a secret code-word to the cool kids club. I learned of it camping with my father.


I miss him. I don't think he ever read these books, but I suspect he would have loved them (12)


**


Severian describes the Pelerine rites as "more beautiful but less theatrical" than those of the torturers, which certainly checks out. (14)


**


Some prime emotional catharsis from Severian returning the Claw. (14)


**


Master Ash is a return to the "curiosity every chapter" format of before - he is a researcher from a timeline parallel to that of the Green Man - a future where the New Sun never comes, the world is frozen over, and the few remaining humans are ferried offworld by the Heirodules. Mannea wants him pulled away for his own safety - I wonder if she is aware of his true nature (17)


He, like Meschia, has his last / first woman, though we do not meet her.


**


"Men of religion tell comforting things that are not true, while men of science recount hideous truths" - yep, got us dead to rights there (17)


**


Sev claims again that he misses Valeria the most, while providing no reason - nothing new there. What is new is the line "I was only a boy...thought I didn't think so then." Character development! (18)


**


Midsummer = New Years Day. Thank the gods, something sensible.


**


There is a mysterious asterisk in Citadel 19 that represents an elision of time. It is the first time it occurs, and it will occur several times more.


**


And back to Severian the creepshow with Daria. (19)


**


The battle (and its buildup) are great - I love all the different units in the Commonwealth military - each unique from the rest, really driving home that Autarch-is-the-Commonwealth idea before its even introduced. You've got kinda regular hillfolk contrasted with the more professional units, you've got Severian's band of mercenary light cavalry, you've got the beast-men soldiers and the anpiels, you've got confirmation of clone soldiers (what then, of Valeria?) you've got the Daughters of War who are all Rubenesque vestal virgins riding on god-damn arsinotheriums. Even the Acsians get in on it with their weird five-limbed fliers and a unit entirely of dwarves riding on giants (22)


**


You can tell gene Wolfe had military experience (which he did, in Korea) with his portrayal of battle - equal parts waiting and terror, and more importantly Severian's unit is not some heroic lynchpin - they're light cavalry, they harass and apply pressure. The main fighting is elsewhere in the valley. Sev gets wounded, but not in a cool or heroic way. And in the end it is just one battle, that had no great outcome. I appreciate all this a great deal (22)


**


Love the Autarch and his mammoth. Mammoths being great in general. improve any story they're in, mammoths. (23)


**


"As a boy, I was often told I lacked imagination" - I feel like his memory has something to do with this. (23)


**


And just in the middle of major plot developments Severian drops the bomb of half the apprentices in the Matachin Tower died before reaching journeyman. HALF. 50%! The section of Gyoll he swam in and nearly drowned in as a child is here described as more or less an open sewer! Malubrius coughing up blood and yet never seeing a doctor as he's dying makes a whole fucking lot more sense now!


And, if we are to buy the theory that the Claw has been resurrecting Severian without his knowledge over the course of the book (I buy whole-heartedly into this, and not only for comedy purposes), and he says he never had much worse than a head cold as a child - how many times did he die and revive from the conditions in the Tower? (23)


**


Another asterisk (23)


**


I love the autarch's attitude towards rule - why shouldn't I appoint myself to a bunch of minor positions? A letter from the Third Bursar is sometimes exactly what you need, when something from the desk of the Autarch is too much. (23)


**


"There is no limit to stupidity. Space itself is bounded by its own curvature, but stupidity continues beyond infinity" - My god, he admits it! (24)


**


The Autarch, must be mentioned, has cat-lady bodyguards. No word if they are radical anarchists. They call him 'Legion', which is neat and also very appropriate. (24)


**


I do really like the big reveal of how the Commonwealth works vis a vis the Autarch - the Autarch serves to protect the commons from the aristocracy, the aristocracy serves as a barrier between the commons and the Autarch. The Autarch is composed of people from all walks of life - most of them lower class, many of them criminals - so that he can use those inherited experiences to make better judgements. It's almost a case of benevolent tyrant (empathetic tyrant?), but as the Autarch tells us "Your error lies in thinking I am at the bottom of everything. No one is." (25)


**


The bombshells keep getting dropped - Thecla was indeed working for Vodalus, and was captured by guards of the House Absolute and shipped off to the Citadel for that reason. Confirming that Severian's weird loyalty to Vodalus is, in at least part, the result of inheriting Thecla through the alzabo. That doesn't explain to me why he has those thoughts in pre-Thecla points of the narrative (as Sev generally does not mix mindsets while writing, given how his memory relives things) but I find it suitable explanation on the whole.


Also worthwhile is the notice that Vodalus' hidehout was a mere dozen leagues (~36 miles) from the wall. Don't know who he thought he was fooling with that. (25)


**


Severian forgets, or appears to forget, or hypes himself up into forgetting, for the first time here (25)


**


He says that the House Azure was an "odd name" he came to understand, but no clarification follows. Typical. (It's called the House Azure because the building is fucking blue, Severian) (25)


**


The current autarch was approached by his mentor, Paeon (whom we will know later as an aquaster) on the night in the House Azure and told that Severian was the next in line. We have ourselves a setup. (25)


**


Agia re-appears once more, now having enlisted in the Vodalarii as her way of getting the battlefront and across into Ascian territory, just to get her hands of Sev. Talk about dedication. (26)


**


I have spoken of the doctor (and Severian's odd behavior) previously, but additionally is the revelation that, apparently, corpse-eating is common among the psychician's class, and doctors do it much more effectigvely than Vodalus. Which brings up why Vodalus has not bothered to do this more effective method. Or he is completely unhinged, as indicated by everything else he's said. The guy casually drops that he does horrific human experiments (26)


**


In his imprisonment, Severian discovers hauntology -"We all have in us the ghosts of long-vanished things, of fallen cities and marvelous machines" (26)


**


Sudden cut to present (Severian as he is writing things), where he describes the levels of transcendence and the rituals therein: Stage 1 is Aspiration (Private prayer), Stage 2 us Integration (Public Worship), 3-5 are unknown, 6 is Assurance, 7 is Assimilation, both undescribed. (28)


**


Back in the past: Jesus his knee and thigh are absolutely fucked from his injury during the battle. (28)


**


The women who serve Vodalus all joined for reasons disconnected from his actual motives, and none of them wish to remain in his service. Worth nothing (28)


**


The alzabo inheritance is similar to not distinct from the autarch inheritance, which puts me in mind of mentions in the first Vodalarii camp that the Heirodules had some similar treatment and could recognized alzabo usage. (29)


**


Here near the critical moment, Severian admits to the Autarch that he had hated him, and the Autarch answers that he was right to do so - that "until the New Sun comes, we have but a choice of evils" and the evil of the Commonwealth is to trap itself in stasis (whilst Ascia pursues progress in the name of making all humanity unified in thought and deed)


**


Severian alsmot immediately after becoming Autarch sequesters Severian the Torturer as another person (30)


**


Agia kills Vodalus offscreen (and as we find out in Fr. Inire's letter later on, replaces him as leader of the rebellion), so I think now's a good time to bring up how much I love Agia / Vodalus as a Satan figure (some will say that Typhon is the Satan figure, what with the temptation in the desert, but I feel like that is entirely too Protestant for this book, hear me out)


So Actual Biblical Satan is a nebbish lawyer on God's payroll. Exposure to Zoroastrianism and Hellenic Syncretism (and then Milton and Dante) lead to our modern conceptualization of the character as a sort of adversary on seemingly equal footing to God (American Evangelicalism: whoops it's actually Manicheism!) That is totally out of line with the Catholic view that evil has no substance of its own, but is instead a lack of good (I will give Augustine of Hippo one (1) good idea gold star for that one and then return to wishing that he had been mauled by an actual hippopotamus and spared us everything else he said).


Wolfe plays his Satan analog a lot like how Tolkien plays Melkor - a force that, while dangerous in the here and now and on the scale of the characters, is ultimately ineffectual on the cosmic scale because they have set themselves against a force that can play them like a fiddle and twist everything they do into service of a greater cause.


Both Agia and Vodalus are obsessive losers, consumed utterly in their hatred of the conception of the Autarch / Severian that they have constructed in their head (I appreciate that this is spelt out directly - how simply Wolfe is able to lay bare the foundations of senseless hate) and incapable of actually ever hurting their targets in a meaningful way. (30)


**


And now, the aquastors appear and we get yet another series of bombshells - the Green Man was working on behalf of the Ship, which is now projecting aquastors (constructs formed by the subject's memories of figures they knew) of Malrubius and Triskele to Severian - and thus all those apparent hallucinations were the aquastors reaching through the Corridors of Time. With Paeon being a similar projection (and with the great history of time to be revealed shortly), it's made abundantly clear that Severian is the result of a major undertaking. Abaias and Erebus are directly stated as trying to stop or subvert it. (30) We get roundabout terms of what is to follow - go out beyond the planets, stand trial (31)


**


I love how Aquastor-Malrubius admits that he's a deus ex machina. (30)


**


Gelding as the punishment for failing the trial makes little sense to me - You would think, if that's the only downside, there would be a great number of Autarchs who have already had children and don't plan on having more, or who would think "eh, whatever" - like I can see why it would be a terrifying prospect for Severian (as most of his neural power is tied up in his dick and his conceptualization thereof), but the "no children, no heirs, no inheritance of the throne" makes no sense if it's applied only after the test - because any autarch's children wouldn't inherit anything if the process was completed according to spec normally, and the neutering wouldn't do anything to stop children who already existed from learning the passwords. (31)


**


Ymar was the most recent to fail, before Appian. He is, we learn, in Urth the first Autarch, and I dislike that premise quite a lot and preferred it when it was vague and unanswered. (31)


**


And the Claw's little time-loop has it's beginning - a rose bush on the beach. (31)


**


"The idea is absurd. But then, all ideas are absurd." (31)


**


There are children among the former autarchs. Which, while it speaks to the breadth of experience the Autarch possesses, it's also horrifying. Alzabo Soup suggests that in there cases there might have been more palatable means of transferral, but after transfer, life is going to be hell and a half for anyone, let alone a kid. (32)


**


There are many ships described at the mouth of the Gyoll, but no port. Which is a really weird omission - either by the Commonwealth as a civilization, or Severian as narrator. If you've got a major river emptying out into the ocean, even one as heavily-polluted as the Gyoll, there's going to be a city there. That's how humans work. Even when it's a terrible idea (like New Orleans) we'll stick a city there.


**


The journey aboard the Samru is 20 days - the longest elision of time we get in the entire series. Also, more theatrics. (32)


**


Finding Dorcas in the ruins is the point where I say that yes, even Severian is capable of positive personal change - he says nothing, he does nothing, he does not intrude or overbear - he recognizes, without being told, that he would not be welcome here.


The boatman is here, which says to me that Dorcas knew where to find him - as I recall him saying in Claw that he rents a room near the gardens from a friend. I do not know how she would have learned of his presence.


Another scene I love a great deal. Excellent emotional closure. (32)


**


One of the prior Autarchs must have been a sailor or a very hyperfocused maritime scholar, because Severian sure does know a lot about how boats are made now. AND HE WILL TELL IT TO US IN DETAIL. Also, the sailor's rowing song again - perhaps it was the Samru we saw in Claw (33)


**


I like how, on Sev's return to the Citadel - even though he has been gone only a short time - everyone else seems much older (Palaemon, the Castellan) or much younger (Drotte, Roche, Eata) (33)


**


Palaemon, we must remember, was quoted as saying that clemency was the illness of the age. But he is the one who argues for Sev to be exiled, instead of killed. A hypocrite for good, in the end.


Still, he argues for the guild's continued existence against Severian. Sev's track of logic is an interesting one - he is very much concerned with the damage done to the torturers perhaps even more (or at least, more focused upon here) than the clients. Palaemon says that torture must be carried out by good men and they cannot afford to have it be carried out by evil men (he's very much in a "I must justify these means" state of mind) - but, of course, Severian is right - men made to do monstrous things will, in short order, become monstrous themselves (33)


**


"The state is everyone else...we are the people, the Commonwealth" - while this is true, and we get confirmation here that most Autarchs were lower class or 2nd rate scholars or minor bureaucrats (ah, if only), I find myself disappointed by Urth narrowing how many we hear and see. Sure it's economy of storytelling - Roku, Kyoshi, Kuruk, Yangchen, and then the undefined masses - but a few more beyond Appian would have been nice. (34)


**


In a repeated theme of "Wolfe off-handedly mentions something incredibly fucked up", there's the woman in the dungeons who makes furniture out of children. (34)


**


Another asterisk elision (34)


**


Right then, Time for the Secret of Time

  • Time is cyclical, a series of repeating universes expanding and contracting. They are not called kalpas, but I shall call them kalpas.
  • In one kalpa - the previous one, if this is to be believed, a species very much like but not entirely unlike humanity was able to, by the close of the universe, create beings like them, who in turn were able to grow into a form that could escape the end of the Kalpa into Yesod - the realm above our cycling universe. From that vantage point, they can see all time and space. (We learn in Urth these are called Hierogrammates)
  • The Heirogrammates discover humanity of Severian's universe, and recognize that they could, in time and the proper preparation, rise to the status of the Heiros (the near-humans that created the Heirogrammates). They build the time-ships and construct / recruit heirodules to crew them, and then observe and faintly interact with humanity over ages.
  • "Because it is as cruel as the means by which themselves were shaped, there is a conservation of justice; but when the New Sun appears, it will be a signal that at least the earliest operations of the shaping are complete - in light of what we learn in _Urth_...god I fucking hate this passage. It reads like Twitter's Main Character of the Day going "I don't believe that people should have debt relief or access to medical care because if I had to suffer through it, so should you" and guess what, that's exactly how Urth turns out (more on that later)

**


Back to earth, comedy with the locked doors in the Citadel, followed by the Autarch's chambers. The mandragora in spirits (read: an embalmed fetus that is able to psychically reflect the viewer's thoughts and thus appear to speak - and is either sapient enough to desire death, or merely recites lines that the viewer would consider appropriate.


We are introduced to the 'fabled emerald bench', and told nothing else about it. I appreciate a good shitpost like this, and thus from hereon I shall address this only as the FABLED EMERALD BENCH and hedge my entire interpretation of the Solar Cycle wrt the connection of elements to the FABLED EMERALD BENCH (35)


**


Fr. Inire's Letter contains a great many important details

  • Agia was set in place to replace Vodalus as head of the rebellion.
  • The battle of prior chapters was a pretty standard engagement in the war.
  • More soldiers are needed; units need replenished, replaced, moved.
  • Seditious units need pacified
  • We need to buy more equipment from the other heirodules (high-ho war profiteering! AWAY!)
  • Inire warns that the Ascians might be able to break through the lines in the coming year, and encourages preparation in case it does happen
  • The time-ship is considered inadequate, but it was all Inire could manage to get a hold of
  • there are two other servants by the names of Hormisdas and Olager, who are dealing with Abaia in some manner. We hear nothing else.
  • Urth is considered of minor importance by the greater powers, when compared to the many human colonies across the stars, and even then the Commonwealth is considered to be not particularly notable when compared to the Ascians, the Xanthoderms, and others.


We get in Urth that the Xanthic Lands are islands west of the Commonwealth. Judging by tectonic patterns (if they hold true before Urth's core fails ... Actually, if Urth's core has died then there shouldn't be much of a magnetic field - I don't think anyone uses a compass) I would suspect that they would be located either in the Easter, Galapagos, and Juan Fernandez hotspots - or more likely they are a series of new (to us) islands and perhaps some older ones like New Zealand or Polynesia, formed by the subduction of the Pacific Plate underneath the Australian.


I also believe that the name is literal, and that they do indeed have golden skin, though there is always a case that there's a bit of in-setting racism going on (as we have seen evidence of previously).


**


Talos returns with a false coin, the same as Vodalus' from so many years ago. There's a lot to be said about Sev's "symbols make us" etc etc, and frankly we can summarize all of that down to this this - men will invent symbols even where there is no reason for there to be one, and even when they are false they will shape the people who exist in their sphere of influence.


Also does this mean Vodalus kept around counterfeit coins as a cheap means of bribing common folk who wouldn't know any better?


**


The last Autarch in the citadel is older than the shared memory - which, considering what we learn in Urth, means that the project did not begin until well after Ymar. (36)


**


Using the laser pistol to light a fireplace = more comedy gold. (36)


**


The incident with the sailor, describing an enormous boat going the wrong way down the river, followed by the voices of women and one very large man - Abaia and the Undines obviously for the latter, less clear on the former. They know what is going on, and seem to be panicking. (37)


**


"That ignorant and innocent man I killed with his own axe" - Well shit, that finalizes a lot of context for the graveyard scene. Makes sense, though - Severian is rather violent regardless of context. (37)


**


Right then. Sev has gathered the lads together to solve the mysery of the note from the Inn (which he has already solved, but not mentioned). To whit:

  • Note was written by Ouen, the waiter at the Inn of Lost Loves.
  • Ouen is the son of Dorcas and the Boatman
  • Ouen had a lover named Catherine, who was taken in by the law.
  • Catherine was a runaway from an order of monials, which we can presume is the Pelerines
  • (This means that she was, as Ava established, higher class - an armiger or even exultant. Thus explaining Sev's height.
  • Catherine was taken to the Citadel to be imprisoned, where she gave birth to twins, Severian and Severa, and then died.
  • Ouen has no knowledge of any children from any of his lovers
  • Severian unwittingly fucked his grandmother
  • But at the very least he gives Ouen the gun and directions to find Dorcas, to help them out

Now, many words have been spilled about who Severian's sister actually is. I've seen people throw out Valeria, Merryn, Agia, and I consider all of those to be incredibly silly and missing the point. Remember the FABLED EMERALD BENCH? Wolfe loves nothing more than throwing shit into the story with no explanation.


So my theory is that Severa never appears at all in Book of the New Sun. She was handed off to the Witches' tower, and if conditions there are comparable to the Matachin, she is most likely dead. Coinflip odds.


**


All right. Final chapter. The Bigger, More Secret Secret of Time


Severian claims (though with no hard evidence whatsoever) that there was a prior Severian - that the events we have just read played out in similar fashion, and a torturer became Autarch. he claims that there was no Claw, but events played out more or less similarly. He then wandered the Corridors of Time, for reasons unspecified.


(Alzabo Soup uses First Severian as an explanation for conflicting memories - which is a good theory)


Again - Severian has no proof of any of this, or if he does he does not provide any. But let us assume that he is in fact accurate. Here is my theory:


First Severian goes through his own journey to the Phoenix Throne. He is either subverted by Abaia (since it is said that the Undines are interested specifically he will be a torterur-Autarch), fails at the test, or never goes on to take it. In the case of the third, which I favor, First Severian is unable to stabilize his rule over the Commonwealth / Urth - perhaps losing to the Ascians, or suffering a revolution of Exultants and getting ousted, or a hundred other things. he is never able to take the test, and the hour is so dire that there cannot be another Autarch - there's no time. Severian or no one.


First Severian, having failed, bails into the Corridors of Time (likely ushered in by the Ship and its Aquastors)


So, since there are no other options and Severian _must_ be the Autarch to bring back the New Sun, a plan is made (potentially by the prior Severian, or by the Ship itself. The Green Man recruited into it, and potentially Fr. Inire aware of it. Of other heirodules...they have to be involved but I can't see how.)


With the timeline effectively rebooted, we get the journey we just read, of Severian 2.


Now, we're going to get a bit wild for those of you who had not read Urth, scroll past this segment if you want to avoid it.


The Lexicon Urthus hypothesizes no less than 8 iterations of Severian. I disagree, and instead have the following

  • Severian 1 - Alpha-timeline Severian. The one who fails in the mission and goes onward to wander in the Corridors of Time. I think he's the one who builds the tomb in the Citadel graveyard.
  • Severian 2 - The Severian we all know and love-hate. Creates the Claw and goes on to die by falling down a maintenance shaft on Tzadkiel's ship (without the Claw to aid him, it seems his lifetime of resurrecting every time he gets himself killed is no more - wait but he still has the Claw, he gives it to folks in Typhon's time...fuckin' hell)
  • Severian 3 - An aquaster made by Tzadkiel. Completes the trial, becomes the New Sun, goes into the past to become the Conciliator, returns to future just in time for the flooding of Urth, dies in a Very Confusing Manner (?)
  • Severian 4 - Apu Punchau - who might be Severian 1, but is more likely a second aquaster iteration of Severian 3. Killed by his people, resurrected by the Cumaean, fuses with Severian 2 at the end of Claw (thus explaining where all that sudden mental stability came from. 
  • Severian 5 - Another aquaster, generated after Apu Punchau is killed. Goes on to the future of Ushas, writes his account in Urth of the New Sun.


God I have been writing this a while, I had completely forgotten about my "Sev merges with Apu Punchau in a sort of temporal paradox waveform collapse, and Hildregrin is caught in the blast radius.


**


And now, the end. Retracing his own footsteps to Valeria. And even though we never learn who she is, I find this, ultimately, extremely narratively satisfying.



Regarding Urth of the New Sun


I will not be going into great length (this, I - the Dan of the future from when I wrote this, which was actually prior to finishing the section on Citadel - must inform you is a lie) on Urth of the New Sun here, as I've found that as time goes on and I think more about it, I like it less and less. As tends to happen with these sorts of developments in narratives, the things I previously enjoyed become of lesser importance, and the things I did not care about before are given a spotlight (I do wish this would stop happening). It's still Wolfe, for all the good things that entails, but it is a drastic stylistic shift (one I did not particularly care for) and its climax hinges on a premise that I do not consider valid.


It would be, using only Book as a base, easy enough to view the catastrophic flooding of Urth as a tragedy with Sev acting as an unwitting stooge to the very end for his part in it. Urth makes that stance significantly harder to maintain, and this is the great stumbling block: I don't think that the Flood narrative is salvageable as a piece of literature without taking a hacksaw to it, and Wolfe has never been one for battlefield amputations. While he is, on the whole, more thoughtful in his philosophical Catholicism than any author who is not Gene Wolfe, he is still unable to overcome "the deaths of millions are an acceptable loss in the divine plan" and its inherent moral repugnancy. "All the world is corrupted and sinful" is a cop-out justification avoiding the issue of countless dead innocents and a divine force that would rather kill everyone instead of lending any meaningful material aid to those suffering.


So it is, with Urth of the New Sun: humanity is judged in absentia for crimes no one alive committed by the Heirogrammates, who care about them only so much as to prevent any competition from a violent and aggressive interstellar humanity (thus is their justification for crippling the sun) and as the eventual source of the next generation of Heirogrammates (we are, it seems, a necessary part of their reproductive cycle, which will require the New Sun to proceed).


Severian, as Autarch, is representative of humanity - but he contains only a few thousand minds within him. The millions remaining on Urth get no voice, and even if they did, it would not matter. If Severian failed his test, they would all die. If Severian passes his test, they would all die. It is meaningless, to the teeming poor of Nessus, that their Autarch has travelled beyond the boundaries of the universe and conversed with the greater powers - visiting Yesod does not suddenly make bread for the hungry or grant any relief to the downtrodden. They will die, evil and good alike, and there will be no justice in this because the good, or at least the mostly good - the decent and the mostly-so - will have none of the worldly benefits afforded to them by evil acts and their deaths will be mere capstones on lives deprived of peace and prosperity.


At the end of Citadel the aquaster posing as Malrubius tells Severian if it is better to have mercy and justice, or the material benefits that the New Sun might bring. Severian admits that the New Sun is needed first, and that mercy and justice might come later. And in that framework, perhaps the coming of the New Sun might be swallowed as a terrible, horrific thing, accepted only because all other options have all been spent and we are running out of time.


Which is all thrown right out the fucking window in Urth with the addition of the literal godlike being in a fucking time-travelling spaceship.


I re-iterate: Tzadkiel can play space-time like a fiddle (the Ship we meet before is more of an autonomous drone). They are not God but they are operating at the level where the distinction is academic. They have incredible power - they have the ability to help - and they do jack shit. They do jack shit about the megatherians, they do jack shit about the material conditions on Urth, they crippled the sun because humanity was dangerous but they didn't lift a fucking finger to try and teach us not to be. We're just supposed to pull ourselves up by our bootstraps out of the poverty and ignorance that the Heirogrammates directly caused and have continued to maintain.


Was Typhon a terrible dude? Yes. Did he need to be stopped? Yes!


But when you're a literal godlike being in a fucking time-travelling spaceship, you have a whole lot of options at your disposal, AND MAYBE THE ONE THAT HURTS THE PEOPLE VICTIMIZED BY TYRANTS LIKE TYPHON MORE THAN TYPHON HIMSELF IS A FUCKING BAD CHOICE YOU UTTER BUFFOON, YOU COMPLETE AND TOTAL NIMROD, YOU ABSOLUTE JAGOFF.


INHALE


EXHALE


PAUSE


What a wild thing, what an absolute bugfuck response; to see a band of starving, terrified apes and to witness the horrible things they do so driven by hunger and fear, and then to not only do nothing to alleviate the starvation and terror that fuel their evil acts - when it is entirely within your ability to alleviate it all - but to make the material conditions worse and then blame the apes for not overcoming a more difficult world than what they started in.


inhale


exhale


pause


You will recall that I once worked in a group home for sex-offenders. Whatever the worst thing you can imagine is, hearing that statement, I can assure you that it happened, and that knowledge of worse things still have been seared into my memory. I have met Severian, multiple times over, though I did not read BotNS until years later. I came out of that experience firm in the belief that we must, as a society, extend some measure of mercy even to Severian - but it killed on the spot any patience I might have for people who make arguments attempting to explain why the divine will not come to the defense of Severian's many victims - and furthermore, to argue that this is acceptable in the grand ordering of the cosmos, to argue against even the slightest whiff of anything that might alleviate pain and suffering because their God is a torturer.


(The mystics, with their God-as-Action and God-as-Becoming, they have better arguments to stand on. But they are not the orthodoxy, and they are busy meditating atop their pillars, and so I will leave them be.)


Gene Wolfe, for all his many strengths as a writer and for all my love of his work, cannot convincingly square this circle, and Urth of the New Sun is a worse book for the attempt.


(Also it opens with Severian nearly killing himself on an unattended, no safety tools spacewalk, and that is suspension of belief shattering. Not that he'd do it, which he absolutely would regardless of the prior autarchs' advice, but because apparently he was never given a handler and Tzadkiel's ship apparently has neither maps nor a PA system. Or Severian might be an idiot and just never asked)


(Also none of the answers we got were much more satisfying than what could be surmised from Book, and in some cases (Ymar in particular) were worse.)


(I can't say don't read it, but I can say "read it once and proceed to forget most of it" as your best bet.)

 


Final Notes


What a good book (except for Urth). What an excellent god damn book (except for Urth). Magnifique (Except for Urth). The next re-read, I am certain, shall be just as fun. And will not include Urth, unless Alzabo Soup reveals some great transformational information.


There are many more things to be said but I have gone on long enough.


Thank you all for reading along on this journey with me. I probably got a whole hell of a lot wrong, but it was a great time.


Also I wrote like, over 10k words in the space of two and a half days holy shit the new meds are working.