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Century Rain (Revelation Space), by Alastair Reynolds
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Alastair Reynolds's Revelation Space trilogy is "one of the most impressive serial space operas of recent times" (Locus). The award-winning author continues to forge the future of science fiction with Century Rain.
In the far future, the technological disaster known as the Nanocaust left Earth uninhabitable. Archaeologist Verity Auger continues to explore the remnants of the planet's environment. But Verity is needed to examine something far more important-the discovery of mid-twentieth century Earth at the far end of a wormhole. And on this alternate world is a device capable of destroying both Earths if Verity cannot find the man preparing to detonate it in time.
- Sales Rank: #896399 in Books
- Brand: Ace Hardcover
- Published on: 2005-06-07
- Released on: 2005-06-07
- Original language: English
- Number of items: 1
- Dimensions: 9.06" h x 1.59" w x 6.44" l, .0 pounds
- Binding: Hardcover
- 512 pages
- Great product!
From Publishers Weekly
In his latest SF novel, Reynolds (Absolution Gap) creates yet another quirky, noirish vision of humanity's future. Three centuries from now, a technologically induced catastrophe, the Nanocaust, makes Earth uninhabitable. Two versions of humanity—the Threshers, who live in a ring of habitats encircling Earth, and the Slashers, who inhabit the outer planets—each blame the other for the disaster. Both groups share access to a system of artificial wormholes, one of which turns out to contain a perfect copy of Earth, sealed off from the rest of the galaxy, at its far end. The Threshers send archeologist Verity Auger to investigate. On this subtly different version of Earth, Wendell Floyd, a second-rate detective and jazz musician living in Paris in the year 1959, is looking into a very odd murder. Then Auger shows up claiming to be the victim's sister and pursued by lethal creatures who look like decaying children. While Reynolds beautifully details this alternate-universe Paris and handles the developing mystery with aplomb, his Thresher and Slasher cultures lack depth and his climax feels a bit jury-rigged. Still, fans of sophisticated hard SF should be pleased.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Twenty-third-century Earth is an uninhabitable wasteland overrun by rogue nanotechnology. When archaeologist Verity Auger, studying the relics of twentieth- and twenty-first-century Earth, is accused of reckless endangerment after a child in her care nearly dies, shadowy government forces within her department offer her an out in the form of a mission to retrieve information from somewhere where her knowledge of the mid-twentieth century will be useful. Not until she is well underway do they inpart that her destination is an ALS (anomalous large structure) at the end of a wormhole in which 1950s Earth, slightly changed, is preserved. At that other end of the wormhole, Wendell Floyd is a Parisian PI working a case that gets stranger and more dangerous as he and partner Custine uncover the evidence, which is precisely the information Verity must fetch. The threads come together in a race to save both Earths from extremists, in which Verity and Floyd frantically search for the significance and location of three metal spheres. Reynolds blends noirish sleuthing and hard sf remarkably well. Regina Schroeder
Copyright © American Library Association. All rights reserved
Review
"Century Rain fuses time travel, hard SF, alternate history, interstellar adventure, and noir romance to create a novel of blistering powers and style." ---SFRevu
Most helpful customer reviews
0 of 0 people found the following review helpful.
Alternative history that isn't really alt-history
By GPS
I have some affection for Alastair Reynolds, but this book was a great trial to get through. I started reading it about six months ago and it never quite truly grabbed me and dragged me along. I ended up reading a few pages at a time and then putting it down. I did ultimately finish the book when I should probably have just parked it and forgotten about it.
A big part of the story surrounds a jazz musician/detective in an alternate world Paris coming into contact with a woman from the 22nd century. I can't say Reynolds isn't creative. He does a decent job rationalizing and making 'explicable' a completely loopy set-up. Rationalizing is perhaps one of his great strengths. Some of the action in this story is pretty well done, though --without getting into details-- I would also say it's somewhat by the numbers and not very surprising. This book may well appeal to people who like alternate history, but that's tempered by the fact that Reynolds is somewhat more interested in what happened to 'real' Paris in his future world than he is in how Paris of alternate history is significant. The alternate Paris more or less existed to be a source from which to pull a 1950s guy into a future world. The only thing that is ever really brought up as alternative about this world is that they haven't gone anywhere with computers because WWII didn't happen, but nothing deeper or more substantial than this.
There are a lot of little things in this story that felt very useless to me. The character Custine and most of plot involving people of the 'other' Paris is tacked on and left incomplete, jettisoned when the author decided he would rather be describing wormholes and talking about technospooge nanotechnology. This population is there and liable to be destroyed by the future people, but Custine in particular never gets a chance to prove his innocence or to face off against the war babies (and, speaking of whom, what the hell happened to them?) Floyd exists simply to be a POV character for the reader to look at a future world that he can't understand, but the author couldn't even completely commit to this strategy and had to flesh out the character Augier independently. The romantic attachment between Floyd and Augier is not believable at all in large part because the author interrupts believable chemistry by spending huge amounts of time explaining nuts and bolts of the technospung of their circumstance and having rather typical Reynoldsian question-answer sessions where one character interrogates while the other spurts technobabble answers --not conducive to romance. Their parting felt like a bad version of Casablanca. Floyd's otherness is never really exploited because the author spends so much effort trying to rationalize technology when he could have been supporting Floyd out of water. Is there any point where Floyd should ever ask a coherent question about space-time or wormholes? I would volunteer 'no.'
Further, the set-up of having earth preserved in amber at some node along a wormhole transit network got a big 'WTF?' response from me. What are the odds that humans will wander out into a galactic scale subway network and tumble over a clone of Earth? Stratospherically impossible maybe? There are about a billion more believable discoveries out there that we would spend time on first, I think. Even if all ALS bodies contain the home worlds of alien races, what are the chances that humans stumble onto Earth first? While the author did a decent job of rationalizing that maybe it's possible, the setup is just so improbable that if the author fails to suspend belief, a reader is going to have some difficulty with this. I was not surprised that the author didn't bother talking about the origin of the ALS structures mainly because he tends to inhabit a universe where god technology is sitting abandoned at every corner, but it's kind of sad that he never seems to feel obligated to finish one of these stories.
One might also note that this story did not age well even in the dozen or so years since it was written. He has a lot of view screens and keyboards... which seem trite considering the touchscreen tablet computer I'm writing this review on.
3 of 4 people found the following review helpful.
Toujours Paris
By lb136
I've never read anything quite like Alistair Reynolds's astonishing "Century Rain." A noir whodunnit that turns into a spy chase that turns into a space opera of epic proportions, it's set several centuries from now, where the Earth has suffered some sort of biological castrophe instigated by the law of unintended consequences. It features two competing human factions, the Threshers (essentially preservationists) and the Slashers (the techies--themselves divided into two factions) who are at odds.
At first, most of the action takes place on an alternate earth, E2 (one of the characters speculates it's a backup of our earth), preserved in quantum amber, that diverged from our earth in 1940, when Hitler's invasion of France was stopped by the French (Hitler is seen briefly as a sick wheelchair-bound aging prisoner). As a result, the technological advances instigated by WWII never happened here, where it is now a technologically stagnant 1959.
The first quarter or so of the book is told from two different points of view in alternate chapters. In one sequence, we follow Thresher Verity Auger, who's sent via wormhole transport to this E2 in order to learn what happened to one of their agents, Susan White. We know, however, that she has either fallen or been pushed off a balcony. We know this because:
The other POV is that of a local private eye named Wendell Floyd, who moonlights as a jazz musician. He takes the case after the Paris police seem uninterested in learning whether White jumped or was pushed, but her landlord-friend is, and hires Floyd to investigate. Finally, Auger and Floyd meet, the POVs merge, and the story tumbles off.
Mr. Reynolds, whose Revelation Space series speculated brilliantly on a high-tech future, this time tries to re-create a mid-20th-century space opera (maybe you'll have fun figuring out where John W. Campbell would have placed the "continued next month" break if he'd serialized this in "Analog") all the while riffing on scientific knowledge of today. The craft that goes through the wormhole, for example, features pistons and analog dials that glow red when what they measure is dangerous, and green when they're safe. And the Threshers communicate via p-mail--printed paper sent via pneumatic tubes (eventually you'll learn why).
After Auger and Floyd meet, there's much snappy noir dialogue, and various secrets are revealed during a chase sequence. (There are many chase sequences.) It's great fun; it's meant to be enjoyed, but probably not analyzed.
This is a standalone, but there are enough loose ends for a sequel, if Mr. Reynolds is so inclined.
13 of 17 people found the following review helpful.
first novel reworked?
By Twisted Universe
All the earmarks of an early novel -- not remotely in the class of Revelation Space series in terms of plot sophistication, crafting of cultures, motivation of characters and such.
In fact "Century Rain", when stood next to Reynolds supposedly earlier books, is so much less an effort, that it smells of a cheap publisher scam -- find some unpublished early work by newly acclaimed writer, spruce it up a bit and publish it as a later work.
Almost half the novel is smothered in a tedious and embarrassingly ill constructed "out of the frying pan" sequence where the two protagonists escape from one increasingly improbable death defying situation only to land in an even worse mess
Scant attention is paid to the pace, detail, nuance and character motivation that made Reynolds wonderous Revelation Space series the gold standard of hard SF.
On the whole, I want my money back!!
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