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Space Opera Kindle Edition
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Catherynne M. Valente
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Catherynne M. Valente
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LanguageEnglish
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PublisherGallery / Saga Press
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Publication dateApril 10, 2018
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File size3883 KB
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Editorial Reviews
Review
"As if Ziggy Stardust went on a blind date with The Hitchhiker's Guide to the Galaxy, then they got smashed and sang karaoke all night long. Cat Valente is mad and brilliant and no one else would have even thought of this, much less pulled it off." (New York Times bestselling and Hugo-Award winning author John Scalzi )
“SPACE OPERA is a book I really needed in this dour, dire age: Valente’s book contains a story and prose that is both electric and breathless, It has the heart of Douglas Adams and the soul of David Bowie. I loved it and it made me happy.” (New York Times bestselling author Chuck Wendig )
“Space Opera sings its heart out in full technicolor. This book made me giggle, freak out, and reflect on life’s tawdry beautiful pageant.” (Charlie Jane Anders, Nebula Award-winning author of ALL THE BIRDS IN THE SKY )
"This glorious glitterball dream of a book is Valente at her best: beguiling, bewitching, and inexplicably demanding. Are you ready to rock?" (Seanan McGuire, New York Times bestselling author of the October Daye series )
"Valente’s effervescent prose is wildly creative and often funny...[an] endearing, razzle-dazzle love song about destiny, finding one’s true voice, and rockin’ the house down." (Publishers Weekly)
* "Valente has pulled off another spectacular feat of world building (it’s worth reading just for the descriptions of previous performances) and a story which is uproariously funny, sweet, and hopeful." (Booklist, starred review)
"It's all big ideas written in glitter. It's surprising tenderness on a galactic scale. It's about loneliness and nerdliness and acceptance and making fun of the old, frowsy powers that be. Valente offers up a universe in which the only thing of true value is rhythm. Not guns, not bombs, not money, not power, but sex and love and pop songs. (NPR Books)
"Channeling the giants of sci-fi satire and glam rock into a brilliantly over-the-top burlesque, it’s a novel only Catherynne Valente could write." (B&N SciFi & Fantasy Blog)
"A wildly comical and cheerfully absurd galactic adventure." (The Chicago Tribune)
“The funniest science fiction novel I’ve read since Hitchhiker’s Guide to the Galaxy”. (The Verge)
* "A wild, weird and witty magnum opus." (Shelf Awareness, starred review)
About the Author
Catherynne M. Valente is an acclaimed, New York Times bestselling creator of over forty works of fantasy and science fiction, including the Fairyland novels and The Glass Town Game. She has been nominated for the Nebula and World Fantasy awards, and has won the Tiptree, Hugo, and Andre Norton award. She lives on a small island off the coast of Maine with her partner, young son, and a shockingly large cat with most excellent tufts.
Excerpt. © Reprinted by permission. All rights reserved.
Space Opera
Once upon a time on a small, watery, excitable planet called Earth, in a small, watery, excitable country called Italy, a soft-spoken, rather nice-looking gentleman by the name of Enrico Fermi was born into a family so overprotective that he felt compelled to invent the atomic bomb. Somewhere in between discovering various heretofore cripplingly socially anxious particles and transuranic elements and digging through plutonium to find the treat at the bottom of the nuclear box, he found the time to consider what would come to be known as the Fermi Paradox. If you’ve never heard this catchy little jingle before, here’s how it goes: given that there are billions of stars in the galaxy quite similar to our good old familiar standby sun, and that many of them are quite a bit further on in years than the big yellow lady, and the probability that some of these stars will have planets quite similar to our good old familiar knockabout Earth, and that such planets, if they can support life, have a high likelihood of getting around to it sooner or later, then someone out there should have sorted out interstellar travel by now, and therefore, even at the absurdly primitive crawl of early-1940s propulsion, the entire Milky Way could be colonized in only a few million years.
So where is everybody?
Many solutions have been proposed to soothe Mr. Fermi’s plaintive cry of transgalactic loneliness. One of the most popular is the Rare Earth Hypothesis, which whispers kindly: There, there, Enrico. Organic life is so complex that even the simplest algae require a vast array of extremely specific and unforgiving conditions to form up into the most basic recipe for primordial soup. It’s not all down to old stars and the rocks that love them. You’ve gotta get yourself a magnetosphere, a moon (but not too many), some gas giants to hold down the gravitational fort, a couple of Van Allen belts, a fat helping of meteors and glaciers and plate tectonics—and that’s without scraping up an atmosphere or nitrogenated soil or an ocean or three. It’s highly unlikely that each and every one of the million billion events that led to life here could ever occur again anywhere else. It’s all just happy coincidence, darling. Call it fate, if you’re feeling romantic. Call it luck. Call it God. Enjoy the coffee in Italy, the sausage in Chicago, and the day-old ham sandwiches at Los Alamos National Laboratory, because this is as good as high-end luxury multicellular living gets.
The Rare Earth Hypothesis means well, but it’s colossally, spectacularly, gloriously wrong.
Life isn’t difficult, it isn’t picky, it isn’t unique, and fate doesn’t enter into the thing. Kick-starting the gas-guzzling subcompact go-cart of organic sentience is as easy as shoving it down a hill and watching the whole thing spontaneously explode. Life wants to happen. It can’t stand not happening. Evolution is ready to go at a moment’s notice, hopping from one foot to another like a kid waiting in line for a roller coaster, so excited to get on with the colored lights and the loud music and the upside-down parts, it practically pees itself before it even pays the ticket price. And that ticket price is low, low, low. U-Pick-Em inhabitable planets, a dollar a bag! Buy-one-get-one specials on attractive and/or menacing flora and fauna! Oxygen! Carbon! Water! Nitrogen! Cheap! Cheap! Cheap! And, of course, all the intelligent species you can eat. They spin up overnight, hit the midway of industrial civilization, and ride the Giant Dipper Ultra-Cyclone till they puke themselves to death or achieve escape velocity and sail their little painted plastic bobsleds out into the fathomless deep.
Lather, rinse, repeat.
Yes, life is the opposite of rare and precious. It’s everywhere; it’s wet and sticky; it has all the restraint of a toddler left too long at day care without a juice box. And life, in all its infinite and tender intergalactic variety, would have gravely disappointed poor gentle-eyed Enrico Fermi had he lived only a little longer, for it is deeply, profoundly, execrably stupid.
It wouldn’t be so bad if biology and sentience and evolution were merely endearing idiots, enthusiastic tinkerers with subpar tools and an aesthetic that could be called, at best, cluttered and, at worst, a hallucinogenic biohazard-filled circus-cannon to the face. But, like the slender, balding father of the atomic age, they’ve all gotten far too much positive feedback over the years. They really believe in themselves, no matter how much evidence against piles up rotting in the corners of the universe. Life is the ultimate narcissist, and it loves nothing more than showing off. Give it the jankiest glob of fungus on the tiniest flake of dried comet-vomit wheeling drunkenly around the most underachieving star in the middle of the most depressing urban blight the cosmos has to offer, and in a few billion years, give or take, you’ll have a teeming society of telekinetic mushroom people worshipping the Great Chanterelle and zipping around their local points of interest in the tastiest of lightly browned rocket ships. Dredge up a hostile, sulfurous silicate lava sink slaloming between two phlegmy suns well into their shuffleboard years, a miserable wad of hell-spit, free-range acid clouds, and the gravitational equivalent of untreated diabetes, a stellar expletive that should never be forced to cope with something as toxic and flammable as a civilization, and before you can say no, stop, don’t, why? the place will be crawling with postcapitalist glass balloons filled with sentient gases all called Ursula.
Yes, the universe is absolutely riddled with fast-acting, pustulant, full-blown life.
So where is everybody?
Well, just at the moment when Enrico Fermi was walking to lunch with his friends Eddie and Herbert at Los Alamos National Laboratory, chatting about the recent rash of stolen city trash bins and how those “aliens” the blind-drunk hayseeds over in Roswell kept flapping their jaws about had probably gone joyriding and swiped them like a bunch of dropouts knocking over mailboxes with baseball bats, just then, when the desert sun was so hot and close overhead that for once Enrico was glad he’d gone bald so young, just then, when he looked up into the blue sky blistering with emptiness and wondered why it should be quite as empty as all that, just at that moment, and, in fact, up until fairly recently, everybody was terribly distracted by the seemingly inevitable, white-hot existential, intellectual, and actual obliteration of total galactic war.

Life is beautiful and life is stupid. This is, in fact, widely regarded as a universal rule not less inviolable than the Second Law of Thermodynamics, the Uncertainty Principle, and No Post on Sundays. As long as you keep that in mind, and never give more weight to one than the other, the history of the galaxy is a simple tune with lyrics flashed on-screen and a helpful, friendly bouncing disco ball of all-annihilating flames to help you follow along.
This book is that disco ball.
Cue the music. Cue the lights.
Here’s what you have to understand about intergalactic civil wars: they’re functionally identical to the knockdown, door-slamming, plate-smashing, wall-penetrating, shriek-sobbing drama of any high-strung couple you’ve ever met. The whole business matters a great deal to those involved and far, far less than the pressing issue of what to have for lunch to anyone outside their blast radius. No one can agree on how it started or whose fault it was, no one cares about the neighbors trying to bloody well sleep while it’s banging on, and not one thing in heaven or on Earth matters half as much as getting the last word in the end. Oh, it was all innocence and discovery and heart-shaped nights on the sofa at first! But then someone didn’t do the laundry for two weeks, and now it’s nothing but tears and red faces and imprecations against one person or the other’s slovenly upbringing and laser cannons and singularity-bombs and ultimatums and hollering, I never want to see you again, I really mean it this time or You’re really just like your mother or What do you mean you vapor-mined the Alunizar homeworld—that’s a war crime, you monster, until suddenly everyone’s standing in the pile of smoking rubble that has become their lives wondering how they’ll ever get their security deposit back. It’s what comes of cramming too much personality into too little space.
And there is always too little space.
But in the end, all wars are more or less the same. If you dig down through the layers of caramel corn and peanuts and choking, burning death, you’ll find the prize at the bottom and the prize is a question and the question is this: Which of us are people and which of us are meat?
Of course we are people, don’t be ridiculous. But thee? We just can’t be sure.
On Enrico Fermi’s small, watery planet, it could be generally agreed upon, for example, that a chicken was not people, but a physicist was. Ditto for sheep, pigs, mosquitoes, brine shrimp, squirrels, seagulls, and so on and so forth on the one hand, and plumbers, housewives, musicians, congressional aides, and lighting designers on the other. This was a fairly easy call (for the physicists, anyway), as brine shrimp were not overly talkative, squirrels failed to make significant headway in the fields of technology and mathematics, and seagulls were clearly unburdened by reason, feeling, or remorse. Dolphins, gorillas, and pharmaceutical sales representatives were considered borderline cases. In the final tally, Homo sapiens sapiens made the cut, and no one else could get served in the higher-end sentience establishments. Except that certain members of the clade felt that a human with very curly hair or an outsize nose or too many gods or not enough or who enjoyed somewhat spicier food or was female or just happened to occupy a particularly nice bit of shady grass by a river was no different at all than a wild pig, even if she had one head and two arms and two legs and no wings and was a prize-winning mathematician who very, very rarely rolled around in mud. Therefore, it was perfectly all right to use, ignore, or even slaughter those sorts like any other meat.
No one weeps for meat, after all.
If that one blue idiot ball had such trouble solving the meat/people equation when presented with, say, a German and a person not from Germany, imagine the consternation of the Alunizar Empire upon discovering all those Ursulas floating about on their cut-rate lavadump, or the Inaki, a species of tiny, nearly invisible parasitic fireflies capable of developing a sophisticated group consciousness, provided enough of them were safely snuggled into the warm chartreuse flesh of a Lensari pachyderm. Imagine the profound existential annoyance of those telekinetic sea squirts who ruled half the galaxy when their deep-space pioneers encountered the Sziv, a race of massively intelligent pink algae who fast-forwarded their evolutionary rise up the pop charts with spore-based nanocomputers, whose language consisted of long, luminous screams that could last up to fourteen hours and instantly curdle any nearby dairy products. And how could anyone be expected to deal with the Hrodos with a straight face when the whole species seemed to be nothing more than a very angry sort of twilit psychic hurricane occurring on one measly gas giant a thousand light-years from a decent dry cleaner?
None of them, not to mention the Voorpret or the Meleg or the 321 or any of the rest of the nonsense that wave after wave of intrepid explorers found wedged between the couch cushions of the galaxy, could possibly be people. They looked nothing like people. Nothing like the Aluzinar, those soft, undulating tubes of molten Venetian glass sailing through the darkness in their elegant tuftships. Not a bit like the majestic stone citizens of the Utorak Formation or the glittering secretive microparticulate of the Yüz, and certainly nothing remotely resembling the furry-faced, plush-tailed, time-traveling drunkards of the Keshet Effulgence, who looked improbably similar to the creatures humans called red pandas (which were neither red nor pandas, but there’s language for you), nor any of the other species of the Right Sort. These new, upstart mobs from the outlying systems were most definitely meat. They were fleas and muck and some kind of weird bear, in the case of the Meleg, and in the case of the Voorpret, pestilent, rotting viruses that spoke in cheerful puns through the decomposing mouths of their hosts. Even the 321, a society of profanity-prone artificial intelligences accidentally invented by the Ursulas, unleashed, reviled, and subsequently exiled to the satellite graveyards of the Udu Cluster, were meat, if somewhat harder to digest, being mainly made of tough, stringy math. Not that the globby lumps of the Alunizar were any less repulsive to the Sziv, nor did the hulking, plodding Utorak seem any less dangerously stupid to the 321.
Honestly, the only real question contemplated by either side was whether to eat, enslave, shun, keep them as pets, or cleanly and quietly exterminate them all. After all, they had no real intelligence. No transcendence. No soul. Only the ability to consume, respirate, excrete, cause ruckuses, reproduce, and inspire an instinctual, gamete-deep revulsion in the great civilizations that turned the galaxy around themselves like a particularly hairy thread around a particularly wobbly spindle.
Yet this meat had ships. Yet they had planets. Yet, when you pricked them, they rained down ultraviolet apocalyptic hellfire on all your nice, tidy moons. Yet this meat thought that it was people and that the great and ancient societies of the Milky Way were nothing but a plate of ground chuck. It made no sense.
Thus began the Sentience Wars, which engulfed a hundred thousand worlds in a domestic dispute over whether or not the dog should be allowed to eat at the dinner table just because he can do algebra and mourn his dead and write sonnets about the quadruple sunset over a magenta sea of Sziv that would make Shakespeare give up and go back to making gloves like his father always wanted. It did not end until about . . . wait just a moment . . . exactly one hundred years ago the Saturday after next.
When it was all done and said and shot and ignited and vaporized and swept up and put away and both sincerely and insincerely apologized for, everyone left standing knew that the galaxy could not bear a second go at this sort of thing. Something had to be done. Something mad and real and bright. Something that would bring all the shattered worlds together as one civilization. Something significant. Something elevating. Something grand. Something beautiful and stupid. Something terribly, gloriously, brilliantly, undeniably people.
Now, follow the bouncing disco ball. It’s time for the chorus. --This text refers to the paperback edition.
1.
Boom Bang-a-Bang
Once upon a time on a small, watery, excitable planet called Earth, in a small, watery, excitable country called Italy, a soft-spoken, rather nice-looking gentleman by the name of Enrico Fermi was born into a family so overprotective that he felt compelled to invent the atomic bomb. Somewhere in between discovering various heretofore cripplingly socially anxious particles and transuranic elements and digging through plutonium to find the treat at the bottom of the nuclear box, he found the time to consider what would come to be known as the Fermi Paradox. If you’ve never heard this catchy little jingle before, here’s how it goes: given that there are billions of stars in the galaxy quite similar to our good old familiar standby sun, and that many of them are quite a bit further on in years than the big yellow lady, and the probability that some of these stars will have planets quite similar to our good old familiar knockabout Earth, and that such planets, if they can support life, have a high likelihood of getting around to it sooner or later, then someone out there should have sorted out interstellar travel by now, and therefore, even at the absurdly primitive crawl of early-1940s propulsion, the entire Milky Way could be colonized in only a few million years.
So where is everybody?
Many solutions have been proposed to soothe Mr. Fermi’s plaintive cry of transgalactic loneliness. One of the most popular is the Rare Earth Hypothesis, which whispers kindly: There, there, Enrico. Organic life is so complex that even the simplest algae require a vast array of extremely specific and unforgiving conditions to form up into the most basic recipe for primordial soup. It’s not all down to old stars and the rocks that love them. You’ve gotta get yourself a magnetosphere, a moon (but not too many), some gas giants to hold down the gravitational fort, a couple of Van Allen belts, a fat helping of meteors and glaciers and plate tectonics—and that’s without scraping up an atmosphere or nitrogenated soil or an ocean or three. It’s highly unlikely that each and every one of the million billion events that led to life here could ever occur again anywhere else. It’s all just happy coincidence, darling. Call it fate, if you’re feeling romantic. Call it luck. Call it God. Enjoy the coffee in Italy, the sausage in Chicago, and the day-old ham sandwiches at Los Alamos National Laboratory, because this is as good as high-end luxury multicellular living gets.
The Rare Earth Hypothesis means well, but it’s colossally, spectacularly, gloriously wrong.
Life isn’t difficult, it isn’t picky, it isn’t unique, and fate doesn’t enter into the thing. Kick-starting the gas-guzzling subcompact go-cart of organic sentience is as easy as shoving it down a hill and watching the whole thing spontaneously explode. Life wants to happen. It can’t stand not happening. Evolution is ready to go at a moment’s notice, hopping from one foot to another like a kid waiting in line for a roller coaster, so excited to get on with the colored lights and the loud music and the upside-down parts, it practically pees itself before it even pays the ticket price. And that ticket price is low, low, low. U-Pick-Em inhabitable planets, a dollar a bag! Buy-one-get-one specials on attractive and/or menacing flora and fauna! Oxygen! Carbon! Water! Nitrogen! Cheap! Cheap! Cheap! And, of course, all the intelligent species you can eat. They spin up overnight, hit the midway of industrial civilization, and ride the Giant Dipper Ultra-Cyclone till they puke themselves to death or achieve escape velocity and sail their little painted plastic bobsleds out into the fathomless deep.
Lather, rinse, repeat.
Yes, life is the opposite of rare and precious. It’s everywhere; it’s wet and sticky; it has all the restraint of a toddler left too long at day care without a juice box. And life, in all its infinite and tender intergalactic variety, would have gravely disappointed poor gentle-eyed Enrico Fermi had he lived only a little longer, for it is deeply, profoundly, execrably stupid.
It wouldn’t be so bad if biology and sentience and evolution were merely endearing idiots, enthusiastic tinkerers with subpar tools and an aesthetic that could be called, at best, cluttered and, at worst, a hallucinogenic biohazard-filled circus-cannon to the face. But, like the slender, balding father of the atomic age, they’ve all gotten far too much positive feedback over the years. They really believe in themselves, no matter how much evidence against piles up rotting in the corners of the universe. Life is the ultimate narcissist, and it loves nothing more than showing off. Give it the jankiest glob of fungus on the tiniest flake of dried comet-vomit wheeling drunkenly around the most underachieving star in the middle of the most depressing urban blight the cosmos has to offer, and in a few billion years, give or take, you’ll have a teeming society of telekinetic mushroom people worshipping the Great Chanterelle and zipping around their local points of interest in the tastiest of lightly browned rocket ships. Dredge up a hostile, sulfurous silicate lava sink slaloming between two phlegmy suns well into their shuffleboard years, a miserable wad of hell-spit, free-range acid clouds, and the gravitational equivalent of untreated diabetes, a stellar expletive that should never be forced to cope with something as toxic and flammable as a civilization, and before you can say no, stop, don’t, why? the place will be crawling with postcapitalist glass balloons filled with sentient gases all called Ursula.
Yes, the universe is absolutely riddled with fast-acting, pustulant, full-blown life.
So where is everybody?
Well, just at the moment when Enrico Fermi was walking to lunch with his friends Eddie and Herbert at Los Alamos National Laboratory, chatting about the recent rash of stolen city trash bins and how those “aliens” the blind-drunk hayseeds over in Roswell kept flapping their jaws about had probably gone joyriding and swiped them like a bunch of dropouts knocking over mailboxes with baseball bats, just then, when the desert sun was so hot and close overhead that for once Enrico was glad he’d gone bald so young, just then, when he looked up into the blue sky blistering with emptiness and wondered why it should be quite as empty as all that, just at that moment, and, in fact, up until fairly recently, everybody was terribly distracted by the seemingly inevitable, white-hot existential, intellectual, and actual obliteration of total galactic war.

Life is beautiful and life is stupid. This is, in fact, widely regarded as a universal rule not less inviolable than the Second Law of Thermodynamics, the Uncertainty Principle, and No Post on Sundays. As long as you keep that in mind, and never give more weight to one than the other, the history of the galaxy is a simple tune with lyrics flashed on-screen and a helpful, friendly bouncing disco ball of all-annihilating flames to help you follow along.
This book is that disco ball.
Cue the music. Cue the lights.
Here’s what you have to understand about intergalactic civil wars: they’re functionally identical to the knockdown, door-slamming, plate-smashing, wall-penetrating, shriek-sobbing drama of any high-strung couple you’ve ever met. The whole business matters a great deal to those involved and far, far less than the pressing issue of what to have for lunch to anyone outside their blast radius. No one can agree on how it started or whose fault it was, no one cares about the neighbors trying to bloody well sleep while it’s banging on, and not one thing in heaven or on Earth matters half as much as getting the last word in the end. Oh, it was all innocence and discovery and heart-shaped nights on the sofa at first! But then someone didn’t do the laundry for two weeks, and now it’s nothing but tears and red faces and imprecations against one person or the other’s slovenly upbringing and laser cannons and singularity-bombs and ultimatums and hollering, I never want to see you again, I really mean it this time or You’re really just like your mother or What do you mean you vapor-mined the Alunizar homeworld—that’s a war crime, you monster, until suddenly everyone’s standing in the pile of smoking rubble that has become their lives wondering how they’ll ever get their security deposit back. It’s what comes of cramming too much personality into too little space.
And there is always too little space.
But in the end, all wars are more or less the same. If you dig down through the layers of caramel corn and peanuts and choking, burning death, you’ll find the prize at the bottom and the prize is a question and the question is this: Which of us are people and which of us are meat?
Of course we are people, don’t be ridiculous. But thee? We just can’t be sure.
On Enrico Fermi’s small, watery planet, it could be generally agreed upon, for example, that a chicken was not people, but a physicist was. Ditto for sheep, pigs, mosquitoes, brine shrimp, squirrels, seagulls, and so on and so forth on the one hand, and plumbers, housewives, musicians, congressional aides, and lighting designers on the other. This was a fairly easy call (for the physicists, anyway), as brine shrimp were not overly talkative, squirrels failed to make significant headway in the fields of technology and mathematics, and seagulls were clearly unburdened by reason, feeling, or remorse. Dolphins, gorillas, and pharmaceutical sales representatives were considered borderline cases. In the final tally, Homo sapiens sapiens made the cut, and no one else could get served in the higher-end sentience establishments. Except that certain members of the clade felt that a human with very curly hair or an outsize nose or too many gods or not enough or who enjoyed somewhat spicier food or was female or just happened to occupy a particularly nice bit of shady grass by a river was no different at all than a wild pig, even if she had one head and two arms and two legs and no wings and was a prize-winning mathematician who very, very rarely rolled around in mud. Therefore, it was perfectly all right to use, ignore, or even slaughter those sorts like any other meat.
No one weeps for meat, after all.
If that one blue idiot ball had such trouble solving the meat/people equation when presented with, say, a German and a person not from Germany, imagine the consternation of the Alunizar Empire upon discovering all those Ursulas floating about on their cut-rate lavadump, or the Inaki, a species of tiny, nearly invisible parasitic fireflies capable of developing a sophisticated group consciousness, provided enough of them were safely snuggled into the warm chartreuse flesh of a Lensari pachyderm. Imagine the profound existential annoyance of those telekinetic sea squirts who ruled half the galaxy when their deep-space pioneers encountered the Sziv, a race of massively intelligent pink algae who fast-forwarded their evolutionary rise up the pop charts with spore-based nanocomputers, whose language consisted of long, luminous screams that could last up to fourteen hours and instantly curdle any nearby dairy products. And how could anyone be expected to deal with the Hrodos with a straight face when the whole species seemed to be nothing more than a very angry sort of twilit psychic hurricane occurring on one measly gas giant a thousand light-years from a decent dry cleaner?
None of them, not to mention the Voorpret or the Meleg or the 321 or any of the rest of the nonsense that wave after wave of intrepid explorers found wedged between the couch cushions of the galaxy, could possibly be people. They looked nothing like people. Nothing like the Aluzinar, those soft, undulating tubes of molten Venetian glass sailing through the darkness in their elegant tuftships. Not a bit like the majestic stone citizens of the Utorak Formation or the glittering secretive microparticulate of the Yüz, and certainly nothing remotely resembling the furry-faced, plush-tailed, time-traveling drunkards of the Keshet Effulgence, who looked improbably similar to the creatures humans called red pandas (which were neither red nor pandas, but there’s language for you), nor any of the other species of the Right Sort. These new, upstart mobs from the outlying systems were most definitely meat. They were fleas and muck and some kind of weird bear, in the case of the Meleg, and in the case of the Voorpret, pestilent, rotting viruses that spoke in cheerful puns through the decomposing mouths of their hosts. Even the 321, a society of profanity-prone artificial intelligences accidentally invented by the Ursulas, unleashed, reviled, and subsequently exiled to the satellite graveyards of the Udu Cluster, were meat, if somewhat harder to digest, being mainly made of tough, stringy math. Not that the globby lumps of the Alunizar were any less repulsive to the Sziv, nor did the hulking, plodding Utorak seem any less dangerously stupid to the 321.
Honestly, the only real question contemplated by either side was whether to eat, enslave, shun, keep them as pets, or cleanly and quietly exterminate them all. After all, they had no real intelligence. No transcendence. No soul. Only the ability to consume, respirate, excrete, cause ruckuses, reproduce, and inspire an instinctual, gamete-deep revulsion in the great civilizations that turned the galaxy around themselves like a particularly hairy thread around a particularly wobbly spindle.
Yet this meat had ships. Yet they had planets. Yet, when you pricked them, they rained down ultraviolet apocalyptic hellfire on all your nice, tidy moons. Yet this meat thought that it was people and that the great and ancient societies of the Milky Way were nothing but a plate of ground chuck. It made no sense.
Thus began the Sentience Wars, which engulfed a hundred thousand worlds in a domestic dispute over whether or not the dog should be allowed to eat at the dinner table just because he can do algebra and mourn his dead and write sonnets about the quadruple sunset over a magenta sea of Sziv that would make Shakespeare give up and go back to making gloves like his father always wanted. It did not end until about . . . wait just a moment . . . exactly one hundred years ago the Saturday after next.
When it was all done and said and shot and ignited and vaporized and swept up and put away and both sincerely and insincerely apologized for, everyone left standing knew that the galaxy could not bear a second go at this sort of thing. Something had to be done. Something mad and real and bright. Something that would bring all the shattered worlds together as one civilization. Something significant. Something elevating. Something grand. Something beautiful and stupid. Something terribly, gloriously, brilliantly, undeniably people.
Now, follow the bouncing disco ball. It’s time for the chorus. --This text refers to the paperback edition.
Product details
- ASIN : B074ZJQT6P
- Publisher : Gallery / Saga Press; Reprint edition (April 10, 2018)
- Publication date : April 10, 2018
- Language : English
- File size : 3883 KB
- Text-to-Speech : Enabled
- Enhanced typesetting : Enabled
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Reviewed in the United States on May 6, 2018
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I love the Hitchhiker's Guide to the Galaxy series and really wanted to enjoy this book... but finally gave up after enduring the first 100 pages. It is a barrage of fluff, trying too hard to be edgy by cumulating adjectives in endless sentences There are definitely some witty lines, but I just can't take it anymore, sorry. I will donate this book to our local little free library. Hopefully it will find a better home. Oh, who am I kidding, I just like to torment the local kids.
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Reviewed in the United States on April 26, 2018
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I struggled through the first 120 pages of this dross, but couldn’t take anymore. Writing humorous science-fiction is HARD: this book is sadly a good example of this. Way too much winking at the camera, with every sentence full of irrelevant tangents, and the plot playing out at the speed of treacle.
The whole thing for me is epitomised by this description of a stage in a dingy club:
“It was, to be perfectly honest, a depressingly bleak sight, far bleaker than a lifetime spent working in air-conditioned cubicles or watching a kebab slowly revolve in front of a space heater like a sweaty meat planet or ringing up an eternity of cough suppressants in your dad’s tiny one-location drugstore after he finally gives up the till, far bleaker than a mere total absence of anything to look forward to.”
Every single sentence is like this. Trying to stay interested quickly becomes a chore. Definitely not my cup of tea.
The whole thing for me is epitomised by this description of a stage in a dingy club:
“It was, to be perfectly honest, a depressingly bleak sight, far bleaker than a lifetime spent working in air-conditioned cubicles or watching a kebab slowly revolve in front of a space heater like a sweaty meat planet or ringing up an eternity of cough suppressants in your dad’s tiny one-location drugstore after he finally gives up the till, far bleaker than a mere total absence of anything to look forward to.”
Every single sentence is like this. Trying to stay interested quickly becomes a chore. Definitely not my cup of tea.
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Reviewed in the United States on April 16, 2018
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I've seen a lot of comparisons to Douglas Adams, which is fair and, honestly, inevitable. When you think of humans blundering out into a galaxy populated with vast arrays of smartass sentient beings who have lived many thousands and millions of years before we showed up, thank you very much, you think of "The Hitchhiker's Guide to the Galaxy."
But HHGTTG, as amazing as it was, doesn't age well. The first three books hold up, I think, but by now the jokes have passed into the collective unconscious and there have been enough attempts to copy it that the originals have been tainted somewhat by association.
What "Space Opera" -- the story of how humanity discovers it must compete in a galactic version of Eurovision to prove its sentience or be destroyed and the human team chosen is the remaining pathetic two people of a three-person, briefly-hot band -- gets right is that it doesn't try to be Adams.
Catherynne M. Valente has her own silly, frenetic, world-weary style that involves long, run-on sentences with at least two puns each so that you have to read slowly to get it all. (OK, not all of them have puns, but several of them got me to laugh out loud while I was reading and I don't do that.) Think of a drunken David Bowie explaining to you at 3 in the morning what music REALLY is, with aliens. It's fast and it's funny and twisted and oddly philosophical and touching.
Just like good -- and entertainingly bad -- music is.
If I have a complaint it's that I thought the ending, when we finally got to the big event, was rushed along a little bit. But that's a small thing compared to the sheer delight of the rest of it.
But HHGTTG, as amazing as it was, doesn't age well. The first three books hold up, I think, but by now the jokes have passed into the collective unconscious and there have been enough attempts to copy it that the originals have been tainted somewhat by association.
What "Space Opera" -- the story of how humanity discovers it must compete in a galactic version of Eurovision to prove its sentience or be destroyed and the human team chosen is the remaining pathetic two people of a three-person, briefly-hot band -- gets right is that it doesn't try to be Adams.
Catherynne M. Valente has her own silly, frenetic, world-weary style that involves long, run-on sentences with at least two puns each so that you have to read slowly to get it all. (OK, not all of them have puns, but several of them got me to laugh out loud while I was reading and I don't do that.) Think of a drunken David Bowie explaining to you at 3 in the morning what music REALLY is, with aliens. It's fast and it's funny and twisted and oddly philosophical and touching.
Just like good -- and entertainingly bad -- music is.
If I have a complaint it's that I thought the ending, when we finally got to the big event, was rushed along a little bit. But that's a small thing compared to the sheer delight of the rest of it.
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Reviewed in the United States on April 11, 2018
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One of the most refreshingly original works of sci-fi I've read in a long time. Buckaroo Banzai meets Rick & Morty starring David Bowie (and his polyamorous triad of bandmates!) doing Jem & the Holograms in space, and saving the world through the power of glamtastic rock and roll.
The premise is wonderful. The characters are an absolute delight. The prose displays a level of masterful craftsmanship that would be outright stunning if Valente didn't make it all look so breezy and effortless. Almost every sentence sparks with some little joke. Every paragraph is its own shiny gem, and they just fire at you en masse, over and over, stacking up puns and clever asides into great big ideas about life, the universe, and everything. Reading this book is like chewing bubblegum that has pop rocks in it.
Do not miss this book. In the sepia-toned gritty gray wasteland of modern SFF, "Space Opera" is just plain FUN.
The premise is wonderful. The characters are an absolute delight. The prose displays a level of masterful craftsmanship that would be outright stunning if Valente didn't make it all look so breezy and effortless. Almost every sentence sparks with some little joke. Every paragraph is its own shiny gem, and they just fire at you en masse, over and over, stacking up puns and clever asides into great big ideas about life, the universe, and everything. Reading this book is like chewing bubblegum that has pop rocks in it.
Do not miss this book. In the sepia-toned gritty gray wasteland of modern SFF, "Space Opera" is just plain FUN.
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Reviewed in the United States on November 26, 2018
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I LOVE the old HHtG books, and fun sci-fi in general- it’s nice to have a change from apocalyptic stories. Both have their place, of course, and I’ve loved both kinds. But I only managed to make it partway through this book before giving it up. There are some interesting ideas, but the writing seemed to get in it’s own way- most sentences seemed like an explosion in an adjective factory, with phrases tacked together for maximum confusion. I guess that’s the effect the author was going for, but it felt like every page, we got new characters, with crazy backstories, and trying to keep all of the threads straight was more exhausting than entertaining. I know you sometimes need a big cast of characters for a wide ranging story, but I found the acres of galactic history, to try to explain the motivations of every sentient race in the galaxy, just too much. It almost felt like it would have worked better as a short story- the kernel of the idea is neat, but trim away all of the filler that made it into a full-length novel.
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Richard I Urwin
2.0 out of 5 stars
Can I stop reading it now?
Reviewed in the United Kingdom on May 16, 2019Verified Purchase
If this book took out all the verbiage then it might be a short story. There are sentences so long that by the time you have got to the end, you've forgotten what they were about. There are pages that only have two and a half sentences on. Which might be okay if what they said was interesting and relevant. Most of the time they are neither. It digresses all the time and for no reason. The digressions don't advance the plot or the characters. They might be an excuse to insert a joke, but one with no relevance to the narrative. Yes it's got an entertaining style but, just as it would be a bad idea to write an entire novel in a gothic typeface, it quickly becomes tiresome and intrusive.
I've got 30% of the way through the book. So far there's been two scenes. (1) a conversation with a pink flamingo (2) a conversation with men in black. We've now got to the planet the competition is to be held on with no indication of how it was done. We haven't met the second protagonist. We get a new Chekov's Gun in every paragraph and I no longer expect any of them to be fired.
This is not HHGTTG or Pratchett. Not even close. Adams and Pratchett knew how to insert a humorous aside. It isn't Vonnegurt; he knew how to write surreal verbiage that moved the narrative along. This book is pure texture with nothing substantial to back it up.
I've got 30% of the way through the book. So far there's been two scenes. (1) a conversation with a pink flamingo (2) a conversation with men in black. We've now got to the planet the competition is to be held on with no indication of how it was done. We haven't met the second protagonist. We get a new Chekov's Gun in every paragraph and I no longer expect any of them to be fired.
This is not HHGTTG or Pratchett. Not even close. Adams and Pratchett knew how to insert a humorous aside. It isn't Vonnegurt; he knew how to write surreal verbiage that moved the narrative along. This book is pure texture with nothing substantial to back it up.
7 people found this helpful
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Martin Jones
3.0 out of 5 stars
This is what happens when you have a drink before song nine
Reviewed in the United Kingdom on June 30, 2019Verified Purchase
Eurovision in space. I read that Catherynne Valente sold her book with these three words. I bought it on the same basis.
The early scenes are excellent, introducing us to Decibel Jones, a Bowie, Bolan, Essex, New York Doll amalgam of a faded glam rock star. With his band, the Absolute Zeros, he had a short but intense period of success, brought to a shuddering end when one of the founding members died in a car crash. Now Decibel gets by on the strength of nostalgic gigs, typically booked by wealthy middle aged men throwing birthday parties.
Who knows how long Decibel would have continued in this twilight zone of a career. We never find out because the aliens land. Extraterrestrials, who have monitored Earth via our radio transmissions, arrive to judge whether humanity is worthy of a place in wider intergalactic society. The procedure for judgement involves participation in a song contest, staged on a world which had once been the centre of interplanetary war. Because Decibel is something of a favourite amongst influential members of his off-planet audience, he, and the one surviving member of his band, are selected to represent Earth at the contest. As well as the usual nerves that come with being a performer, Decibel faces the additional stress of knowing that the penalty for coming in last place at your first contest appearance, is destruction of the race applying for membership of the wider community of planets.
I enjoyed Space Opera until this point. The characters are, in a Jackson Pollock sort of way, well drawn; and the basic idea of the story, bizarre as it might sound, made sense to me. The idea of a song contest growing out of war was not so far fetched. After all, the Eurovision Song Contest, first held in 1956, was established only a decade after the Second World War ended in Europe. Then when the Cold War ended in the early 1990s, many eastern bloc countries entered for the first time. Eurovision really does seem to emerge from the ashes of war and conflict. In the new order of things, national competition is filtered through the glitter ball prism of fun and music.
However, I couldn’t say that I found the book a complete success. There are long digressions which describe the galaxy’s former wars, and the history of the song contest. We do not see any of this extra material through the eyes of the book’s characters. Instead there is just an overwrought, disembodied author voice telling us about it. Clearly Douglas Adams is an influence on Space Opera, but in his books the amusing, tangential stuff generally comes to us through Adams’s famous invention, the vast and not always reliable, Hitchhiker’s Guide to the Galaxy, designed to help a space traveller find his way around the galaxy on less than thirty Altairian dollars a day. There is no such framing device in Space Opera, and it suffers as a result. I found myself tending to skip the digressions so that I could get back to the story as told by the characters in it.
Overall, this book was not douze points, or nil points. It was somewhere in between, with some nice key changes, a group of chaotic backing dancers and over the top staging. So I think it would get a seven or eight from this jury. A good effort, but better luck next year.
The early scenes are excellent, introducing us to Decibel Jones, a Bowie, Bolan, Essex, New York Doll amalgam of a faded glam rock star. With his band, the Absolute Zeros, he had a short but intense period of success, brought to a shuddering end when one of the founding members died in a car crash. Now Decibel gets by on the strength of nostalgic gigs, typically booked by wealthy middle aged men throwing birthday parties.
Who knows how long Decibel would have continued in this twilight zone of a career. We never find out because the aliens land. Extraterrestrials, who have monitored Earth via our radio transmissions, arrive to judge whether humanity is worthy of a place in wider intergalactic society. The procedure for judgement involves participation in a song contest, staged on a world which had once been the centre of interplanetary war. Because Decibel is something of a favourite amongst influential members of his off-planet audience, he, and the one surviving member of his band, are selected to represent Earth at the contest. As well as the usual nerves that come with being a performer, Decibel faces the additional stress of knowing that the penalty for coming in last place at your first contest appearance, is destruction of the race applying for membership of the wider community of planets.
I enjoyed Space Opera until this point. The characters are, in a Jackson Pollock sort of way, well drawn; and the basic idea of the story, bizarre as it might sound, made sense to me. The idea of a song contest growing out of war was not so far fetched. After all, the Eurovision Song Contest, first held in 1956, was established only a decade after the Second World War ended in Europe. Then when the Cold War ended in the early 1990s, many eastern bloc countries entered for the first time. Eurovision really does seem to emerge from the ashes of war and conflict. In the new order of things, national competition is filtered through the glitter ball prism of fun and music.
However, I couldn’t say that I found the book a complete success. There are long digressions which describe the galaxy’s former wars, and the history of the song contest. We do not see any of this extra material through the eyes of the book’s characters. Instead there is just an overwrought, disembodied author voice telling us about it. Clearly Douglas Adams is an influence on Space Opera, but in his books the amusing, tangential stuff generally comes to us through Adams’s famous invention, the vast and not always reliable, Hitchhiker’s Guide to the Galaxy, designed to help a space traveller find his way around the galaxy on less than thirty Altairian dollars a day. There is no such framing device in Space Opera, and it suffers as a result. I found myself tending to skip the digressions so that I could get back to the story as told by the characters in it.
Overall, this book was not douze points, or nil points. It was somewhere in between, with some nice key changes, a group of chaotic backing dancers and over the top staging. So I think it would get a seven or eight from this jury. A good effort, but better luck next year.
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Georgiana89
3.0 out of 5 stars
big on humour and ideas, light on plot
Reviewed in the United Kingdom on July 9, 2019Verified Purchase
This was a good fun read. It’s a Hitchhiker’s Guide to the Galaxy-style story (the author acknowledges the inspiration, but it would be a hard influence to miss) about an intergalactic singing competition modelled on the Eurovision Song Contest, focussed on earth’s washed up glam rock competitors . So far starters, it probably helps with your enjoyment of the book if you at least vaguely like at least one of those books, that contest or that genre of music!
The world is fairly well-developed. The basic premise is that life crops up everywhere in a multitude of forms, and the author has lots of fun imaginatively exploring what different sentient beings might be like (eg. a virus, a computer programme, a hive mind etc). The second idea is that the fundamental disagreement – on earth and across the universe – boils down to what does and doesn’t count as sentient life. The third is that the ability to put on a show is a fairly good sign of sentience – and again, the author really goes to town on describing different performances, which push to the limits what we’d think of as music. In short, therefore, there are some pretty big ideas lurking behind all the humour, absurdity and glitter.
The plot feels relatively thin – more a vehicle for big questions, funny moments, and some dramatic set-pieces than something designed to keep you enraptured by its twists and turns. Lots of chapters go off at major tangents, reflecting on the main character’s life or describing yet another alien civilisation. It was enough to keep me turning the pages, but it left me a little unsatisfied, especially given the relative length of the book.
The writing style is distinctive. There are long, convoluted sentences, some of which I found clever and amusing, others of which tired me out!
Overall then, I enjoyed this, but wasn’t blown away by it.
The world is fairly well-developed. The basic premise is that life crops up everywhere in a multitude of forms, and the author has lots of fun imaginatively exploring what different sentient beings might be like (eg. a virus, a computer programme, a hive mind etc). The second idea is that the fundamental disagreement – on earth and across the universe – boils down to what does and doesn’t count as sentient life. The third is that the ability to put on a show is a fairly good sign of sentience – and again, the author really goes to town on describing different performances, which push to the limits what we’d think of as music. In short, therefore, there are some pretty big ideas lurking behind all the humour, absurdity and glitter.
The plot feels relatively thin – more a vehicle for big questions, funny moments, and some dramatic set-pieces than something designed to keep you enraptured by its twists and turns. Lots of chapters go off at major tangents, reflecting on the main character’s life or describing yet another alien civilisation. It was enough to keep me turning the pages, but it left me a little unsatisfied, especially given the relative length of the book.
The writing style is distinctive. There are long, convoluted sentences, some of which I found clever and amusing, others of which tired me out!
Overall then, I enjoyed this, but wasn’t blown away by it.
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L. Whibley
5.0 out of 5 stars
Utterly glorious
Reviewed in the United Kingdom on August 9, 2018Verified Purchase
I've not finished this book yet.. I don't want to finish reading this book. I am eking out tiny bites to make it last. You'll see people talking about Douglas Adams.. and there's lot of that feel about this book and none of it to any detriment.. It has the Hitch Hikers groove all over.. but, and I hesitate to say it, I like this better. Feels like sacrilege of sorts.. Younger me adored those books.. older me adores this book as much, if not more.
It also has a side order of Ian M Banks' humanity and pathos in the midst of the fantastic. The character work is well realised and sharp as a tack in the arch of your foot. There are surprises and sentences that turn on a sixpence.
I have very picky friends that I know are going to find this delightful and I'm pimping it shamelessly to many of them right now. You should read it too.
No really, you should.
It also has a side order of Ian M Banks' humanity and pathos in the midst of the fantastic. The character work is well realised and sharp as a tack in the arch of your foot. There are surprises and sentences that turn on a sixpence.
I have very picky friends that I know are going to find this delightful and I'm pimping it shamelessly to many of them right now. You should read it too.
No really, you should.
M. Wyer
4.0 out of 5 stars
What an amazing hot mess of a book
Reviewed in the United Kingdom on May 26, 2018Verified Purchase
I loved Douglas Adams' writing and silliness.
I love Eurovision's spectacle and silliness.
Luckily I also love profanity, as this story profanes them both, repeatedly. But if you pay attention, listen closely, and open your mind a little, you can hear them both gasp and sweatily beg for more.
There were moments when I didn't like this book, times when I kept going because I had nothing better to do, but the joy of the climax (yes, really) made it all worthwhile.
Probably not for everyone, but damn I had a good time in the end.
I love Eurovision's spectacle and silliness.
Luckily I also love profanity, as this story profanes them both, repeatedly. But if you pay attention, listen closely, and open your mind a little, you can hear them both gasp and sweatily beg for more.
There were moments when I didn't like this book, times when I kept going because I had nothing better to do, but the joy of the climax (yes, really) made it all worthwhile.
Probably not for everyone, but damn I had a good time in the end.
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