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2312 Kindle Edition
The year is 2312. Scientific and technological advances have opened gateways to an extraordinary future. Earth is no longer humanity's only home; new habitats have been created throughout the solar system on moons, planets, and in between. But in this year, 2312, a sequence of events will force humanity to confront its past, its present, and its future.
The first event takes place on Mercury, on the city of Terminator, itself a miracle of engineering on an unprecedented scale. It is an unexpected death, but one that might have been foreseen. For Swan Er Hong, it is an event that will change her life. Swan was once a woman who designed worlds. Now she will be led into a plot to destroy them.
- LanguageEnglish
- PublisherOrbit
- Publication dateMay 22, 2012
- File size2571 KB
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Editorial Reviews
Review
"A feast for the imagination and intellect - shockingly clever" "Sun (UK)""
"An sf masterpiece." ""Library Journal"""
"Beautifully written and with strong mental imagery" "SciFi Now""
"In his vibrant, often moving new novel, "2312," Robinson's extrapolation is hard-wired to a truly affecting personal love story. [...] Perhaps Robinson's finest novel, "2312" is a treasured gift to fans of passionate storytelling; readers will be with Swan and Wahram in the tunnel long after reaching the last page." "LA Times""
"Inherently epic stuff... expect interplanetary strife, conspiracies, more big ideas than most SF authors pack into a trilogy... [yet] this is ultimately in so many respects a book about Earth... a wise and wondrous novel" "SFX""
"Intellectually engaged and intensely humane in a way SF rarely is, exuberantly speculative in a way only the best SF can be, this is the work of a writer at or approaching the top of his game." "Iain M. Banks""
"Robinson's extraordinary completeness of vision results in a magnificently realized, meticulously detailed future in which social and biological changes keep pace with technological developments." "Publishers Weekly""
"This is a grand tour of an intensely imagined interplanetary future of modified human beings, terraformed planets, experiments in economics and sociology and hundreds of other delights. All of it is in Robinson's eloquent, enthusiastic and inimitable prose" "Morning Star (UK)""
"2312 is a monumental tour-de-force that re-imagines the solar system in ways no one has envisioned before. Whether comparing the compositions of Beethoven to those of skylarks and warblers, or describing a life-threatening sunrise on Mercury, Robinson fills 2312 with joy and exuberance, danger and fear, and the steadily mounting suspense of a mystery that spans the planets. This is the finest novel yet from the author who gave us the Mars Trilogy and GALILEO'S DREAM. An amazing accomplishment." "Robert Crais"" --This text refers to an alternate kindle_edition edition.
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
2312
By Kim Stanley RobinsonOrbit
Copyright © 2013 Kim Stanley RobinsonAll rights reserved.
ISBN: 978-0-316-09811-3
CHAPTER 1
SWAN AND ALEX
Alex's memorial ceremony began as Swan was straggling up Terminator's greatcentral staircase. The city's population had come out into the boulevards andplazas and were standing in silence. There were a lot of visitors in town aswell; a conference had been about to begin, one that had been convened by Alex.She had welcomed them on Friday; now on the following Friday they were holdingher funeral. A sudden collapse, and they hadn't been able to revive her. And sonow the townspeople, the diplomat visitors: all Alex's people, all grieving.
Swan stopped halfway up the Dawn Wall, unable to go on. Below her rooftops,terrace patios, balconies. Lemon trees in giant ceramic pots. A curved slopelike a little Marseilles, with white four-story apartment blocks, black iron-railedbalconies, broad boulevards and narrow alleys, dropping to a promenadeoverlooking the park. All crowded with humanity, speciating right before hereyes, each face intensely itself while also a type—Olmec spheroid,hatchet, shovel. On a railing stood three smalls, each about a meter tall, alldressed in black. Down at the foot of the stairs clustered the sunwalkers whohad just arrived, looking burnt and dusty. The sight of them piercedSwan—even the sunwalkers had come in for this.
She turned on the stairs and descended, wandered by herself. The moment she hadheard the news, she had dashed out of the city onto the land, driven by a needto be alone. Now she couldn't bear to be seen when Alex's ashes were scattered,and she didn't want to see Mqaret, Alex's partner, at that moment. Out into thepark, therefore, to wander in the crowd. All of them standing still, looking up,looking distraught. Holding each other up. There were so many people who hadrelied on Alex. The Lion of Mercury, the heart of the city. The soul of thesystem. The one who helped and protected you.
Some people recognized Swan, but they left her alone; this was more moving toher than condolences would have been, and her face was wet with tears, she wipedher face with her fingers repeatedly. Then someone stopped her: "You are Swan ErHong? Alex was your grandmother?"
"She was my everything." Swan turned and walked off. She thought the farm mightbe emptier, so she left the park and drifted through the trees forward. The cityspeakers were playing a funeral march. Under a bush a deer nuzzled fallenleaves.
She was not quite to the farm when the Great Gates of the Dawn Wall opened, andsunlight cut through the air under the dome, creating the usual horizontal pairof yellow translucent bars. She focused on the swirls within the bars, thetalcum they tossed up there when they opened the gates, colored fines floatingon updrafts and dispersing. Then a balloon rose from the high terraces under thewall, drifting west, the little basket swaying under it: Alex; how could it be.A surge of defiance in the music rumbled up out of the basses. When the balloonentered one of the yellow bars of light, the basket blew apart in a poof, andAlex's ashes floated down and out of the light, into the air of the city,growing invisible as they descended, like a shower of virga in the desert. Therewas a roar from the park, the sound of applause. Briefly some young mensomewhere chanted, "A-lex! A-lex! A-lex!" The applause lasted for a couple ofminutes, and arranged itself as a rhythmic beat that went on for a long time.People didn't want to give it up; somehow that would be the end, they would atthat very moment lose her. Eventually they did give it up, and lived on into thepost-Alex phase of their lives.
She needed to go up and join the rest of Alex's family. She groaned at thethought, wandered the farm. Finally she walked up the Great Staircase, stiffly,blindly, pausing once to say, "No, no, no," for a time. But that was pointless.Suddenly she saw: anything she did now would be pointless. She wondered how longthat would last—seemed like it could be forever, and she felt a bolt offear. What would change to change it?
Eventually she pulled herself together and made her way up to the privatememorial on the Dawn Wall. She had to greet all those who had been closest toAlex, and give Mqaret a brief rough hug, and withstand the look on his face. Butshe could see he was not home. This was not like him, but she could fullyunderstand why he might depart. Indeed it was a relief to see it. When sheconsidered how bad she felt, and then how much closer Mqaret had been to Alexthan she had been, how much more of his time he spent with her—how longthey had been partners—she couldn't imagine what it would feel like. Ormaybe she could. So now Mqaret stared at some other reality, from some otherreality—as if extending a courtesy to her. So she could hug him, andpromise to visit him later, and then go mingle with the others on the highestterrace of the Dawn Wall, and later make her way to a railing and look down atthe city, and out its clear bubble to the black landscape outside it. They wererolling through the Kuiper quadrant, and she saw to the right Hiroshige Crater.Once long before, she had taken Alex out there to the apron of Hiroshige to helpwith one of her goldsworthies, a stone wave that referenced one of the Japaneseartist's most famous images. Balancing the rock that would be the crest of thebreaking wave had taken them a great number of unsuccessful efforts, and as sooften with Alex, Swan had ended up laughing so hard her stomach hurt. Now shespotted the rock wave, still out there—it was just visible from the city.The rocks that had formed the crest of the wave were gone, however—knockeddown by the vibration of the passing city, perhaps, or simply by the impact ofsunlight. Or fallen at the news.
A few days later she visited Mqaret in his lab. He was one of the leadingsynthetic biologists in the system, and the lab was filled with machines, tanks,flasks, screens bursting with gnarled colorful diagrams—life in all itssprawling complexity, constructed base pair by base pair. In here they hadstarted life from scratch; they had built many of the bacteria now transformingVenus, Titan, Triton—everywhere.
Now none of that mattered. Mqaret was in his office, sitting in his chair,staring through the wall at nothing.
He roused himself and looked up at her. "Oh, Swan—good to see you. Thanksfor coming by."
"That's all right. How are you doing?"
"Not so well. How about you?"
"Terrible," Swan confessed, feeling guilty; the last thing she wanted was to addto Mqaret's load somehow. But there was no point in lying at a time like this.And he merely nodded anyway, distracted by his own thoughts. He was just barelythere, she saw. The cubes on his desk contained representations of proteins, thebright false colors tangled beyond all hope of untangling. He had been trying towork.
"It must be hard to work," she said.
"Yes, well."
After a blank silence, she said, "Do you know what happened to her?"
He shook his head quickly, as if this was an irrelevance. "She was a hundred andninety-one."
"I know, but still ..."
"Still what? We break, Swan. Sooner or later, at some point we break."
"I just wondered why."
"No. There is no why."
"Or how, then ..."
He shook his head again. "It can be anything. In this case, an aneurysm in acrucial part of the brain. But there are so many ways. The amazing thing is thatwe stay alive in the first place."
Swan sat on the edge of the desk. "I know. But, so ... what will you do now?"
"Work."
"But you just said ..."
He glanced at her from out of his cave. "I didn't say it wasn't any use. Thatwouldn't be right. First of all, Alex and I had seventy years together. And wemet when I was a hundred and thirty. So there's that. And then also, the work isinteresting to me, just as a puzzle. It's a very big puzzle. Too big, in fact."And then he stopped and couldn't go on for a while. Swan put a hand to hisshoulder. He put his face in his hands. Swan sat there beside him and kept hermouth shut. He rubbed his eyes hard, held her hand.
"There'll be no conquering death," he said at last. "It's too big. Too much thenatural course of things. The second law of thermodynamics, basically. We canonly hope to forestall it. Push it back. That should be enough. I don't know whyit isn't."
"Because it only makes it worse!" Swan complained. "The longer you live, theworse it gets!"
He shook his head, wiped his eyes again. "I don't think that's right." He blewout a long breath. "It's always bad. It's the people still alive who feel it,though, and so ..." He shrugged. "I think what you're saying is that now itseems like some kind of mistake. Someone dies, we say why. Shouldn't there havebeen a way to stop it. And sometimes there is. But ..."
"It is some kind of mistake!" Swan declared. "Reality made a mistake,and now you're fixing it!" She gestured at the screens and cubes. "Right?"
He laughed and cried at the same time. "Right!" he said, sniffing and wiping hisface. "It's stupid. What hubris. I mean, fixing reality."
"But it's good," Swan said. "You know it is. It got you seventy years with Alex.And it passes the time."
"It's true." He heaved a big sigh, looked up at her. "But—things won't bethe same without her."
Swan felt the desolation of this truth wash through her. Alex had been herfriend, protector, teacher, step-grandmother, surrogate mother, allthat—but also, a way to laugh. A source of joy. Now her absence created acold feeling, a killer of emotions, leaving only the blankness that wasdesolation. Sheer dumb sentience. Here I am. This is reality. No one escapes it.Can't go on, must go on; they never got past that moment.
So on they went.
There was a knock at the lab's outer door. "Come in," Mqaret called a littlesharply.
The door opened, and in the entry stood a small—very attractive in the waysmalls often were—aged, slender, with a neat blond ponytail and a casualblue jacket—about waist high to Swan or Mqaret, and looking up at themlike a langur or marmoset.
"Hello, Jean," Mqaret said. "Swan, this is Jean Genette, from the asteroids, whowas here as part of the conference. Jean was a close friend of Alex's, and is aninvestigator for the league out there, and as such has some questions for us. Isaid you might be dropping by."
The small nodded to Swan, hand on heart. "My most sincere condolences on yourloss. I've come not only to say that, but to tell you that quite a few of us areworried, because Alex was central to some of our most important projects, andher death was so unexpected. We want to make sure these projects go forward, andto be frank, some of us are anxious to be sure that her death was a matter ofnatural causes."
"I assured Jean that it was," Mqaret told Swan, seeing the look on her face.
Genette did not look completely convinced by this reassurance. "Did Alex evermention anything to you concerning enemies, threats—danger of any kind?"the small asked Swan.
"No," Swan said, trying to remember. "She wasn't that kind of person. I mean,she was always very positive. Confident that things were going to work out."
"I know. It's so true. But that's why you might remember if she had ever saidanything out of keeping with her usual optimism."
"No. I can't remember anything like that."
"Did she leave you any kind of will or trust? Or a message? Something to beopened in the event of her death?"
"No."
"We did have a trust," Mqaret said, shaking his head. "It doesn't have anythingunusual in it."
"Would you mind if I had a look around her study?"
Alex had kept her study in a room at the far end of Mqaret's lab, and now Mqaretnodded and led the little inspector down the hall to it. Swan trailed behindthem, surprised that Genette had known of Alex's study, surprised Mqaret wouldbe so quick to show it, surprised and upset by this notion of enemies, of"natural causes" and its implied opposite. Alex's death, investigated by somekind of police person? She couldn't grasp it.
While she sat in the doorway trying to figure out what it could mean, trying tocome to grips with it, Genette made a thorough search of Alex's office, openingdrawers, downloading files, sweeping a fat wand over every surface and object.Mqaret watched it all impassively.
Finally the little inspector was done, and stood before Swan regarding her witha curious look. As Swan was sitting on the floor, they were about eye level. Theinspector appeared on the verge of another question, but in the end did not sayit. Finally: "If you recall anything you think might help me, I would appreciateyou telling me."
"Of course," Swan said uneasily.
The inspector then thanked them and left.
What was that about?" Swan asked Mqaret."I don't know," Mqaret said. He too was upset, Swan saw. "I know that Alex had ahand in a lot of things. She's been one of the leaders in the Mondragon Accordfrom the beginning, and they have a lot of enemies out there. I know she's beenworried about some system problems, but she didn't give me any details." Hegestured at the lab. "She knew I wouldn't be that interested." A hard grimace."That I had my own problems. We didn't talk about our work all that much."
"But—" Swan started, and didn't know how to go on. "I mean—enemies?Alex?"
Mqaret sighed. "I don't know. The stakes could be considered high, in some ofthese matters. There are forces opposed to the Mondragon, you know that."
"But still."
"I know." After a pause: "Did she leave you anything?"
"No! Why should she? I mean, she wasn't expecting to die."
"Few people are. But if she had concerns about secrecy, or the safety of certaininformation, I can see how she might think you would be a kind of refuge."
"What do you mean?"
"Well, couldn't she have put something into your qube without telling you?"
"No. Pauline is a closed system." Swan tapped behind her right ear. "I mostlykeep her turned off these days. And Alex wouldn't do that anyway. She wouldn'ttalk to Pauline without asking me first, I'm sure of it."
Mqaret heaved another sigh. "Well, I don't know. She didn't leave me anythingeither, as far as I know. I mean, it would be like Alex to tuck something awaywithout telling us. But nothing has popped up. So I just don't know."
Swan said, "So there wasn't anything unusual in the autopsy?"
"No!" Mqaret said, but he was thinking it over. "A cerebral aneurysm, probablycongenital, burst and caused an intraparenchymal hemorrhage. It happens."
Swan said, "If someone had done something to—to cause a hemorrhage... wouldyou necessarily be able to tell?"
Mqaret stared at her, frowning.
Then they heard another tap at the lab's outer door. They looked at each other,sharing a little frisson. Mqaret shrugged; he had not been expecting anyone.
"Come in!" he called again.
The door opened to reveal something like the opposite of Inspector Genette: avery big man. Prognathous, callipygous, steatopygous, exophthalmos—toad,newt, frog—even the very words were ugly. Briefly it occurred to Swan thatonomatopoeia might be more common than people recognized, their languagesechoing the world like birdsong. Swan had a bit of lark in her brain.Toad. Once she had seen a toad in an amazonia, sitting at the edge of apond, its warty wet skin all bronze and gold. She had liked the look of it.
"Ah," Mqaret said. "Wahram. Welcome to our lab. Swan, this is Fitz Wahram, fromTitan. He was one of Alex's closest associates, and really one of her favoritepeople."
Swan, somewhat surprised that Alex could have such a person in her life withoutSwan ever hearing of it, frowned at the man.
Wahram dipped his head in a kind of autistic bow. He put his hand over hisheart. "I am so sorry," he said. A froggy croak. "Alex meant a great deal to me,and to a lot of us. I loved her, and in our work together she was the crucialfigure, the leader. I don't know how we will get along without her. When I thinkof how I feel, I can scarcely grasp how you must feel."
"Thank you," Mqaret said. So strange the words people said at these moments.Swan could not speak any of them.
A person Alex had liked. Swan tapped the skin behind her right ear, activatingher qube, which she had turned off as a punishment. Now Pauline would fill herin on things, all by way of a quiet voice in Swan's right ear. Swan was veryirritated with Pauline these days, but suddenly she wanted information.
(Continues...)Excerpted from 2312 by Kim Stanley Robinson. Copyright © 2013 Kim Stanley Robinson. Excerpted by permission of Orbit.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
From the Back Cover
2312. Le système solaire a été colonisé après que la Terre a été ravagée par les effets de la pollution. L'humanité peut compter sur les qubes, ces ordinateurs quantiques miniaturisés et parfois greffés directement au cerveau, pour l'épauler dans ses efforts de survie.
Sur Mercure, dans la cité mobile Terminateur, Swan est accablée par le décès soudain de sa grande-belle-mère Alex, un personnage très influent qui nourrissait pour l'humanité des projets soigneusement tenus secrets de tous les réseaux qubiques. Accompagnée de Wahram, un associé d'Alex, et de Genette, une inspectrice de la Police Interplanétaire, Swan part sur Io dans l'espoir d'élucider les questions qui entourent la mort suspecte de son aïeule. Elle qui faisait profession d'imaginer des mondes se retrouve bientôt au coeur d'une vaste conspiration visant à les détruire.
Kim Stanley Robinson met son imagination sans limites au service de la description d'un univers d'une vraisemblance parfaite. Avec «2312», couronné du Nebula du meilleur roman, l'auteur de la «Trilogie martienne» livre son grand oeuvre.
Review
"Intellectually engaged and intensely humane in a way SF rarely is, exuberantly speculative in a way only the best SF can be, this is the work of a writer at or approaching the top of his game." (Iain M. Banks )
"2312 is a monumental tour-de-force that re-imagines the solar system in ways no one has envisioned before. Whether comparing the compositions of Beethoven to those of skylarks and warblers, or describing a life-threatening sunrise on Mercury, Robinson fills 2312 with joy and exuberance, danger and fear, and the steadily mounting suspense of a mystery that spans the planets. This is the finest novel yet from the author who gave us the Mars Trilogy and GALILEO'S DREAM. An amazing accomplishment." (Robert Crais )
"Inherently epic stuff... expect interplanetary strife, conspiracies, more big ideas than most SF authors pack into a trilogy... [yet] this is ultimately in so many respects a book about Earth... a wise and wondrous novel" (SFX )
"Beautifully written and with strong mental imagery" (SciFi Now ) --This text refers to an alternate kindle_edition edition.
Product details
- ASIN : B004RD8544
- Publisher : Orbit (May 22, 2012)
- Publication date : May 22, 2012
- Language : English
- File size : 2571 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 575 pages
- Best Sellers Rank: #83,230 in Kindle Store (See Top 100 in Kindle Store)
- #270 in Hard Science Fiction (Kindle Store)
- #299 in Space Exploration Science Fiction eBooks
- #842 in Exploration Science Fiction
- Customer Reviews:
About the author

Kim Stanley Robinson is a winner of the Hugo, Nebula, and Locus Awards. He is the author of eleven previous books, including the bestselling Mars trilogy and the critically acclaimed Fifty Degrees Below, Forty Signs of Rain, The Years of Rice and Salt, and Antarctica--for which he was sent to the Antarctic by the U.S. National Science Foundation as part of their Antarctic Artists and Writers' Program. He lives in Davis, California.
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It's always difficult to find fault with Robinson's works. His use of vocabulary and stage-setting is without equal, and continues to impress in 2312 as well. It seems that the perfectly appropriate word is used in every circumstance, which enriches the strength of the story. He writes of many places and situations that humans have never before been associated with, but in a way that's purely authentic; indeed, it would be thoroughly surprising if reality differs from Robinson's depictions by much at all. He portrays a web of humanity that has spread to nearly every conceivable location in our solar system, and even beyond, by the later chapters of the book. From the moons of Jupiter and Saturn, to the terrariums built out of asteroids, the book reads almost as a history of the future.
As always, Robinson's choice of characters is both excellent, and profoundly believable. Characters with real flaws always tell the best stories, and those in 2312 are not only realistic, but very flawed, each in their own way. The primary character, Swan Er Hong is moody, eclectic, often quick to anger, and not even particularly sympathetic, yet the reader is forced to care deeply about her, thanks to Robinson's work. In the same way that the book seems to tell the history of events that haven't yet happened, the characters in 2312 feel so real, it's as if they just haven't been born yet.
The dialogue is equally astute, and shows that these characters live in their world, and have been a part of it long before the reader picked up the novel. Though there are a lot of terms that should be foreign to the reader, they are somehow not. The author does a great job of weaving story, characters, and dialogue together as to make the page disappear, and the plot live on in the readers' mind.
Kim Stanley Robinson books are typically slow-burning, and 2312 is no exception. Often times, it's difficult to place exactly where the climax is coming from, as events necessarily build toward a specific point. However, 2312 does build up, only with small, but significant sections. The plot comes together very quickly, and once it does, readers will be rewarded with an excellent consolidation of seemingly minor plot points, that suddenly mean everything. The book takes place in so many locations as to be a whirlwind, but it never feels that way. Majestic vistas, from the bright side of Mercury, to the rings of Saturn, and even the shattered locations of Earth are portrayed perfectly in the book; it's completely understandable how these locations have come to be the way they are by 2312.
Perhaps some of the most surprising aspects of this novel are the depictions of places like New York City, and the terrariums themselves. Terminator on Mercury is also an intriguing locale, though Robinson perhaps could have spent some more time describing and exploring that section of the book. Still, the idea of New York City as a drowned metropolis, yet being converted into a bustling Venice-like city of glass towers reflecting on water seems magical. Most works that detail New York City being flooded seem to portray people as abandoning it to rot and collapse back on itself. It's refreshing to find an author who sees how people would likely really see the city. It's also unusual to hear New York City sound as if it's better for having been drowned.
For all the good this novel does, however, there are a few things that tend to get in the way of the enjoyment. The challenges to genders in 2312 seem rather confusing, and are never explained particularly well. It seems that the idea of male and female have been transformed tremendously, and yet it never seems to affect the characters all that much. With the exception of a sex scene, it's almost as though gender doesn't matter, yet Robinson goes to great lengths in certain sections to describe the various genders. It seems that in only three hundred years, gender is essentially removed from the equation, which feels somewhat far-fetched in this novel. Still, it's perhaps a unique insight into how Robinson sees us moving forward as a species, and the trends that today's societal roles see changing.
2312 does a fantastic job of building a new fiction universe for Robinson to continue working in. The book itself seems to tell only a part of a very large story that takes place in this futuristic reality of 2312, and it would truly be a shame to not see more of this particular future that he has so masterfully created. 2312 is world-building at its finest, and no author accomplishes it quite as successfully as Kim Stanley Robinson.
2312 is a long account of the past. Oh it is set in the year 2312, thus the title, but if you pay close attention, you will notice that there are details that indicate that it is some future author writing this history of the past - an author many decades out from the events of 2312. 2312 is apparently a crucial year - a turning point. The book concerns itself with the momentous events of 2312 that begin with the death of the protagonist's grandmother. We meet the protagonist, Swan Er Hong, an artist, already in her second century, living on Terminator - a moving city on Mercury that is propelled forward on tracks heated by the light of dawn. Swan remains the nexus of the story, although the viewpoint does change on occasion to some other characters. What is the book about? Humanity and its attempts in the 24th century to better the human condition.
In the year 2312 humanity has balkanized (to use KSR's terminology). Humans live on Mercury, Venus, Mars, in the Saturn System, on many thousands of asteroids, and on an Earth that continues to spin and continues to support billions of humanity. Yes, life is not perfect on Earth, but it is not the apocalyptic doomsday that so many current authors seem to imagine a future Earth will look like. For that I am already thankful (because I consider the lack of progressive vision of future humanities currently being written about by many science-fiction authors to be distressing). So this is not a dystopia. Nor is this a utopia either. It is a future still driven by the human condition, with everything that entails.
Reading Kim Stanley Robinson is not for everyone. But I happen to love his works because they transplant me to futures (or in the case of the Years of Rice and Salt - the past) that I want to experience. I can imagine myself in the time and place. That is how effective KSR is at world-building. Many have complained that while his world building is impressive, he lacks the ability at effective characterization. I don't consider this to be true. The character of Swan Er Hong, a 24th century artist from Mercury, is one of the better anti-hero characters that I have seen fleshed out.
This is a book that you will find yourself returning to. Why? To think about its ideas and to reexperience its story. This is what science-fiction can be - an effective mirror of humanity that seeks to comment on current trends. Kim Stanley Robinson's history of the future does that. Now if only his history of the future were already our past . . .
Top reviews from other countries
In Kim Stanley Robinson’s 2312, the date is given by the title and our solar system is a very different place. Humans have terraformed and colonised every inhabitable planet and moon. Asteroids have been repurposed as long-haul shuttles, self-contained habitats that people live on for years or months till they reach their destination. Mercury supports a city called Terminator, which is a shielded habitat that travels around the planet on rails, pushed forward by the thermal expansion of metal at sunrise.
The protagonist is Swan Er Hong, a native of Terminator, and grand-daughter of Alex, one of the most powerful women in the solar system. Swan is impulsive, erratic and emotionally intense. Her past is full of outrageous risks and extreme creativity: having songbirds neurons implanted into her brain, eating extra-terrestrial bacteria, designing habitats in the asteroid belt and creating art on the plains of Mercury. The story opens with Swan mourning Alex’s death. An inspector from the asteroids and a diplomat from Titan (Fitz Wahram) enter her life, and Swan finds out that Alex’s death may not be due to natural causes. And then Mercury is attacked, making the situation really complicated.
Now, while all of this may sound really promising, why I thought 2312 was nothing more than an ambitious failure was its lack of a coherent storyline. Robinson has imagined a truly amazing world, but he doesn’t seem to know what to do with it. The characters don’t seem to have any concept of fiscal or practical limitation. They head across the solar system on a moment’s notice, take vacations on random asteroids and seem to have a free hand in messing with the Earth’s already too-fucked environment, with next to no repercussions.
In structure, 2312 is supposed to be a murder mystery. Swan and Wahram witnessed the attack on Terminator, survived it and then investigate it, which in turn leads them to the pre-existing fault lines their society. The problems with this are that the society hasn’t been described coherently enough for the reader to grasp the potential fault lines and Robinson has no idea about how to construct a mystery plot. Swan and Wahram’s approach is very disjointed, there is no sense of gathering clues and very little sense of drama. All of the plot revelations are dropped in Swan’s lap by another character at a convenient moment. The characters essentially do no meaningful investigation and show no investment in the outcome of the plot. When the climax comes, it is very weirdly forgettable.
There are also large sections of the book that appear to have nothing to do with the rest of the plot, and that’s where the unfortunate interval on Earth comes in. Robinson takes advantage of the scenes on Earth to do a bit of alienation and shows how foreign and strange and stifling Earth feels to someone who grew up outside of its atmosphere. Parts of this work, but he puts the plot on hold to do it. And parts of it do not work at all. The most glaring example is Swan and Wahram’s bizarre bit of attempted charity in Africa, which comes across as stunningly high-handed and arrogant. This could be in character, particularly for Swan (who is not long on empathy), but, if so, the book doesn’t signal to the reader that it should be read that way. Instead, there are some side (or snide) comments that seem to indicate Robinson knows nothing about the economic arc of Africa from the past twenty years. And when their absurd, botched, condescending charity plan fails for all the obvious reasons, the characters, and apparently the novel, throw up their hands and write Earth off as a stagnant lost cause that can’t accept the imposition of a good idea and go back to the plot, never apparently caring about Earth again.
Almost as frustrating is the way that these interludes are tied back into the story, which is usually through Swan getting ridiculously lucky on her random encounter rolls. It felt like whenever Robinson needed to make progress in the plot, Swan would just accidentally run into exactly the right person or situation to bring up the next plot point or to have some investigation make sense. (Not that Swan usually figured this out. Normally, the inspector explains it to her.) The author’s finger was planted so firmly on the scales that it destroyed my suspension of disbelief and made a mockery of the idea that the characters were actually investigating anything.
2312 is built around a skeleton of a plot, but the lack of engagement with it, the lack of tension and emotion, the way the next developments are generally narrated to the protagonists and the reader, and the repeated use of random encounters to steer it left me without much reason to care. Robinson tries a few twists, but since the story never felt committed to its plot anyway, those twists feel less like planned complications and more like another random veer in the road. It didn’t help that the final outcome was more prosaic and forgettable than the book had been implying it would be.
At the end, I would like to say that 2312 is not all that bad. The protagonists are memorable, and Robinson was brilliant at world-building and at writing the set pieces. However, the book lacked a plot and the characters needed a more coherent and complete cultural backdrop. Without these, the book just felt like reading about gorgeous moments separated by a whole lot of boring, and gave the overall impression of a construction tour rather than a story. There are bits of it I loved (especially the extended characterisation of Swam and Wahram in the tunnels of Mercury) but the book as a whole is a mess, and I can’t recommend wading through it for the good parts.








