Of all the (now 23) novels that I’ve absorbed by audiobook in the past six months, none has had such serendipitous timing with other events in my life as THE RISE OF ENDYMION, the last in a series of four within Dan Simmons’ HYPERION universe. Just a quick clarification on that: HYPERION (CANTOS) and THE FALL OF HYPERION are a single, self-contained story told across the first pair of novels, while ENDYMION and THE RISE OF ENDYMION are their own complete story across a second pair that are set several centuries in the universe’s future that both function as a more traditional Hero’s Journey/Monomyth-type tale but also augments, alters, informs and reveals larger truths and obscurities behind the previous two novels’ tellings. There are innumerable resonant quotes throughout all four of the HYPERION books on life, death, immortality, love, vengeance, resurrection, trust, faith, truth, time, evolution, technology, humanity, inhumanity, myth, poetry, fable, story and all the spaces in between – it’s impossible to drop a single one without wanting to cross-reference it with a dozen more. I will hardly even touch on the actual journey of Raul Endymion, Aenea, the android A. Bettik, the fantastic Shrike (the truth of which we finally learn in twist of irony so poignant to certain characters in the series that even uttering that much verges on spoilers) or the host of other characters pursuing and aiding them, including a monstrous “woman” so brilliantly, threateningly beyond-Terminator-esque as to give even the legendary Shrike a run for its money.
Twenty-two books down on audiobook alone since October last year! Hot damn, that seems like a lot…
I was intending to write up Dan Simmons’ ENDYMION last night as I finished around halfway through the work shift, but alas I managed to be under a wall of boxes when it came down and took a solid thump to the head so spent the rest of the night in a mild, headachey daze, and really didn’t have the brain function to cobble a sentence together. Tonight, my phone mysteriously erased the sequel, RISE OF ENDYMION, from my library so instead I had to look into my backup supply of audiobooks and managed to get through the entirety of the first HITCHHIKER’S GUIDE TO THE GALAXY in its place, so now it’s a double-up!
Shrikes are passerine birds of the family Laniidae. The family name, and that of the largest genus, Lanius, is derived from the Latin word for “butcher”, and some shrikes are also known as “butcher birds” because of their feeding habits – known for catching insects and small vertebrates and impaling their bodies on thorns, the spikes on barbed-wire fences or any available sharp point. This helps them to tear the flesh into smaller, more conveniently-sized fragments, and serves as a cache so that the shrike can return to the uneaten portions at a later time. — Wikipedia
It’s something of a tricksy task trying to analyse the sequel to HYPERION, in that it’s not so much a sequel to what has almost instantly become my favourite sci-fi novel ever as it is a continuation of the story picking up immediately from the pilgrims’ arrival at the Time Tombs on the titular planet at the very end of the first book. So really, the two should be viewed as a single story in two parts and ideally I’d have thus reviewed them together, but there’s jsut so much to each of them in their own right as well that it was certainly wiser to do it in halves. Eschewing the Canterbury Tales structure of the previous volume, THE FALL OF HYPERION is not more about the groups’ individual reasons for coming to the planet to ask The Shrike for a single wish as it is the story of what those wishes are and the consequences they will come to have for all of existence.
Working on a lot of script things over the years, one question that’s often come up in my mind is: “If you could adapt one series from whatever medium into film or television, what would it be?” And quite simply, it’s HYPERION. Standing as it does at #15 on the Top 100 Sci-Fi Novels Of All Time, and as such in the company of certified masterpieces, even still it leapt out at me for it’s incredibly rich and beautiful imagery, horrifying and literary language (the poet Keats is recognised as a huge influence on Simmons, and his presence is felt throughout the tale in more ways than one), and a Canturbury Tales style use of chaptered storytelling that weaves any kind of fantastical science-fiction together into a sprawling, faceted gorgeous story of stories, each stranger and more impressive than the last. Concepts and themes I’ve loved on other novels and films are here condensed and interwoven into a much larger whole. Perhaps its only flaw is that it ends on a total cliffhanger that picks up in THE FALL OF HYPERION – which I haven’t read just yet but plan to as soon as is humanly possible. I feel a real urgency to continue experiencing the tale that I have seldom have grab me so thoroughly, so as far as reviews go I can hardly lavish much more praise upon it without seeming facetious. Consider that my glowing recommendation.
A thief was on trial before the Sultan and sentenced to death. He asked the Sultan to spare his life.
“You don’t know it, but I am the greatest teacher in your land. If you spare my life, I promise to teach your horse to sing hymns.”
The Sultan smirked but accepted the offer. “You have a year, and if the horse cannot sing, you will be killed.”
Daily, after that, the thief spent his time singing hymns to the horse. His friends laughed as they saw him and asked what he hoped to accomplish.
“Many things can happen in a year,” the thief told them. “The Sultan may die, the horse may die, I may even die. Or, maybe the horse will learn how to sing.”
canticle (from the Latin canticulum, a diminutive of canticum, “song”) is a hymn, psalm or other song of praise taken from biblical texts other than the Psalms.
The divide of Church vs State has been around since approximately forty-five seconds after the rise of churches and/or states (whichever came latter), and to this day remains a touchy subject in a realm of touchy subjects. Don’t talk about politics or religion over the dinner table, someone’s parents have echoed throughout time, but Walter M. Miller’s A CANTICLE FOR LEIBOWITZ doesn’t so much focus on the aggressive dichotomy so much as it broadens the scope to tell how each shapes the other in turn, and how the results become neither and both. As each side tries to co-opt the discovery of articles relating to Saint Leibowitz (an engineer in the time immediately proceeding the Great Flame Deluge/Third World War of Atomics) Miller looks at the ways that various sociopolitical factions approach information and fact, and tailor it to their own agendas as humanity first crawls out of a new Dark Age to a new technological Renaissance and in doing so reawakens knowledge of destructive power so vast that it threatens to break the cycle of societal/historical recurrence and technological progress/regress to eradicate mankind altogether. Mostly set within the development of the Order of Saint Leibowitz, traditional religion is forefront – much language being derived from the Latin employed by the Roman Catholic Church – though for the most part they are portrayed as more centrist-atheistic and institutionally focussed in practice. Primarily, this is divided into three sections of the book, each a little over a half-millennium apart:
It’s hard to look at anything based on cyberpunk ethos and not immediately draw comparisons to William Gibson, but I’ll be damned if Neal Stephenson hasn’t written the finest Gibson novel Gibson never wrote. SNOW CRASH is the quintessential 90s imagining of The Future complete with tech skateboards ridden by young Kouriers delivering data packages for the mafia, street-punk lingo, katana-wielding pizza deliverymen, Moby Dick references, a fantastic antagonist, hard-wired physical technology and detailed descriptions of “The Metaverse” – that is, The Internet That Is Still Yet To Come. I really love the optimism of the 80s/90s cyberpunk authors in the timing of evolving technology, they always expect fantastical things to arrive much sooner than real-world development actually manages but more often than not their predicitvity is more hit than miss. For one thing, this novel came out three years before the ACTUAL rise of the internet and it’s this prophetic imagination that really draws me into science-fiction. In fact, the very nature of futurist writing comes itself to inform a lot of the ways that technology is understood and grown within a society, often working as a kind of self-fulfilling prophecy (again, Gibson comes up a LOT in this area, essentially precursing the entirety of the online culture and technology in 1984’s NEUROMANCER), and SNOW CRASH is absolutely exceptional in its true realm of investigation: the correlation between the “hardware” of a human mind and the “software” of language that functions as a kind of BIOS (built-in operating system), and that of the computers we are creating and connecting ourselves to in more and more complex ways. Predicted elements include online avatars, Google Earth, cyberterrorism and personal data hacking.
Side note: Hiro Protagonist is the bestworst lead character name time of all time.
One of the small concessions of the day job I’m currently working to save for overseas is the ability to keep an earbud piping things into my brain for the five or six hours of repetitive labour. Currently, the weapon of choice is a number of audiobook titles in the Top 100 Science Fiction Novels of All Time that I haven’t yet had time to get to reading, so the exercise is turning out to be an immensely satisfying two-birds-one-stone kind of venture. Over the Xmas period I managed to get through the entirety of Frank Herbert’s millennia-spanning DUNE series, Stephen King’s magnum opus THE DARK TOWER (the final/middle book read by the author himself), and Thomas Pynchon’s GRAVITY’S RAINBOW. Each of these is a lengthy dissection in itself, and I may yet wheel around for them but I wanted to open on something fresh. For those who have yet to read any of the titles I’ll do in this fashion, I’ll endeavour to stick to themes, context and concept in discussion in order to spare the gratifying twists in plot in all but necessary strokes that a reader/listener would want to experience first hand. So, “review” is perhaps inaccurate, especially considering all of these are widely regarded already as being masterpieces and the world doesn’t need one more arrogant blogger throwing around his spare change on the matter.
First up, Joe Haldeman’s 1974 novel “THE FOREVER WAR”, listed as #21.