Review of "The Confusion" by Neal Stephenson

The Confusion picks up where Quicksilver left off, the themes and characters introduced in the first volume fleshed out in more detail.  Numismatics, Alchemy, the history of European commerce, metallurgy, daily life in the world at the turn of the 18th century, and political intrigue drive their influence even deeper into the reader’s understanding of this, the second installment (or 4th and 5th, depending on perspective) of Stephenson’s epic Baroque Cycle.

Daniel Waterhouse once again appears as a focal point, and, as usual, plays the important role of acting as a window into the political, scientific, and philosophical happenings of the British nobility.  His role is far out-weighed in page time by the doings of Eliza de Zeur and Jack Shaftoe, however.  A behind the scenes wheeler and dealer, Eliza continues her devious speculation and chess moves on European markets, trying to influence the larger political and economic picture of France, Germany, Holland, and England.  While triumphing on certain occasions, she suffers irrevocable personal loss at others, the reader getting a clearer picture of the exigencies of life the people of the time – rich or poor – had to be wary of and prepared for.  Though starting as a barbary slave in the Mediterranean, Jack’s plight quickly picks up speed as he and his cabal cast off their fetters in a high risk plot to capture Spanish gold – a specific batch of gold whose progress has been carefully followed every wave across the Atlantic by not only bankers, but by some of the leading minds of the time, Sir Isaac Newton among them.  The adventures Jack and his gang subsequently become a part of take them around the world, the precocity of the gold explained without.

For those looking for more action and less table-setting, then The Confusion will be of more enjoyment than the opener Quicksilver.  Detailed expositions on a variety of subjects, including watered steel, shipbuilding, and the Inquisition still exist, however, as the scene has already been set, events and action freely spill off the pages.  “Swashbuckling” is a word used on the book’s back cover, and upon reading Jack’s exploits, it’s impossible not to agree.  Eliza too, while not wielding a blade or navigating through pirate infested waters, nevertheless finds her life not as predictable as it once was, the political games and investments she makes holding just as much risk as Jack’s.  In the end, if you’ve read Quicksilver and are interested in continuing, then The Confusion will only make you want to finish the Cycle.  And so while the book wraps itself up all too fast – half a world covered in under 200 pages – and in rather implausible fashion, readers will nevertheless be satisfied with plot progression into the final volume, System of the World.

Review of "Quicksilver" by Neal Stephenson

The ideas of numerology, encryption, and early computer infrastructure came to life in Stephenson’s 2001 Cryptonomicon.  Quicksilver – and the entire Baroque Cycle, for that matter – find the author digging even deeper into these histories to strike at the root of modern economy, commerce, and primitive computing.   Tipping the scales at more than 900 pages, the volume is divided into three parts: the eponymous Quicksilver, King of the Vagabonds, and Odalisque.

Centuries in the past rather than decades, the scene is the late 17th century, Britain's Reformation in full swing.  While Protestants and Catholics war in politics and on the streets, a growing number of scientists appear, bent on defining the phenomena of life in less fantastic terms.  Funded and ennobled from on high, a group of these aristocratic nerds form London’s Royal Society for Natural Philosophy and carry out a wide variety of experiments on anything they can lay their hands on, live dogs, menstrual blood, and kidney stones turning no stomachs.  Newton hangs on the fringes, and his, along with Leibniz’s mathematical discoveries, move Europe toward the values of empirical science.

Into this accurate historical setting (which includes many characters who truly lived and breathed), Stephenson weaves a handful of fictional characters.  Foremost is Dr. Daniel Waterhouse, who acts both as witness and participant in the wide variety of social, political, religious, and scientific happenings of the day.  Action occurs elsewhere, as well.  The characters Jack Shaftoe and Eliza de Zeur traipse about mainland Europe (predominantly Germany, the Netherlands, and France), getting into adventures more swashbuckling than Waterhouse’s ecclesiastical circumstances allow for.  Each a window in time, it is through these character’s eyes that the history of the era unfolds as only Stephenson’s wit could allow.

Quicksilver certainly more historical than fictional, the author allows the movements of textbooks to direct the story.  Waterhouse’s perspective is chock full of the political movements and court intrigue of the time, as well as the philosophic and religious disputes that marked the early stages of the modern scientific revolution.  The second and third books, King of the Vagabonds and Odalisque, respectively, contain more action, however.  Jack and Eliza’s turns through silver mines of Bohemia, stock markets of Amsterdam, and squalorous streets of Paris, ratchet the excitement level a little higher and keep the pages turning.  

In the end, Stephenson has done his research.  The pages of Quicksilver are bursting with esoteric cultural and historical facts that most modern day people are unaware of.  The origins of words, place names, and former political allegiances will surprise the reader and have them checking up on Stephenson’s facts in a more trusted source.  The fictional characters thrown into the mix liven what would otherwise be dry reading.  Further jazzing up the 900 pages, Stephenson breaks narrative form on several occasions to introduce alternative formats.  Socratic dialogue, letters, theater, and info dumps all bump and jostle the story along.  At times seeming more educational than entertainment, the book is true nerd-dom. Thus, readers who prefer linear, action filled narratives should look elsewhere.  Quicksilver is infotainment with a heavy focus on the history of money, mathematics, and the daily life of 17th century Europe.

Review of "The Terror" by Dan Simmons

The Terror is based on the British vessels HMS Erebrus and HMS Terror and their voyage to discover a northwest passage in the 19th century.  Using their unknown fate as a literary springboard, Simmons freely fills the gap in history as his imagination allows, and in the process has created a work of historical fiction that transcends genre.  Classified horror due to one of its plot devices, the novel is in fact much deeper in scope.  On the surface it is the story of the two ships and their crews’ attempts to survive, frozen in the ice for more than two years, but at another level, it is an examination of the hubris of humanity and its attempts to defy nature.  

Reining himself in from the vivid descriptions and vibrant storytelling of the Hyperion Cantos or Joe Kurtz novels, Simmons’ imagery of a frozen wasteland in The Terror require a tone more subtle and melancholy; the setting of two ships trapped in the frozen Arctic for two years is simply not conducive to action-packed narrative.  Proving as adaptable in style as genre, the effort is successful.  Simmons more than convincingly describes the day-to-day life of trying to survive in -60 degree temperatures and stinging blizzards, not to mention claustrophobia, cabin-fever, and paranoia that set in amongst the crew the longer they spend trapped on the ice. Surprisingly weighing in at over 900 pages, the novel's sublime description of slow dwindling supplies and morale pulls the reader down to the crew’s level for a first hand experience, pace not suffering in the least.  The despair and hope of escaping a situation so far removed from their lives in Britain comes to life under the author's pen and keeps the reader engaged.

Simmons adheres to historical data for as much is available in the bulk of the story.  Certainly, however, he does take some artistic license, not only deciding the fate of the crew members, but also including an ice monster that harasses, terrorizes and generally makes already miserable lives all the worse.  Though its sudden emergence is at times scary, the beast makes enough appearances to warrant deeper investigation into its thematic relevance.  More than a cheesy plot device, who the monster kills is of vital importance to understanding Simmons’ commentary on the mindset of the era, the superman attitude with which colonial powers set about building empires to dominate the world showing its flaws.  The incongruous ending of the novel, rather than confusing the narrative, in fact highlights the degree to which mankind has continued to separate itself from nature.  That many reviewers misunderstand this only emphasizes the point.

At one time historical, horror, and literary fiction, Simmons’ ambitions in The Terror nonetheless remain tightly focused.  By telling the tale from the minds and mouths of the crew, officer to common sailor, the book maintains its social and environmental integrity.   The reader’s vicarious experience of seeing the world through the eyes of Captain Crozier, for example, gaining the knowledge he does after being trapped on the ice for two years is suitable for any era.  As such, this book comes highly recommended for anyone interested in the history of the HMS Erebrus and HMS Terror, life in the Arctic, or simply one man’s imaginative telling of a fate for which history has no record.

(The folks at www.fantasyliterature.com have also posted this review at their site.)