few dozen miles west of Bognor, but as far as we were concerned it might as well have been on Mars. Amongst others, it featured the Who, the Doors, Miles Davis, Joan Baez, Sly and the Family Stone, Jimmy Hendrix (one of his last shows; he died of a barbiturate overdose a few weeks later) and Joni Mitchell, who was given an especially hard time by a bellicose crowd When Pilgrim goes in search of an ancient map that is taken from him, one that hints of a world where the feral bears may have had cities in the past and a connection to the strange alien ogres, the more modern wider world beyond Pilgrim’s town of Highwater Reach reveals itself to be somewhat steampunkish, with train travel, printing presses and balloons. By then, the universe had begun to be enriched by metals, too, including the stuff of life. But the composition of surviving members of the subsequent Population II generation of stars suggests that around a billion years after the Big Bang the universe was still extremely metal-poor; even the oldest Population I stars, formed 2 - 3 billion years later, contain only a tenth of the metal content of youngers stars like our sun. The philosopher Timothy Horton described global heating, climate change species loss and all the other upheavals of the Anthropocene, as hyperobjects 'massively distributed in space and time relative to humans'. Although we can see evidence for their existence, the totality of these hyperobjects is much harder -- if not impossible -- to comprehend, and attempting to depict them from the default close third person point-of-view presents obvious difficulties for the novelist. One solution is to distribute the story amongst multiple characters scattered across time, a technique used to fine effect in E.J. Swift's novel about three women who in different centuries observe the unspoiled beauty and the decline and fall of Australia's Great Barrier Reef.

I was also, in the later stages of my science career, a published science fiction author. The Secret of Life, published a few years after I became a full-time writer, and just now republished as a Gollanz Masterwork, is my attempt to write a novel that tapped into my life in the labs, foregrounding the practice andSince 2001, he has produced several SF-based techno-thrillers such as The Secret of Life, Whole Wide World, and White Devils. The first reissue is an ebook edition of my second novel, Secret Harmonies, first published in the US, in 1989, as Of the Fall. A title whose slight pun wouldn't, my then-editor Malcolm Edwards said, be appreciated by British readers; and thus the title change. And so it seems to go, only for the story to take an unexpected turn and lead to Pilgrim's most important discovery which seems to suggest that recent history including the fall of the Bears civilization to plague and the rise of the people to their peaceful but definitely materially and technologically progressing society along the lines of the long ago Ogres civilization, though hopefully this time without violating Mother (Earth) so inviting her brutal response that led the Ogres to extinction, is actually not quite as in the official histories preserved in the vast Library of the People where Pilgrim worked for so long. The book is divided into two parts. Part One is the story of Pilgrim Saltmire, a sentient raccoon who lives 200,000 years after humanity's extinction. It's also 600 years after the immediate successor to humanity, sentient bears, fell victim to a plague, which will be a key plot point. I found the story and worldbuilding of a society of sentient raccoons to be fascinating and informed by the author's PhD in biology. Also fascinating is that Saltmire is investigating what the late-lamented humans would call UFOs.

There are detailed, immersive passages describing reef biology, geology and history, and measuring the destruction and loss in the present and the consequences for the future against the unspoiled McAuley’s fabulous far future, impacted by the consequences of global warming, colonisation and historical injustices, explores and reflects our own challenges while telling a fast paced story of discovery and adventure. Science fiction is not a homogenous genre, even though there is a lot of SF that seems similar. There are the usual near future dystopias, far out space opera's, climate fiction or morality tales set on other planets. And then there are the novels that are about truly exploring new viewpoints and new ideas - conceptual science fiction, one might say. Even though to me this is the core of the genre, and novels like this were prevalent in the 'golden age of SF', now these are few and far between. But I still like stumbling on them. The first half feels like a rather meandering prelude that can probably be summed up in one sentence. Things really get cooking in the second, so my advice is to persevere. That is, squishy carbon-based life-as-we-know-it, not life based on (say) space-time defects or dark matter, like the Xeelee and the Photino Birds in Stephen Baxter's Xeelee sequence.first stars that formed in protogalaxies a few hundred light years across were composed entirely of primordial hydrogen and helium. I have to give this a very mixed review. On the one hand, it's got a lot of the sort of thing I like, especially non-human intelligences. On the other hand, it keeps building to a dramatic peak or reveal, and then ... skips to years/decades later. This same tension shapes Ysbel and her responses. Her role in the Bureau of Indigenous Affairs is intended to engage with, and gain the confidence of, “the natives.” Yet this is of course a form of colonisation by humanity, with its advanced technology and former claim to the planet. Given they can hop across the planet and up to the moon, gift techne to the people or withhold it, “the natives” are outmatched. Ysbel’s work is a way of softening the blow. They call themselves people, and certainly deserve the name. They are, with some significant exceptions, curious, peaceable, likeable and inventive. But they are not human. Pilgrim Saltmire is one of these (a mole, or badger, or what-you-will), a young academic determined to finish the monograph of his dear departed master, Able. Paul McAuley seems to specialise in these conceptual novels. This is no exception. It takes place 200.000 year after the exctinction of humanity. A race of intelligent raccoons has arisen. One of them, Pilgrim Saltmire, tries to complete the research of his mentor, who has passed away. It concerns the observations of mysterious 'visitors' and the question if these are a real phenomenon or pure imagination. Pilgrims journey takes him to the south of his continent, where he finds a map from an earlier civilisation ... The map contains clues to something bigger going on ...

It begins with scholar's assistant Pilgrim Saltmire after the death of his patron. Pilgrim wants to complete his master's work, an investigation of mysterious lights in the sky that might be visitors but might also be mass hysteria. He wants but funds for the work, which are hard to obtain. Returning to his mome he meets rejection, shame and exile. But exile leads to discovery of a mysterious map and a connection beween his people, bears and ogres which have devastating implications. The scale of a planet becomes all the more apparent when Pilgrim is exiled to the far south, a place of snowy winters. He is tasked with cataloguing a library abandoned by his tribe some decades before and, through the cold dark winter this task provides intellectual satisfaction amidst physical and social deprivation. In the process he discovers a map which may provide more insight into the visitors, and to a possible connection with the madness of the Bears. However, Pilgrim loses this along with the rest of his research, as events once again over take him. So far, so good, but there remain some problems. Practically every character in the second half seems to have an ulterior motive, and the main character's actions are repeatedly derailed to an extent that becomes a touch tedious. It is also confusing in places as many characters are introduced briefly, and it becomes difficult to remember who is who amongst the various adversaries and apparent helpers in the repeatedly shifting perspective of the apparent truth. Add in a distinctly frustrating ending, and the reader can emerge a little unsettled. I think the thing that gets me is that it seemed to be very intentional and I just don't understand what purpose it served.

I don't normally mind inconclusive or even cliffhanger endings, but this was just irritating and stupid. Presumably it was intended to be a hook for a sequel, but it didn't make me want to know what happened, it made me want to never read another one of the author's books. Ugg.