Authors: James S.A. Corey
Tags: #Space warfare, #Space Opera, #Interplanetary voyages, #General, #Science Fiction, #Adventure, #Fiction
Leviathan Wakes (80 page)
“He was a good man,” Holden said.
“He wasn’t,” Fred said. “But he did his job. And now I’ve got to go do mine.”
“Give ’em hell,” Holden said. “And amnesty. Keep talking up the amnesty.”
Fred walked down the curving hallway, his secretary close behind him. The conference halls had been designed for smaller things. Petty ones. Hydroponics scientists getting away from their husbands and wives and children to get drunk and talk about raising bean sprouts. Miners coming together to lecture each other about waste minimization and tailings disposal. High school band competitions. And instead, these work carpets and brushed-stone walls were going to have to bear the fulcrum of history. It was Holden’s fault that the shabby, small surroundings reminded him of the dead detective. They hadn’t before.
The delegations were seated across the aisle from each other. The generals and political appointees and general secretaries of Earth and Mars, the two great powers together at his invitation to Ceres, to the Belt. Territory made neutral because neither side took it seriously enough to be concerned about their demands.
All of history had brought them here, to this moment, and now, in the next few minutes, Fred’s job was to change that trajectory.
The fear was gone. Smiling, he stepped up to the speaker’s dais, the podium.
The pulpit.
There was a scattering of polite applause. A few smiles, and a few frowns. Fred grinned. He wasn’t a man anymore. He was a symbol, an icon. A narrative about himself and about the forces at play in the solar system.
And for a moment, he was tempted. In that hesitation between drawing breath and speaking, part of him wondered what would happen if he shed the patterns of history and spoke about himself as a man, about the Joe Miller who he’d known briefly, about the responsibility they all shared to tear down the images they held of one another and find the genuine, flawed, conflicted people they actually were.
It would have been a noble way to fail.
“Ladies and gentlemen,” he said. “We stand at a crossroads. On one hand, there is the very real threat of mutual annihilation. On the other… ”
He paused for effect.
“On the other, the stars.”
J
AMES
S. A. C
OREY
is the pen name of fantasy author Daniel Abraham and Ty Franck, George R. R. Martin’s assistant. They both live in Albuquerque, New Mexico. Find out more about this series at
www.the-expanse.com
.
Leviathan Wakes
is the first book in a series called The Expanse. What kind of story are you telling in this series?
There’s a lot of science fiction that talks about the near future. There’s a lot about great galaxy-spanning empires of the distant future. But there’s not much that talks about the part in between. The Expanse is playing on that bridge. Whatever drives us off Earth to the rest of the solar system or from there to the stars, the problems we have are the ones we bring with us. What I want to do is write good old-fashioned space opera centered around human stories, but with an increasingly large backdrop.
It seems like
Leviathan Wakes
is a science fiction book, but it borrows from a lot of other genres as well, including horror and noir. Did you intend to blend those genres? What kind of book do you feel this is?
It’s definitely science fiction of the old-school space opera variety. That’s the story I wanted to tell. But half of the story was a detective story, and as soon as Detective Miller hit the page, he told me in a loud voice that he was a classic noir character. It was in his voice and the way he talked about things, you know? As for the horror feel, that’s just the way I roll. I’ve never written anything in my life that didn’t at least blur the line into horror. If I wrote greeting cards, they’d probably have a squick factor.
Leviathan Wakes
has two protagonists with very different worldviews, which are often in conflict. Can you describe those views and why you chose that particular conflict?
You know how they say science fiction is about the future you’re writing about, but it’s also about the time you’re writing in? Holden and Miller have got two different views on the ethical use of information. That’s very much a current argument. Holden’s my holy fool. He’s an idealist, a man who faces things with this very optimistic view of humanity. He believes that if you give people all of the information, they’ll do the right thing with it, because people are naturally good. Miller is a cynic and a nihilist. He looks at the dissemination of information as a game you play. He doesn’t have faith in anyone else’s moral judgment. Control of information is how you get people to do what you want, and he doesn’t trust anyone else to make that call. I picked those two characters because they’re both right, and they’re both wrong. By having them in the same story, I can have them talk to each other. And that central disagreement is sort of underneath everything else that happens.
Leviathan Wakes
has a gritty and realistic feel. How much research did you do on the technology side of things, and how important was it to you that they be realistic and accurate?
Okay, so what you’re really asking me there is if this is hard science fiction. The answer is an emphatic no. I have nothing but respect for well-written hard science fiction, and I wanted everything in the book to be plausible enough that it doesn’t get in the way. But the rigorous how-to with the math shown? It’s not that story. This is working man’s science fiction. It’s like in
Alien,
we meet the crew of the
Nostromo
doing their jobs in this very blue-collar environment. They’re truckers, right? Why is there a room in the
Nostromo
where water leaks down off of chains suspended from the ceiling? Because it looks cool and makes the world feel a little messy. It gives you the feel of the world. Ridley Scott doesn’t explain why that room exists, and when most people
watch the film, it never even occurs to them to ask. What kind of drive does the
Nostromo
use? I bet no one walked out of the film asking that question. I wanted to tell a story about humans living and working in a well-populated solar system. I wanted to convey a feeling of what that would be like, and then tell a story about the people who live there.
So how does the Epstein drive work?
Very well. Efficiently.
In your acknowledgments you thank the New Mexico Critical Mass writers group. What effect did having that workshop environment have on your work?
Well, Critical Mass is a lot more than a workshop or critical group. It’s more like a writer’s mafia. Just about anything you might need, someone in the group can get it for you. Walter Jon Williams, who wrote the brilliant Dread Empire’s Fall space opera series, was there to give important tips about writing in that genre. S. M. Stirling and Victor Milan write some of best action in the business, and there was a lot of action for them to critique. Ian Tregillis is an actual astrophysicist and made himself available for technical questions. Melinda Snodgrass is pretty much the Yoda of letting you know when you’ve wandered too far away from your plot. And the entire group, including Emily Mah, Terry England, and George R. R. Martin, was there to read and critique the early drafts of the book, and a lot of changes were made based on their advice.
You’ve worked with George R. R. Martin a lot in the past. What kind of advice did he have for this project?
Yes, I’ve done a number of projects with him in one incarnation or another. In this case, he was mostly just encouraging. He likes old-fashioned space opera, and he followed my progress on the book with great interest. He was also the first to read the final version. He was very complimentary. He said at one point that it
was the best book about vomit zombies he’d ever read. That was nice.
Where do you see the Expanse series going from here?
Well, I’m contracted with Orbit for at least two more books. They are titled
Caliban’s War
and
Dandelion Sky.
I hope to keep exploring the idea of human expansion into the solar system and beyond, and balancing the very real threats that the galaxy poses for the fledgling human diaspora against the threats that those same humans will bring with them. For up-to-date information on what I’m up to and where the project is headed, people can visit
www.the-expanse.com
and get the latest.
If you enjoyed LEVIATHAN WAKES,
look out for
Book Two of The Expanse
by James S. A. Corey
“Snoopy’s out again,” Private Hillman said. “I think his CO must be pissed at him.”
Gunnery Sergeant Roberta Draper of the Martian Marine Corps upped the magnification on her armor’s heads-up display and looked in the direction Hillman was pointing. Twenty-five hundred meters away, a squad of four United Nations marines were tromping around their outpost, backlit by the giant greenhouse dome they were guarding. A greenhouse dome identical in nearly all respects to the dome that was behind her.
One of the four UN marines had black smudges on the sides of his helmet that looked like beagle ears.
“Yep, that’s Snoopy,” Bobbie said. “Been on every patrol detail so far today. Wonder what he did.”
Guard duty around the greenhouses on Ganymede meant doing what you could to keep your mind occupied. Including speculating on the lives of the marines on the other side.
The other side. Eighteen months before, there hadn’t been sides. The inner planets had all been one big, happy, slightly dysfunctional
family. Then the Eros incident, and now the two superpowers were dividing up the solar system between them, and the one moon neither side was willing to give up was Ganymede, breadbasket of the Jovian system.
As the only moon with any magnetosphere, it was the only place where dome-grown crops stood a chance in Jupiter’s harsh radiation belt, and even there, the domes and habitats had to be shielded to protect civilians from the eight rems a day burning off Jupiter and onto the moon’s surface.
Bobbie’s armor had been designed to let a soldier walk through a nuclear bomb crater an hour after the blast. It also worked well at keeping Jupiter from frying Martian marines.
Behind the Earth soldiers on patrol, their dome glowed in a shaft of weak sunlight captured by enormous orbital mirrors. Even with the mirrors, most terrestrial plants would have died, starved of sunlight. Only the heavily modified versions the Ganymede scientists cranked out could hope to survive in the trickle of light the mirrors fed them.
“Be sunset soon,” Bobbie said, still watching the Earth marines outside their little guard hut, knowing they were watching her too. In addition to Snoopy, she spotted the one they called Stumpy because he or she couldn’t be much more than a meter and a half tall. She wondered what their nickname for her was. Maybe Big Red. Her armor still had the Martian surface camouflage on it. She hadn’t been on Ganymede long enough to get it resurfaced with mottled gray and white.
One by one, over the course of five minutes, the orbital mirrors winked out as Ganymede passed behind Jupiter for a few hours. The glow from the greenhouse behind her changed to actinic blue as the artificial lights came on. While the overall light level didn’t go down much, the shadows shifted in strange and subtle ways. Above, the sun—not even a disk from here as much as the brightest star—flashed as it passed behind Jupiter’s limb, and for a moment the planet’s faint ring system was visible.
“They’re going back in,” Corporal Travis said. “Snoop’s bringing up the rear. Poor guy. Can we bail too?”
Bobbie looked around at the featureless dirty ice of Ganymede. Even in her high-tech armor she could feel the moon’s chill.
