Although I am all for authors giving us a challenging read there are times when I wish for that Glossary of Terms which used to be a major feature of Sf and Fantasy novels.
I can just about live without that here, although a list of characters may have been useful since there is a relatively large cast all bearing long and unfamiliar names. This is acceptable since we are in a far far future where humanity has diversified both physically and culturally. The main challenge in this novel is the author’s use of pronouns to denote gender, since many cultures have languages – or so it seemed to me – where misuse of the terms for ‘he’ and ‘she’ could result in a grave insult. Thus, most characters throughout the book are referred to as ‘she’ as a kind of default setting.
It’s an interesting device to employ and no doubt some critics will argue – perhaps with good reason – that such a device subverts the reader’s mental view of the characters with some no doubt seeing main characters as either male or female. On the other hand others, including myself reluctantly, might suggest that a neutral gender pronoun should have been employed since the constant use of a word with which we are all intimately familiar as denoting female is simply distracting and despite the reader’s attempts to do otherwise will no doubt result in her (or him) visualising all the characters as female. I gave up and did just that very thing early on in the novel.
Breq, as the main character calls herself, is the last survivor of the sentient ship ‘Justice of Toren’ which was destroyed many years ago. ‘Survivor’ is perhaps the wrong word since Breq was a part of the ship’s consciousness and still identifies as being the ship.
In flashbacks through the novel we discover why the ship was killed and why Breq is on a mission to track down an alien weapon that can kill those who destroyed ‘Justice of Toren’.
Leckie has to be credited with having created a rich and detailed human universe of which we only see a small part. Human civilization is mostly dominated by the Radch, which employs ships such as Justice of Toren to carry out enforcement. The Radch is controlled by a multi- gestalt human named Anaander Maniaani. Indeed, the events which unfold within the narrative all lead back to one action on the part of Maniaani, and will no doubt continue to do so with a sense of Shakespearean inevitability to some ultimate conclusion in successive volumes.
Maniaani, it appears, is suffering a schism in her consciousness, possibly as a consequence of being infiltrated by the alien Presger, resulting in her being effectively at war with herself.
The novel raises issues of slavery, loyalty, consciousness and the morality of a dictatorship which sacrifices innocents to bring peace to billions.
It was nominated for and won several major awards including the Arthur C Clarke award and perhaps justly so. It is a well crafted and complex piece which is all the more importantly believable and featuring characters with flaws and human vulnerabilities, this all despite the fact that some are no longer completely human at all.
One is glad in this instance, given that it does not have a complete conclusion, that it can still be categorised as a stand-alone novel. I have always had minor qualms about the first books of a trilogy being nominated for such awards. I guess it upsets my sense of order since my view is that awards should be reserved for single novels.
Perhaps fortunately my views aren’t likely to sway the opinions of the selectors a huge amount so the point is moot.