Review of "Earthlight" by Arthur C. Clarke

Arthur C. Clarke is one of the most influential writers of science fiction.  His quiet optimism, faith in science, and ability to tell straightforward but intriguing tales endeared him to a generation of fans that continues to this day.  Earthlight, his sixth published novel, follows directly on the heels of his successful Childhood’s End, and though rather simplistic in presentation, adheres to the author’s style in perfect fashion. 

Earthlight is the story of Bertram Sadler, an undercover agent for the CIA sent to the moon to ferret out a suspected spy.  Though dependent on Earth for all of their metals, several of the solar system’s planets have been inhabited and are united under the banner of The Federation.  Tungsten, uranium, and the like all in short supply, prices on Earth determine much of the solar system’s economics.  A rebellion fomenting in the face of price hikes on Earth, the CIA believes a Federation agent is at the moon’s observatory leaking information.  It is up to Sadler to discover who and stop them before war breaks out.

Told simply but subtly, Earthlight is not complex space opera.  Set entirely on the moon, the book is largely a vehicle for Clarke to describe what inhabited life might be like on our orbiting globe.  Featuring monorails, sports in light gravity, underground mining operations, and a telescope larger than any on Earth, the imagery is vintage Clarke.  So too are the characters.  The starched collar and thin tie wearing scientist filling most of the main roles, the story is rooted as much in ideas as it is visuals, a current of hard science flowing through everything.

Showing his usual insight into humanity’s vices, Clarke likewise seeks to promote its virtues. Fights for resources an unquestionable aspect of real life, it remains so in Earthlight.  The climactic scene revolving around this is spectacularly depicted and will have sci-fi junkies drooling.  This scene occurring about 80% of the way through the book, soft science fiction fans will likewise find something to enjoy about the remaining 20%.  Clarke betting on mankind’s empathy, the manner in which the Earth and the Federation’s interests are resolved nicely balance the fireworks of the climax.  Whether it’s believable or not, is up to the reader.

Problems with the novel?  Well, there are no technical issues, per se. Clarke’s writing is smooth, but not complex.  The super nova a nice literary touch, characters and scenes are related in efficient aplomb.  And it is a short story.  The book only 150 pages, scope is kept tight, the Federation and Earth’s war related in news bites rather than first hand action.  In other words, those looking for whopping space opera should look elsewhere.  Likewise, those looking for intense, never-ending scenes of action should look elsewhere.  Earthlight does have a jaw dropping climax, but this is a bright light in a story of earthlight, i.e., the indirect variety.

In the end, Earthlight is not the greatest sci-fi novel ever written, but it doesn't have any flaws; simplicity is its only potential drawback.  Readers who approach the short book with expectations for a story highlighting mankind’s need for resources, imaginative descriptions of life on the moon, and a typical Clarke denouement (i.e. optimistic) will walk away satisfied.  Those looking for dark and gritty sci-fi with complex amounts of characters, settings, and scenes had best look elsewhere.  It wouldn't hurt this type of writer today, however, to borrow a page from Clarke’s book and first master the straightforward before tackling the over-complex… 

Review of "A Fall of Moondust" by Arthur C. Clarke

Standing at night, looking up at the glowing white face of the moon, we might ask: what is it comprised of?  We’ve all seen the lunar landing videos, the dusty, desiccated soil that holds the impression of boots and tires so well, but what does it feel like?  How does the stuff behave?  Like sand?  Talcum powder?  Is it powdery like sugar, or fluid like in an hourglass?  In 1961 when mankind had yet to set foot on the moon, those impressions were left in a substance that existed in the imagination, only.  Writing A Fall of Moondust that year, Arthur C. Clarke speculated just what that surface might be like, and in the process wrote a sci-fi thriller rooted in scientific ideology.  Not earthshaking, the novel is nonetheless a solid read for fans of the genre.

In keeping with Clarke’s preference for stories that highlight humanity’s diminutive size compared to the exigencies of the universe, A Fall of Moondust is novel about a group needing rescue after becoming trapped in a sea of moon dust.  Using the tropes of science-fiction – with strong emphasis on “science” – the book tells of the hovercraft Selene and one of its moon cruises that doesn’t go according to plan.  Not exceptionally technical in its discourse, Clarke’s everyday-Joe heroes nevertheless uphold scientific virtue in extricating the trapped people, simultaneously rationalizing and promulgating the suspense.

No space monsters or barrage of mutant asteroids, A Fall of Moondust is simply man vs. the elements.  The team of protagonists set about overcoming the unique limitations imposed by the lunar environment in systematic fashion.  Theoretical knowledge of utmost value if the trapped group is to be rescued, most methods and tools that work on earth are unthinkable on the moon, its gravity and atmosphere posing unnatural obstacles for the engineering mind to circumvent.  And so while Clarke is able to keep plot lines taught, it is the methodology to the rescue which proves the book’s main draw. 

Average build, clean shaven, plaid shirts, and an unfailing belief in the scientific method characterize Clarke’s “heroes” in A Fall of Moondust.  Lawrence is an engineer with an unfailing eye for weeding out solutions relying too heavily on impracticalities.  Lawson, a young astronomer fueled by his belief in scientific observations, challenges the status quo when presenting his objective evidence to the world.  And lastly Pat, the captain of the Selene, is a phlegmatic but resourceful man, not given to losing his cool in moments of fear because of his trust in the material workings of his craft.  Though these characters are obviously conjured to suit the plot, Clarke blunts the edge enough to pass them off as real humans.  Dialogue not so wooden as to make the story unreadable, there is even time for a touch of romance and detective work.

In the end, A Fall of Moondust is a competently written, consistently plotted thriller rooted in physical reality despite having the moon as its setting.  Like other 'mission impossible' type stories, Clarke sets an interesting challenge for himself and his protagonists with the trapped ship, proving it’s the journey not the destination that’s worthwhile.  A paean to science, readers can also expect the glories of objective inquiry and theoretical knowledge regarding chemistry, physics, and astronomy to appear and reappear.  Written at a time when scientific ideology was not yet taken for granted by society, none of the darker, grittier sides of humanity surface.  Unlike the works of later writers, such as Gibson, McDonald, or Banks, Clarke presents the cleaner, more traditional side of sci-fi (read: idyllic), science shining golden to solve all society’s problems.  And so, while the premise of A Fall of Moondust may seem dated due to the knowledge we later acquired of the moon, the story itself remains a compact and easy read.  Not Clarke’s best, it’s at least short, sweet, and interesting to those curious to see physics at work on the moon.