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Neal Stephenson’s Anathem has been called a space opera, but that seems inaccurate.  The characters eventually make it out of the atmosphere, but time is the subject of the book - not space.  Some of the best parts are about contemplation, piecing together puzzles and following the threads of deductive logic through to a conclusion.  A long character-building scene has to do with an art project where the characters recreate a famous battle by planting a garden full of weeds that will battle for dominance and advance their growth in predictable ways.  The kind of ideas where events play out over months, years and centuries hardly belong in space opera.  It is Long Now fiction.

The Setup

In a world far far away, the monasteries are a place where mathematicians, scientists, and rhetoricians have sequestered themselves away from the working world.  They practice a method of separation that allows for regulated exchange of ideas between the monasteries (called concents) and the outer world.  Each concent has a series of gates and subdivisions, all regulated by an enormous clock designed to run on a millenial scale.  For some, the gate opens once a year for a week.  For others, the time between openings is 10 years, 100 years, or even 1000.  This lets the secluded folks work away at their ideas without being interrupted or polluted by popular culture.  The setting projects timelessness, order, safety and ritual.  Obviously, that isn’t going to last, but it’s an idyllic sort of world for nerds, one where you can devote yourself to a higher purpose, abandon ambition, and be recognized solely for the worth of your mental work.  There are analogues between much of what monks do and what these guys do, and lots of the same sort of psychological motivation.

The Gripes

Actually, let’s take a moment to discuss the biggest failing of the book.  The vocabulary is tedious.  There’s a lot of vocabulary and world building going on here, and most of it is a waste, a distraction from the ideas and the characters.  Sure, it’s set in a faraway world and they have different word’s for different things.  But why?  In the end, there’s no real need for this story to take place on a different planet: if set here on Earth you’d have a history for free, you could reference the work ideas of folks like Plato or Pythagoras directly and you’d only need to invent new words for concepts that are actually new.  Too much of the book is set on giving alternate histories for ideas like Platonic ideals, too little on explaining the actual new ideas in the work.  Stephenson’s books are generally not great storehouses of characterization - they are a box of whizzy fireworks for your brain to set off.   That’s great - it’s fun.  But if that’s what you are going for, get to it.  The reader doesn’t benefit from learning that in this world the science monks are called “avout” rather than “devout” and their convents are called “concents”.   With so many analogues between the avout and the monastaries that we know, why not just use those words and explain the differences?  Stephenson’s path means he’s got to explain both the similar and the dissimilar, which draws the plot to a stop.  That’s why it takes a third of the book before our hero gets moving and the action starts forward.

The Push

Or rather, it shoots off like a rocket.  Once things start moving, they pulse on for 600 pages.  Ah, there you go.  That’s the rush you were waiting for.  Once it starts moving you’ve got dashing stories of survival, ninjas, instructional parables of math and geometry, explorations of Graham-Everett-Wheeler Cosmology, etc.  There’s a lot going on.  Like “Snow Crash” or “The Diamond Age”, Stephenson’s technique is to ramp up the book in a hyperbolic fashion.  Picture an asymptotic curve where there is a long flat head as the book builds the world and characters it needs, then a sudden rising motion when the real story begins to show. As you near the end, the drama, intensity and stakes have risen to staggering heights.  Unlike the previous books, this one actually seems to end.  With a real ending.  And there is resolution for the characters.  This is a pleasant surprise, given the past performance of Stephenson’s novels.

The Good

Once the action begins, it kicks hard and continuously.  Danger and excitement are ever-present, the nature of reality is challenged, exploded, put back together, and then smashed to bits again.

The Bad

You have to read 300 pages of setup.  This isn’t unpleasant, in fact these are some thoroughly written stories and they lay a great foundation for the rest of the book.  The vocabulary choice is also grating.

The Ugly Conclusion

I dug it, but I’m a fan of everything the guy’s written.  Some of the best bits of the book surface once you’ve completed it.  The length and complexity speak to the ideas of the Long Now, which apparently inspired the book.  The constant mapping between concepts and words of our culture and the book world brings to mind the Godelian mappings that  I finally began to understand in Doug Hofstadter’s “I am a Strange Loop”.   Also, no, Enoch Root doesn’t appear in this book.

I finished the book and put up a longer review of Anathem
When I got home from going San Francisco and the Caymans this Sunday I had a pleasant surprise. I had a nice advanced reader’s copy of “Anathem”, the upcoming novel by Neal Stephenson*. I’d heard reports that it was either post-apocalyptic or a space opera, but neither seems an apt description 100 pages in. So far it seems to be another new genre: Long Now Fiction. You’ve got a monastic (”mathic”) order where different sects sequester themselves away from the ever changing world outside for periods of a year, a decade, a century or a millennium.

There’s an awful lot of worldbuilding words to keep track of, which is a bit annoying, and it is starting off slow. That’s fine, though. Stephenson’s books generally don’t move like other books that have a slow rising action to a climax. Stephenson’s books tend to be first immersion in a world for a few 100 pages, then a radical spiraling climax that is vertically asymptotic against the presence of the end of the book. It’ll get exciting soon enough.

The book isn’t due out till September 30th, and assuming that I’ll finish the massive thing by then, do let me know if you’d like it next.

*Apparently I’m quite the lucky duck.  I got this through the LibraryThing Early Reviewers program and was one of the 25 recipients out of the 1375 requesters. 

I’ve joined the travel site dopplr. It’s pretty simple. Put in trips, connect through them. Useful for the frequent flying types that I’m supposed to become soon. You can see the little badge over there on the left telling you that I’ll be in Mount Snow this weekend.

Except that it tells you West Rutland, because neither Mount Snow or West Dover are understood as places by Dopplr. I picked a town near Killington, but that seems a bit lame to me.

Robert Reich wrote a very surprising book on the interplay of capitalism and democracy. His argument is that we’re seeing a lot of problems in our democracy because we have demanded too much of corporations. If, instead, we strip away some of our fiction that corporations are people, we won’t expect them to be noble, or fair, or honorable.

Instead, we should see corporations for what they are. They are legal contractual agreements between groups of people in order to generate profits. They have no purpose or concern other than the flow of capital and profit. Just as we don’t ask a gun to distinguish between good directions to shoot in or bad directions to shoot in, we shouldn’t ask corporations to do anything but obey our laws and generate as much money as they legally can.

At the same time, we shouldn’t allow corporations any entrance into democratic policy, since they aren’t people. Corporations shouldn’t have the ability to sue to overturn laws or any rights to free speech. Since they are legal agreements without morals, without any concept of right or wrong, corporations have no business participating in democratic politics. They aren’t, after all, people.

People can say things like: “I quite like cheap sneakers, but I don’t want to allow anyone to employ children to make them.” Corporations can’t do that. So people can get together and decide what rules corporations play by.

Now, this is good. It’s a good thing to have a book that connects the dots between corporate influence on politics, the changing marketplace, the economics of globalization and the legal concepts underlying corporations. I just wish it didn’t take so long. The last chapter, “A Citizen’s Guide to Supercapitalism” contains the only real proposals and it is 16 pages. The previous 208 pages are all lead-in. Frankly, I got it early on. The book didn’t need quite that much paper.

To be fair, I did have some good insights while reading.

• A good portion of the decrease in economic security resulted from container ships and other technological advances which led to a decrease in the security of large corporate profits that supported the deals between labor and management.
• People want to live on charming Main streets, but the people who work there can’t afford to live there. My neighborhood, Cobble Hill, is fantastically charming, but I couldn’t work there and afford to live there. On the flip side, I can afford to pay rent there, but I couldn’t afford to buy there. I earn around 5 times my first salary, but I can’t afford to purchase in the neighborhood I rent in. Oh, how I’ve worked the numbers but it ain’t happening.
• Fascinating nugget: Sam is a City employee, and her pension is administered by William Thompson, the city comptroller. He has heavily invested in the Fremont Mining Corporation which owns open pit gold mines in Papua New Guinea. They seem to dump toxic waste in fragile river ecosystems, which is legal since they seem to bribe the local officials to make it legal. This sucks, and Sam would never support it but Bill Thompson (he’s now a potential mayoral candidate) just is in charge of maximizing Sam’s pension.

Dear Internet,

I am watching a random horror movie called “Black Sheep” that is the funniest thing I’ve seen in ages. It’s a New Zealand horror film about horrible mutant carnivorous sheep. Their bites turn victims into were-sheep.

Were-sheep. The bottom rung of horror monsters.

Also, the acting - it is surprisingly good for a concept this ludicrous. Much better than Peter Jackson’s “Bad Taste” and a thousand times funnier.