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Julian Comstock: A Story of 22nd-Century America
Julian Comstock: A Story of 22nd-Century America
Julian Comstock: A Story of 22nd-Century America
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Julian Comstock: A Story of 22nd-Century America

Rating: 3.5 out of 5 stars

3.5/5

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From Robert Charles Wilson, the Hugo Award-winning author of Spin, comes Julian Comstock, an exuberant adventure in a post-climate-change America.

In the reign of President Deklan Comstock, a reborn United States is struggling back to prosperity. Over a century after the Efflorescence of Oil, after the Fall of the Cities, after the False Tribulation, after the days of the Pious Presidents, the sixty stars and thirteen stripes wave from the plains of Athabaska to the national capital in New York. In Colorado Springs, the Dominion sees to the nation's spiritual needs. In Labrador, the Army wages war on the Dutch. America, unified, is rising once again.

Then out of Labrador come tales of the war hero "Captain Commongold." The masses follow his adventures in the popular press. The Army adores him. The President is...troubled. Especially when the dashing Captain turns out to be his nephew Julian, son of the President's late brother Bryce—a popular general who challenged the President's power, and paid the ultimate price.
As Julian ascends to the pinnacle of power, his admiration for the works of the Secular Ancients sets him at fatal odds with the Dominion. Treachery and intrigue will dog him as he closes in on the accomplishment of his lifelong ambition: to make a film about the life of Charles Darwin.



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LanguageEnglish
Release dateJun 23, 2009
ISBN9781429956543
Julian Comstock: A Story of 22nd-Century America
Author

Robert Charles Wilson

Robert Charles Wilson was born in California and lives in Toronto. His novel Spin won science fiction’s Hugo Award in 2006. Earlier, he won the Philip K. Dick Award for his debut novel A Hidden Place; Canada’s Aurora Award for Darwinia; and the John W. Campbell Award for The Chronoliths.

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Reviews for Julian Comstock

Rating: 3.6551724137931036 out of 5 stars
3.5/5

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  • Rating: 4 out of 5 stars
    4/5
    It didn't take long to speed through Julian Comstock, for all its 700 or so pages, because it's grand storytelling. What came to mind as I finished it were the critics who saw Star Wars as a western set in space. That is, this story could have successfully been told of any age or society in which an entrenched hierarchy breeds young heroes who successfully challenge it. Like, uh, Star Wars. For me the enjoyment wasn't so much in the world-building, which is fairly slight, but in the characters who inhabit it, especially the young narrator and his best friend Julian, the aristocrat who challenges his evil uncle for leadership. I loved the narrator, and it's more his story than Julian's, but centering it on Julian makes a believable hook for hanging a tale meant for people who lived at that time. So, another winner from Robert Charles Wilson.
  • Rating: 3 out of 5 stars
    3/5
    This is something more akin to Wilson's 'Darwinia' - a science-fiction novel without so much of the science, and a large dose of human interest. That being said, we have another opportunity to relish the amazing writing skills - and profound way with words - that Wilson brings to everything he writes (at least, everything that I have thus far read.)

    So compelling, in fact, is this author's work, that I have begun to round out my collection of his books - in their entirety - and find it nearly impossible to tear myself away from reading another when it comes time to choose my next read. And that's saying something, because my books on hand to read are impressive in their own right.
  • Rating: 3 out of 5 stars
    3/5
    Disappointing.
  • Rating: 5 out of 5 stars
    5/5
    This book is *thick* with data and jargon from the various involved subject matters (mathematics, programming, semantics, biology), but even so I found it extremely enjoyable. There's a little bit of a cliffhanger at the end, but I didn't find it infuriating (which cliffhangers normally do). I found the main character fascinating and likeable and the future he eventually ends up in creatively different from most of the sci-fi I read. I think, if you liked Asimov's foundation series, you'll be able to appreciate this book. I look forward to reading the next in the series.
  • Rating: 2 out of 5 stars
    2/5
    Did not finish. It feels like Wilson wanted to write a clichéd, predictable, traditional fairytale/adventure in an unlikely post-apokalyptic setting (though not really apokalyptic, the world has simply come down from previous, excessive consumption fuelled by oil) as some kind of experiment, but I just got bored. Not recommended.
  • Rating: 3 out of 5 stars
    3/5
    A pretty good story, but the unbelievably naive narrator got old really really fast.

    1 person found this helpful

  • Rating: 2 out of 5 stars
    2/5
    I'd been reading this since I visited my girlfriend in January. Finally I'm doing a bit of Mount TBR busting, and I picked this up and just steamed through what I had left of it. The fact that that was an effort, combined with how long I just left it mouldering on my to read pile, probably influences my rating.

    I don't think I've read any of Robert Charles Wilson's work before, though I do have another of his novels on my shelf somewhere. I'm not sure I would read more if it weren't for that. I got bored of the world he painted -- it wasn't unbelievable, exactly, but it was predictable and his characters were about as intriguing as my morning bowl of cereal. Quotidian, run of the mill, etc.

    All the key parts of the plot are summarised in the wikipedia article, which is... not very long. It's a lot of talking and not much happening. There's nothing that bad about it, I just... don't care.
  • Rating: 3 out of 5 stars
    3/5
    A well-realized future history but not in the same league as other novels by R.C. Wilson.
  • Rating: 3 out of 5 stars
    3/5
    Great idea. Great discourse on religion. However, I found most characters not very well developed and not very believable.
  • Rating: 4 out of 5 stars
    4/5
    Good story but a bit incredible in places.
  • Rating: 4 out of 5 stars
    4/5
    This is one of those books that you have to be careful not to get lost. With the wide array of characters and time that passes through you have to either be impressed at the skill that was put into developing this story, or you just scathingly hate it. I loved it despite the end ending like it did. Hopefully The Hermetic Millennia offers some help.
  • Rating: 4 out of 5 stars
    4/5
    This is one of those books that you have to be careful not to get lost. With the wide array of characters and time that passes through you have to either be impressed at the skill that was put into developing this story, or you just scathingly hate it. I loved it despite the end ending like it did. Hopefully The Hermetic Millennia offers some help.
  • Rating: 4 out of 5 stars
    4/5
    Had good parts, had some bad parts in that way that only kooky science fiction writers can be bad.

    I liked the main character for the super-smart redneck that he was, but I'm not sure what I think about the story as a standalone. This is supposed to be the opening of a series, and this volume leaves off on a cliffhanger of Neal Stephenson proportions. I give it four stars for now pending further developments, as there's a lot of interestingness to keep my curiosity piqued.
  • Rating: 4 out of 5 stars
    4/5
    I love the prose, the ideas, the twists... I would have given this 5 stars, but it is not a complete book. As with Wright's 'The Last Guardian of Everness', this is clearly part 1 of 2 book series, and it has not ended with... well, an ending.
    So take it as part 1, and you will enjoy it. Maybe wait until part 2 actually comes out...
  • Rating: 1 out of 5 stars
    1/5
    Interesting book. Alas, but for the horrible dialogue, flat characters, and lugubrious expository bits, it would've been enjoyable.
  • Rating: 5 out of 5 stars
    5/5
    Wow. This novel by the distinguished science fiction (really, I should say: speculative fiction) author Robert Charles Wilson is about a North America existing long after most of the oil is gone, and disease has ravaged modern society. Everyday life has returned to nineteenth-century technology and mores. The author is Canadian, and great use is made of settings in the Canadian prairies and in Quebec and Labrador.

    There are two aspects of this book that I found stunning:

    (1) The style is a pastiche of boys' adventure books from the 19th-century. It is very wittily done. The narrator is either unaware of what he's telling, or he's exercising some very sophisticated double-irony.

    (2) The big conflict is between the remnants of the American governmental system, which has declined into something like a monarchy; and, opposing that, a very strong religious state. It's not unlike Iran.

    Good stuff.
  • Rating: 2 out of 5 stars
    2/5
    Like others, I found the premise intriguing, but the characters uninteresting or - in the case of the narrator - insipid and annoying. There were some interesting set pieces here and there, but they were not worth the effort.
  • Rating: 2 out of 5 stars
    2/5
    I can't remember being so disappointed in a book. I read about this book in John Scalzi's blog (he fairly regularly has other science fiction writers write about their "Big Idea") and I thought it sounded like something that I would really like. Hard SF, a message from aliens couched in scientific terms, how humans deal with that message, all those things that really tweak my interest. But in my opinion, what could have been a great story, was destroyed by a lack of attention to grammar and spelling. I would guess that at least once in every 10 pages there was an egregious error that leaped off the page at me. I came very close to putting down the book and sending it back to the library unfinished. But I wanted to give it a chance, to see if the story would overcome those editing problems. Sad to say it didn't. I felt like the author was trying to show how much smarter he was than me by throwing in every mathematical concept known too date. Maybe he is smarter than me but really smart people don't have to show off their intellect. And really smart people don't have males fighting duels while the women are safely asleep in their beds. Really smart people also don't say "ain't" and call women "girl". So don't make my mistake and fall for the reviews of this book (including one by a favourite author, Spider Robinson, who should be ashamed of the accolades he heaped on this book). There are many, many more books deserving of your attention.
  • Rating: 3 out of 5 stars
    3/5
    I wanted to like this book a lot more than I did. It had all the makings of a fantastic book: first, it took place in a post-apocalyptic world that had devolved back to a colonial-style way of life. Second, there were political and military machinations galore. But for some reason, I was never completely pulled into the story or the world. Maybe it was the narrator, naive to the point of obtuseness. Maybe it was that I never connected with Julian as much of a sympathetic character, or even an interesting character at that. The world building was fantastic; the story was all right; the characterization just fell flat with me.
  • Rating: 3 out of 5 stars
    3/5
    Some of Robert Charles Wilson's novels I have really enjoy, some have really annoyed me. This one seems just flat and uninvolving. Perhaps all it comes down to is that the narrator didn't capture my imagination and I'm not sure that the transposition of the legend of Julian the Apostate to a future, post-holocaust, America really works (though it should). That the ending was reminiscent of Theodore Judson's "The Martian General's Daughter" (another novel that didn't move me) didn't help. That I don't rate this novel more highly is a comment on how I expect more from Wilson.
  • Rating: 3 out of 5 stars
    3/5
    This novel purports to be a true account of events written by one Adam Hazzard, a Church-educated literate farm hand, who witnessed the rise (and presumed fall) of one Julian Comstock. At the beginning, the reader is told that s/he will know of the events to come, which is unlikely as this is a story from the future, set in an America that has declined catastrophically when the oil ran out and the global economy crashed. The power in this future America is the Church of the Dominion, a union of Christian Churches, from mainstream to the oddball: Adam Hazzard's Church of Signs for example uses snakes as a part of worship. The economy is mainly agriculture, with a few people ('aristos') owning the land, and everyone else either being leased workers (who 'loan' their labour for food and lodgings) or indentured hands, who are wage slaves. The government is 'elected' by the aristos who pledge the votes of their leased workers. Its main task is fighting a war against invading Europeans, known colloquially as the 'Dutch'. This war is a re-run of American Civil War-style fighting, except with some technological twists: sub-machine guns and long-range artillery, the latter supplied by the Chinese. The Presidency is inherited, and the current President, Deklan Conqueror, is Julian's uncle. It is suspected that Deklan had Julian's father killed, because of his successes in the war. The narrative begins with Julian, Adam and one Sam Godwin, a military veteran, who advises and protects Julian, trying to escape a draft into the Army, ordered by Deklan to get Julian to the front and a fatal encounter with a bullet. Finally, Julian is a free thinker, who reads prohibited books from the previous age of the Secular Ancients, about Darwin, and the scientific achievements of the old America, which sets up a major faultline in the story.But the story takes second place to the artifice of this book. The writing style is mock nineteenth century, filtered through a prim Christian, who has read a limited range of popular hack-written fiction. The text itself is used knowingly for amusement, for example with funny footnotes. Hazzard enounters a journalist and later a publisher and these are stereotyped to the hilt. Other texts by Adam Hazzard play a major part in the plot and eventually he gets to write a 'bestseller' himself which has a cover depicting, inter alia, an octopus, which is not in the story but which makes the book more saleable.While there are resonances with the current political landscape in America and the story itself is fun, this book lacks the originality and sweep of imagination that previously characterised this author.
  • Rating: 4 out of 5 stars
    4/5
    (Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted illegally.)It's Hugo time! And as regular readers know, as with years past, I am trying to read as many of the nominees as possible for this most prestigious of science-fiction awards, before the award itself is actually given out this September at Worldcon in Melbourne, Australia. As of today I've now read three of the six -- Cherie Priest's Boneshaker, China Mieville's The City & The City, and now Robert Charles Wilson's astounding Julian Comstock: A Story of 22nd-Century America -- and in fact, along with Paolo Bacigalupi's The Windup Girl, these four are considered by most to be in a dead heat for odds-on favorite, making this a great year indeed for SF, in an industry that's seen some less-than-stellar years lately. (For what it's worth, I also have Catherynne M. Valente's Palimpsest on reserve at the library, although I'm not sure if I'm going to bother with the sixth nominee, Robert J. Sawyer's Wake, after reading his 2007 Rollback and being profoundly disappointed with it.)To be specific, it's Comstock that seems to be generating the most passionate write-ups online out of all these nominees; and now that I've read it myself, I can see why, becuase of its sense of audience-pleasing uniqueness that seems absent in the other books I've read -- it is in fact a clever combination of a witty steampunk actioner and a dour Bushism post-apocalyptic tale, an almost perfect manuscript whose only minor weakness is that there's been an awful lot of other books by now that have taken the same concept for their own premise. And this of course is something else that regular readers know, that I've read so many post-9/11 books now regarding a conservative American government bringing about the end of civilization, I've been thinking of doing a book-length compendium of them all, entitled The CCLaP Guide to Bushist Literature; I've reviewed over a dozen titles now in the last three years that would fit in such a guide, the latest before today's being James Howard Kunstler's World Made by Hand.But while I found Kunstler's book to be rather silly despite having the same theme -- this idea that the nation would revert after an apocalyptic event into a bunch of corpone-speaking, Amish-dressing farmers just because -- Wilson gets away with it by coming up with a compelling reason for such a thing happening; how the combination of losing most of the resources that made the Information Age work (oil, electricity, silicon) with a group of reactionary Luddites taking over the country post-apocalypse and turning it from a democracy into a Christian Republic (imagine Sarah Palin as President and with the court system replaced by Protestant deacons) has produced a world 150 years from now where not only does no technology exist newer than the early Industrial Age, but where even knowledge of post-Industrial technology is forbidden, a world where for an entire century the army has been collecting up every moldy 20th-century textbook still in existence and burning them, except for one archival copy inside a crumbling Library of Congress now under lock and key by the all-powerful Dominion of Christian Churches, one of a handful of organizations with their own large militias (including the army on the west coast, a separate national army on the east coast, and the aristocracy of "gentlemen farmers" who now run the government's executive branch) who through an uneasy truce are all managing to keep American society up and running again on a reasonably stable level. (For one ingenious example of what I'm talking about, see the running theme of how most Americans no longer believe that man actually went to the moon, but that it's simply one more godless lie that brought about the downfall of the atheistic, oil-worshipping old society to begin with.)And in fact, this book could double as a sly history and sociology textbook on top of everything else, because of Wilson not taking these old feudal and aristocratic structures for granted, like so many other lazy post-apocalyptic stories do, but literally showing the real issues of an anarchic world that brought them about in the Middle Ages in the first place, and why they might form again in a future anarchic world -- how after the chaos of a genuine apocalypse (whether nuclear war or the fall of the Roman Empire), the first people to restore order are isolated groups of strong-willed individuals, warlords who eventually become just regular lords with their own little fiefdoms in the middle of nowhere, in which they provide protection and food for neighboring townfolk in return for them working the land and providing security, which as society becomes even further stabilized turns into a formal network of estates, with eventually a central bureaucracy with a king at its center (in this case still technically called the "President," but now a hereditary emperor in everything but name) to provide some semblance of rule of law, so that these fiefdoms don't have to spend their time in an endless series of petty Mad-Max-style border skirmishes, like exactly what you saw in Europe during the first 500 years of the Medieval Era, before their own formations of kings and national identities. Wilson takes the time and trouble in Comstock to patiently explain all this step by step, providing by the end a surprisingly solid and realistic world, a welcome change from the usual post-apocalyptic offhanded justifications for such things. ("Why has the world devolved into a series of warring little kingdoms? Because warring little kingdoms are freaking cool, maaaan.")But of course this is ultimately all expository fodder I'm talking about; the true delight of Comstock instead is the almost perfect neo-Victorian tone Wilson finds for the whole thing, turning in a story that for the most part actually could've taken place in the 19th century, except for his occasional references to modern ruins, the Vietnam-style proxy war the US is fighting against a much better equipped European Union in the wilds of northern Canada (in which humorously the Americans no longer understand the difference between the Dutch and the Deutsche), and a lot more. It's within such a stylized milieu, then, that Wilson tells his bildungsromanesque tale, a look at the titular reluctant hero as seen through the eyes of his Watson-like journalist companion, an arts-loving adherent of heretical Darwinism who rises through his war exploits to eventually depose the current American President (who just happens to be his uncle), only to have the horrors of his military decisions and the corrupting influence of absolute power ruin even him by the end. And this is yet another brilliant element that's missing from so many other Bush-inspired post-apocalytpic tales; that while so many of them end on this sort of wishy-washy note of open-ended optimism, Comstock is more like a grand Shakespearean tragedy, adding a sense of gravitas to this otherwise lively adventure story that makes it truly a step above most other Bushist novels out there.There are all kinds of other details about this book that I could mention, which further attests to its power -- I haven't even touched on its dryly engaging humor, for example, nor its cinematic descriptions of what exactly a neo-Victorian post-apocalyptic America looks like, nor Wilson's lovely premise that, even under the dictatorial control of a Christian Republic, there would still be large pockets of transgressive thought that exist, and with the sophisticates of large urban areas still openly thumbing their noses at what they see as the fascism of a bunch of superstitious hillbillies. (The novel opens in the rural Midwest, completely and utterly under the control of the Dominion, who themselves are headquartered at the old Air Force Academy in Colorado Springs; but then ends in New York, where supposedly banned activities like Judaism and homosexuality are still openly practiced, a nice touch by Wilson in a genre usually marked by dreary unstoppable totalitarianism.) And that's probably the best compliment I can pay this book, that I've been talking about it now for almost a thousand words, and still haven't even scratched the surface of all the interesting things there are to say about it.I wouldn't necessarily call it better than the other two Hugo nominees I've now read, only different; and I have to say, at this point I would be immensely pleased to see any of these three end up as the big winner come September (and imagine will feel the same way about The Windup Girl as well, for which impassioned pleas by other readers have already started appearing in the comments of my other Hugo reviews over at Goodreads.com). In any case, it's almost undeniable by now what a great period we're in right now for science-fiction, and especially when you add genre-hopping projects in other media like Lost and the like; and needless to say that I highly recommend Julian Comstock to all my fellow genre-loving readers.Out of 10: 8.9, or 9.9 for fans of steampunk and post-apocalyptic tales
  • Rating: 5 out of 5 stars
    5/5
    One of the best reads of the year! While set in the 22nd century I would place this in the category of "future Victorian steampunk". By that I mean it's set in a world that has regressed in technology because of a global oil crisis. People are making do under a totalitarian religion based regime. The narrative dialogue is a marvelous mix of Arthur Conan Doyle and Robert Heinlein. I can't say enough about how enjoyable the play of language and topic was. The characters are well done and yet they are kept in the style and spirit of the Victorian tale of daring do. My only regret is that this isn't a series
  • Rating: 5 out of 5 stars
    5/5
    Robert Charles Wilson has written a fine novel combining the politics of the later Roman Empire with the technology of the mid-19th Century. Ostensibly, it's set 160-some years in the future. In actuality, that mis-en-scène is an artificial construct fashioned to fit the story. Thinking hard about how the world could have gotten from here to there, and trying to rationalize the internal contradictions, is a useless exercise. Taken at face value, the constructs are interesting and fit together well. The politics reflect a plausible semi-authoritarian regime. The religious hierarchy looks like a desiccated Establishment more concerned with self-perpetuation than dogma, just what such a regime might generate. The economic system, a reversion to a form of feudalism, completes the picture.The central character, Julian Comstock, is obviously intended to remind us of Julian the Apostate, the short-reigned Emperor (361-363) who tried to restore paganism to the Christian Roman Empire. The novel's Julian (called "the Agnostic" or "the Atheist") is, like his namesake, a member of the imperial family relegated to obscurity after the murder of his father by the incumbent ruler. The trajectory is identical: from gilded imprisonment to military command to coup d'état to attempted renovation of the System to failure and death. The details of the future Julian's career are not, however, at all like the Emperor's, and, except for intellectual vagaries and a tendency to worship the past, their personalities are not very similar. Mr. Wilson has not blindly followed Isaac Asimov's advice to "brush up on your history/ And borrow day by day./ Take an Empire that was Roman/ And you'll find that it's at home in/ All the starry Milky Way". This future history proceeds from is own premises, not by copying its model.In the fashion of many historical novels, the viewpoint character is a low-ranking companion of the Great Man. He is conventional and rather naive, never quite understanding - and to the extent he understands not wholly approving - Julian's projects. Quite helpfully, he writes his narrative for a foreign audience, so that explanations of 22nd Century North American customs and institutions can be inserted without awkwardness. I was somewhat reminded of Alfred Duggan. Adam Hazzard bears at least a passing resemblance to the narrator of Lord Geoffrey's Fancy.The first few chapters of the book appeared in 2006 as a Hugo-nominated novella. The plot moves in different directions from what that opening led me to anticipate. That Julian would ascend politically and come into conflict with the Dominion of Jesus Christ on Earth was foreshadowed. It appeared, though, that the detritus of the wealthy past would play a larger role and that Julian's heterodoxy would take a more practical turn than it in fact does. I was misled, too, by an SF convention that Kingsley Amis identified long ago in New Maps of Hell: We expect a hero born into a dystopia to overthrow it, not to kick ineffectually against the pricks.If one puts aside the artifices of the setting and doesn't mind the defiance of SF convention, Julian Comstock is an excellent novel, with interesting characters, a believable yet unpredictable plot, touches of humor and a denouement that seems inevitable after one reads it. I'm not surprised that it gained a Hugo Award nomination, albeit a purist might quibble that it properly belongs in an historical fiction category.
  • Rating: 4 out of 5 stars
    4/5
    Julian Comstock presents a post-post-Apocalyptic future in which America, expanded to include most of Canada, is locked in a multi-decade war with a European federation dominated by the Germans. America has kept its name, but the new government is essentially a monarchy, a senate, and a religious authority that persecutes scientists, sectarians, and free-thinkers. The story takes inspiration from the life of Julian the Apostate, the last pagan Roman Emperor (and a philosopher who was deeply skeptical of Christianity). But the tone and sensibility of the story are distinctly Victorian. The naive and earnest narrator, who as a boy hopes someday to write adventure novels, narrates the story of his aristocratic friend Julian's youth and career. I found the book wickedly funny throughout; much of the humor springs from the gap between the narrator's understanding of his world -- both his present and his past (our present) -- and what is clearly going on around him. The book can also be read in an entirely different light -- perhaps less funny but more profound -- if you assume the narrator is unreliable and has changed or obscured certain details to make himself more sympathetic and to protect his moral reputation within the world of the story. There is an ongoing subplot - more of an sporadic conversation -- about the nature of writing that suggests Wilson intends to preserve this interpretation as a legitimate way to read this tale.
  • Rating: 5 out of 5 stars
    5/5
    21 Words or Less: A captivating (though fictional) biography of an influential man in a future America that looks and feels more like the past.Rating: 4.5/5 starsThe Good: Extremely high “readability” factor with prose that jumps right off the page, a setting that is interesting, original, and frighteningly plausible, plot is unpredictable but also well structured, very complex three-dimensional charactersThe Bad: Some of the “themes” come across as heavy-handed, occasional pacing problemsFor years, scientists have warned of the End of Oil, the point at which our oil based civilization will no longer be able to function. In Julian Comstock: A Story of 22nd-Century America, Robert Charles Wilson takes the world to the End of Oil and beyond; depicting a 22nd century America that has emerged from the False Tribulation transformed. Julian Comstock’s America has adopted Christianity as its official religion and the Church’s Dominion is one of the most powerful entities in American politics along side the military and the now inheritable presidency. Not to mention that the lack of oil and religious censorship has regressed America into an agricultural nation at a technological level on par with that of the Civil War. Robert Charles Wilson has concocted one heck of a setting and he slowly reveals it’s intricacies over the first third or so of the book. He also manages to communicate all of this to the reader without resorting to “infodumping” (or at least without infodumping awkwardly enough feel unnatural). It’s not only well constructed and delivered, it also feels original in a way that so many contemporary book fail to convey.When I sat down to write this review, I knew I would have trouble writing it. Robert Charles Wilson has concocted a fictional biography by a fictional author and succeeded wildly at it. Reading it felt like reading a biography in the respect that you couldn’t really take issue with the plot. For example, if you were reading a biography of Thomas Jefferson, you couldn’t really judge the “plot.” Whatever happened simply happened. This book portrays the life of Julian Comstock and the influential moments along the way as told by a close friend who accompanied him through most of the journey. I think the best complement I can give this book is that it feels authentic. Wilson does this by framing the story as a biography written by Julian’s lifelong friend, Adam Hazzard, who had the good fortune to know the titular character when they were kids and the misfortune of getting swept up into a world of war, political intrigue, and love in Julian’s wake. Adam’s narration is extremely easy to read and his character’s optimism makes the story lively and upbeat even when dealing with the darkness of war or the maddening eccentricities that Julian develops. In fact, I felt that Adam’s story was as interesting, if not more so than Julian’s. While Julian is destined to do great things, he is also flawed in very intricate but frustrating ways. It’s much easier to root for Adam with his straightforward motivations of love, friendship, and creativity.That’s not to say that Wilson’s narrative choices are perfect. A few times character development is handicapped by the limitations of Adam’s perspective. At certain points in the story, Adam is distanced (sometimes physically, sometimes not) from Julian and as a result there are passages of time during which Julian’s story is largely neglected due to a lack of information. While Wilson refrains from using awkward storytelling techniques to supply the missing information, this uneven pacing can be frustrating because these periods are also some of the important in terms of understanding the evolution of Julian’s character. In much the same way, I felt like the portions of the book that were the weakest were the points at which the narrator delved into descriptions that felt thematically heavy. While it might have felt weighted simply because the characters within the story were attempting to convey their own messages, during these sections it was easy to confuse the themes the characters were focused on with Wilson’s own personal agenda (if he had one). Julian as a character has a strong stance against the logic and knowledge fearing Dominion which could be simply his character or it could be Wilson vocalizing some type of personal disdain with the prevalence of science-phobic Christian fundamentalists in today’s America. During a few select sequences, most notably scenes featuring the two artistic “movies”, the personal views of Julian Comstock, the naviete of Adam’s narration, and the politically charged lyrics and symbolism of the scenes themselves combine to form an ambiguity that seems out of place when compared to the rest of the book. It's not necessarily preachy but it could be interpreted as such and this occassionally interrupts an otherwise immersive story. It’s important to note that I still rated the book at 4.5 stars. It’s easy to focus on the parts of the book that stood out as problematic but the vast majority of the book felt seamless and read extremely well. The story progressed as a decent pace and elements that might have seemed to be out of place tangents at first would come back to significantly influence the story in unexpected ways. And it wasn’t just the story of Julian and Adam that captivated; Wilson’s portrait of a future America is so fascinating and original that if he penned a history textbook of 22nd century America, I would have no problem reading it cover to cover. American kings, Christian powerbrokers, and steam engines, what’s not to love? While I’m not a huge fan of returning to a world once the original story is complete, I feel like Julian Comstock is but a drop in the bucket of the storytelling potential present in Wilson’s future America. To be sure, Julian Comstock is one of the best books I’ve read this year and without a doubt the most original in setting and structure. Original Posted at YetiStomper.blogspot.com
  • Rating: 4 out of 5 stars
    4/5
    It is the 22nd century and the apocalypse has come and gone. Oil reserves ran out long ago and technology and civilization as we know it collapsed in the ensuing panic, now known as the Fall of Cities. In the course of the restructuring of society, the previous two centuries (the time of the “Secular Ancients”) were basically thrown out in favor of the technology (coal-based), speech patterns, literature, religion, and social mores of the 19th century, though with a postapocalyptic twist. Hereditary family dynasties of Aristos now control all the usable land, though it is worked by “the leasing class,” a new middle class who lease land from the dynasties and own little of their own. Undesirable labor is performed by a lower class of permanently indentured laborers. The Presidency, too, is now hereditary, with the periodic elections being little more than shams whose outcome is never in question. Most of the country’s power, however, rests in the hands of the Dominion of Jesus Christ on Earth, a sort of coalition of Christian churchs who have seized control over every aspect of society they were able and who violently punish heretic churches and political revolutionaries alike.Narrator Adam Hazzard is a simple and naive, though educated, lease boy on an Athabaskan estate. In his youth, he befriended Juliam Comstock, the nephew of hereditary President Deklan Comstock, who exiled Julian to the far West after falsely accusing Julian’s father of treason and executing him. Julian is accompanied by grizzled former soldier and father-figure Sam Godwin, who takes both boys under his wing and teaches them basic shooting and survival skills while vainly attempting to curb Julian’s heretical beliefs about science, religion, and politics. Their quiet country life is interrupted rudely by the arrival of the Army, intent on conscription. Knowing he would be in more danger as the nephew of the President, rather than less, Julian chooses to go by the surname Commongold. Unfortunately, his charismatic ways, battle field bravery, and heretical ideas win him both followers and attention. His identity cannot be kept secret for long, and his popularity eventually catapults him into his uncle’s chair—where he swiftly proves the old maxim, “uneasy lies the head that wears the crown.”“Julian Comstock” is a thoughtful, eloquent, and magnificently unique parable of the consequences of extremism and a terrifying glimpse into one possible future whose roots can be seen in social and political trends even today. This is science fiction at its grandest and most meaningful.
  • Rating: 4 out of 5 stars
    4/5
    A future-history after the fall of modern society, this book imagines a world of new-slavery and religious domination in a new, agrarian United State. The only drawbacks are a slightly jarring chane in protagonists two-thirds of the way through the story and frequent use of untranslate French phrases which, while not detracting from the story, certainly distracted from it.

Book preview

Julian Comstock - Robert Charles Wilson

JULIAN COMSTOCK

BY ROBERT CHARLES WILSON

from Tom Doherty Associates

A Hidden Place

Darwinia

Bios

The Perseids and Other Stories

The Chronoliths

Blind Lake

Spin

Axis

Julian Comstock

JULIAN

COMSTOCK

A STORY OF 22ND-CENTURY AMERICA

Robert Charles Wilson

A Tom Doherty Associates Book

New York

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Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy.

This is a work of fiction. All of the characters, organizations, and events portrayed

in this novel are either products of the author’s imagination or are used fictitiously.

JULIAN COMSTOCK: A STORY OF 22ND-CENTURY AMERICA

Copyright © 2009 by Robert Charles Wilson

All rights reserved.

Edited by Teresa Nielsen Hayden

A Tor Book

Published by Tom Doherty Associates, LLC

175 Fifth Avenue

New York, NY 10010

www.tor-forge.com

Tor® is a registered trademark of Tom Doherty Associates, LLC.

Library of Congress Cataloging-in-Publication Data

Wilson, Robert Charles, 1953–

Julian Comstock: a story of 22nd-century America / Robert Charles Wilson.

p. cm.

A Tom Doherty Associates book.

ISBN-13: 978-0-7653-1971-5

ISBN-10: 0-7653-1971-3

1. United States—Fiction.   2. Political fiction.   I. Title.

PR9199.3.W4987J85   2009

813’.54—dc22

2008053400

First Edition: June 2009

Printed in the United States of America

0   9   8   7   6   5   4   3   2   1

To Mr. William Taylor Adams of Massachusetts,

who might not have approved of it,

this book

is nevertheless respectfully and gratefully dedicated.

We read the past by the light of the present, and the forms vary as the shadows fall, or as the point of vision alters.

—JAMES ANTHONY FROUDE

Look not for roses in Attalus his garden, or wholesome flowers in a venomous plantation. And since there is scarce any one bad, but some others are the worse for him, tempt not contagion by proximity, and hazard not thyself in the shadow of corruption.

—SIR THOMAS BROWNE

Crowns, generally speaking, have thorns.

—ARTHUR E. HERTZLER

JULIAN COMSTOCK

PROLOGUE

I mean to set down here the story of the life and adventures of Julian Comstock, better known as Julian the Agnostic or (after his uncle) Julian Conqueror.

Readers familiar with the name will naturally expect scenes of blood and betrayal, including the War in Labrador and Julian’s run-in with the Church of the Dominion. I witnessed all those events firsthand, and at closer proximity than I might have liked, and they are all described in the five Acts (as I call them) that follow. In the company of Julian Comstock I traveled from the pine-bark Eden in which I was born all the way to Mascouche, Lake Melville, Manhattan, and stranger places; I saw men and governments rise and fall; and I woke many a morning with death staring me in the face. Some of the memories I mean to set down aren’t pleasant ones, or flattering, and I tremble a little at the prospect of reliving them, but I intend to spare no one—we were what we were, and we became what we became, and the facts will ennoble or demean us, as the reader chooses to see it.

But I begin the story the way it began for me—in a town in the boreal west, when Julian was young, and I was young, and neither of us was famous.

ACT ONE

A PINE-BARK EDEN;

or,

THE CARIBOU-HORN TRAIN

CHRISTMAS, 2172

And the same fires, which were kindled for Heretics, will serve for the destruction of Philosophers.

—HUME, a Philosopher

1

In October of 2172—the year the Election show came to town—Julian Comstock and I, along with his mentor Sam Godwin, rode to the Tip east of Williams Ford, where I came to possess a book, and Julian tutored me in one of his heresies.

There was a certain resolute promptness to the seasons in Athabaska in those days. Summers were long and hot, December brought snow and sudden freezes, and most years the River Pine ran freely by the first of March. Spring and fall were mere custodial functions, by comparison. Today might be the best we would get of autumn—the air brisk but not cold, the long sunlight unhindered by any cloud. It was a day we ought to have spent under Sam Godwin’s tutelage, reading chapters from The Dominion History of the Union or Otis’s War and How to Conduct It. But Sam wasn’t a heartless overseer, and the gentle weather suggested the possibility of an outing. So we went to the stables where my father worked, and drew horses, and rode out of the Estate with lunches of black bread and salt ham in our back-satchels.

At first we headed south along the Wire Road, away from the hills and the town. Julian and I rode ahead while Sam paced his mount behind us, his Pittsburgh rifle in the saddle holster at his side. There was no perceptible threat or danger, but Sam Godwin believed in preparedness—if he had a gospel, it was BE PREPARED; also, SHOOT FIRST; and probably, DAMN THE CONSEQUENCES. Sam, who was nearly fifty winters old, wore a dense brown beard stippled with white hairs, and was dressed in what remained presentable of his Army of the Californias uniform. Sam was nearly a father to Julian, Julian’s own true father having performed a gallows dance some years before, and lately Sam had been more vigilant than ever, for reasons he hadn’t discussed, at least with me.

Julian was my age (seventeen), and we were approximately the same height, but there the resemblance ended. Julian had been born an Aristo, or Eupatridian, as they say back east, while my family was of the leasing class. His face was smooth and pale; mine was dark and lunar, scarred by the same Pox that took my sister Flaxie to her grave in ’63. His yellow hair was long and almost femininely clean; mine was black and wiry, cut to stubble by my mother with her sewing scissors, and I washed it once a week—more often in summer, when the creek behind the cottage warmed to a pleasant temperature. His clothes were linen and silk, brass-buttoned, cut to fit; my shirt and pants were coarse hempen cloth, sewn to a good approximation but clearly not the work of a New York tailor.

And yet we were friends, and had been friends for three years, ever since we met by chance in the hills west of the Duncan and Crowley Estate. We had gone there to hunt, Julian with his rifle and me with a simple muzzle-loader, and we crossed paths in the forest and got to talking. We both loved books, especially the boys’ books written by an author named Charles Curtis Easton.* I had been carrying a copy of Easton’s Against the Brazilians, illicitly borrowed from the Estate library—Julian recognized the title but vowed not to rat on me for possessing it, since he loved the book as much as I did and longed to discuss it with a fellow enthusiast—in short, he did me an unbegged favor; and we became fast friends despite our differences.

In those early days I hadn’t known how fond he was of Philosophy and such petty crimes as that. But I suppose it wouldn’t have mattered to me, if I had.

Today Julian turned east from the Wire Road and took us down a lane bordered by split-rail fences on which dense blackberry gnarls had grown up, between fields of wheat and gourds just lately harvested. Before long we passed the rude shacks of the Estate’s indentured laborers, whose near-naked children gawked at us from the dusty laneside, and I deduced that we were headed for the Tip, because where else on this road was there to go?—unless we continued on for many hours more, all the way to the ruins of the old oil towns, left over from the days of the False Tribulation.

The Tip was located a distance from Williams Ford in order to prevent poaching and disorder. There was a strict pecking order to the Tip. It worked this way: professional scavengers hired by the Estate brought their pickings from ruined places to the Tip, which was a pine-fenced enclosure (a sort of stockade) in an open patch of grassland. There the newly-arrived goods were roughly sorted, and riders were dispatched to the Estate to make the high-born aware of the latest discoveries. Then various Aristos (or their trusted servants) rode out to claim the prime gleanings. The next day the leasing class would be allowed to sort through what was left; and after that, if anything remained, indentured laborers could rummage through it, if they calculated it was worthwhile to make the journey.

Every prosperous town had a Tip, though in the East it was sometimes called a Till, a Dump, or an Eebay.

Today we were lucky. A dozen wagonloads of scrounge had just arrived, and riders hadn’t yet been sent to notify the Estate. The gate of the enclosure was manned by an armed Reservist, who looked at us suspiciously until Sam announced the name of Julian Comstock. Then the guard briskly stepped aside, and we went inside the fence.

A chubby Tipman, eager to show off his bounty, hurried toward us as we dismounted and moored our horses. Happy coincidence! he cried. Gentlemen! Addressing mostly Sam by this remark, with a cautious smile for Julian and a disdainful sidelong glance at me. Anything in particular you’re looking for?

Books, said Julian, before Sam or I could answer.

Books! Well—ordinarily, I set aside books for the Dominion Conservator …

This boy is a Comstock, Sam said. I don’t suppose you mean to balk him.

The Tipman promptly reddened. "No, not at all—in fact we came across something in our digging—a sort of library in miniature—I’ll show you, if you like."

That was intriguing, especially to Julian, who beamed as if he had been invited to a Christmas party; and we followed the stout Tipman to a freshly-arrived canvasback wagon, from which a shirtless laborer was tossing bundles into a stack beside a tent.

The twine-wrapped bales contained books—ancient books, wholly free of the Dominion Stamp of Approval. They must have been more than a century old, for although they were faded it was obvious that they had once been colorful and expensively printed, not made of stiff brown paper like the Charles Curtis Easton books of modern times. They had not even rotted much. Their smell, under the cleansing Athabaska sunlight, was inoffensive.

Sam! Julian whispered ecstatically. He had already drawn his knife, and he began slicing through the twine.

Calm down, said Sam, who wasn’t an enthusiast like Julian.

"Oh, but—Sam! We should have brought a cart!"

We can’t carry away armloads, Julian, nor would we ever be allowed to. The Dominion scholars will have all this, and most of it will be locked up in their Archive in New York City, if it isn’t burned. Though I expect you can get away with a volume or two if you’re discreet about it.

The Tipman said, These are from Lundsford. Lundsford was the name of a ruined town twenty miles or so to the southeast. The Tipman leaned toward Sam Godwin and said: "We thought Lundsford had been mined out a decade ago. But even a dry well may freshen. One of my workers spotted a low place off the main excavation—a sort of sink-hole: the recent rain had cut it through. Once a basement or warehouse of some kind. Oh, sir, we found good china there, and glasswork, and many more books than this … most hopelessly mildewed, but some had been wrapped in a kind of oilcoth, and were lodged under a fallen ceiling … there had been a fire, but they survived it …"

Good work, Tipman, Sam Godwin said with palpable disinterest.

Thank you, sir! Perhaps you could remember me to the men of the Estate? And he gave his name (which I have forgotten).

Julian knelt amidst the compacted clay and rubble of the Tip, lifting up each book in turn and examining it with wide eyes. I joined him in his exploration, though I had never much liked the Tip. It had always seemed to me a haunted place. And of course it was haunted—it existed in order to be haunted—that is, to house the revenants of the past, ghosts of the False Tribulation startled out of their century-long slumber. Here was evidence of the best and worst of the people who had inhabited the Years of Vice and Profligacy. Their fine things were very fine, their glassware especially, and it was a straitened Aristo indeed who did not sit down to an antique table-setting rescued from some ruin or other. Sometimes you might find useful knives or other tools at the Tip. Coins were common. The coins were never gold or silver, and were too plentiful to be worth much, individually, but they could be worked into buttons and such adornments. One of the high-born back at the Estate owned a saddle studded with copper pennies all from the year 2032—I had often been enlisted to polish it, and disliked it for that reason.

Here too was the trash and inexplicable detritus of the old times: plastic, gone brittle with sunlight or soft with the juices of the earth; bits of metal blooming with rust; electronic devices blackened by time and imbued with the sad inutility of a tensionless spring; engine parts, corroded; copper wire rotten with verdigris; aluminum cans and steel barrels eaten through by the poisonous fluids they had once contained—and so on, almost ad infinitum.

Here as well were the in-between things, the curiosities, as intriguing and as useless as seashells. (Put down that rusty trumpet, Adam, you’ll cut your lip and poison your blood!—my mother, when we had visited the Tip many years before I met Julian. There had been no music in the trumpet anyway—its bell was bent and corroded through.)

More than that, though, there hovered above the Tip (any Tip) the uneasy knowledge that all these things, fine or corrupt, had outlived their makers—had proved more imperishable, in the long run, than flesh or spirit; for the souls of the Secular Ancients are almost certainly not first in line for Resurrection.

And yet, these books … they tempted eye and mind alike. Some were decorated with beautiful women in various degrees of undress. I had already sacrificed my claim to spotless virtue with certain young women at the Estate, whom I had recklessly kissed; at the age of seventeen I considered myself a jade, or something like one; but these images were so frank and impudent they made me blush and look away.

Julian ignored them, as he had always been invulnerable to the charms of women. He preferred the more densely-written material. He had already set aside a spotted and discolored Textbook of Biology. He found another volume almost as large, and handed it to me, saying, Here, Adam, try this—you might find it enlightening.

I inspected it skeptically. The book was called A History of Mankind in Space.

The moon again, I said.

Read it for yourself.

Tissue of lies, I’m sure.

With photographs.

Photographs prove nothing. Those people could do anything with photographs.

Well, read it anyway, said Julian.

In truth the idea excited me. We had had this argument many times, especially on autumn nights when the moon hung low and ponderous on the horizon. People have walked there, Julian would say, pointing at that celestial body. The first time he made the claim I laughed at him; the second time I said, Yes, certainly: I once climbed there myself, on a greased rainbow— But he had been serious.

Oh, I had heard these stories. Who hadn’t? Men on the moon. What surprised me was that someone as well-educated as Julian would believe them.

Just take the book, he insisted.

What: to keep?

Certainly to keep.

Believe I will, I muttered, and I stuck the object in my back-satchel and felt both proud and guilty. What would my father say, if he knew I was reading literature without a Dominion Stamp? What would my mother make of it? (Of course I wouldn’t tell them.)

At this point I backed off and found a grassy patch a little away from the rubble, where I could sit and eat lunch while Julian went on sorting through the old texts. Sam Godwin came and joined me, brushing a spot on a charred timber so he could sit without soiling his uniform, such as it was.

He loves those musty old books, I said, making conversation.

Sam was often taciturn—the very picture of an old veteran—but today he nodded and spoke familiarly. He’s learned to love them, and I helped to teach him. His father wanted him to know more of the world than the Dominion histories of it. But I wonder if that was wise, in the long run. He loves his books too dearly, I think, or gives them too much credence. It might be they’ll kill him one of these days.

How, Sam? By the apostasy of them?

"He debates with the Dominion clergy. Just last week I found him arguing with Ben Kreel* about God, and history, and such abstractions. Which is precisely what he must not do, if he means to survive the next few years."

Why? What threatens him?

The jealousy of the powerful, said Sam.

But he would say no more on the subject, only stroked his graying beard, and glanced occasionally and uneasily to the east.

Eventually Julian had to drag himself from his nest of books with only a pair of prizes: the Introduction to Biology and another volume called Geology of North America. Time to go, Sam insisted; better to be back at the Estate by supper, so we wouldn’t be missed; soon enough the official pickers would arrive to cull what we had left.

But I have said that Julian tutored me in one of his apostasies. This is how it happened. As we headed home we stopped at the height of a hill overlooking the town of Williams Ford and the River Pine as it cut through the low places on its way from the mountains of the West. From here we had a fine view of the steeple of the Dominion Hall, and the revolving water-wheels of the grist mill and the lumber mill, all blue in the long light and hazy with coal-smoke, and far to the south a railway bridge spanning the gorge of the Pine like a suspended thread. Go inside, the weather seemed to proclaim; it’s fair but it won’t be fair for long; bolt the window, stoke the fire, boil the apples; winter’s due. We rested our horses on that windy hilltop as the afternoon softened toward evening, and Julian found a blackberry bramble where the berries were still plump and dark, and we plucked some of these and ate them.

That was the world I had been born into. It was an autumn like every autumn I could remember, drowsy in its familiarity. But I couldn’t help thinking of the Tip and its ghosts. Maybe those people, the people who had lived through the Efflorescence of Oil and the False Tribulation, had felt about their homes and neighborhoods just as I felt about Williams Ford. They were ghosts to me, but they must have seemed real enough to themselves—must have been real; had not realized they were ghosts; and did that mean I was also a ghost, a revenant to haunt some future generation?

Julian saw my expression and asked what was troubling me. I told him my thoughts.

Now you’re thinking like a Philosopher, he said, grinning.

No wonder they’re such a miserable brigade, then.

Unfair, Adam—you’ve never seen a Philosopher in your life. Julian believed in Philosophers, and claimed to have met one or two.

"Well, I imagine they’re miserable, if they go around thinking of themselves as ghosts and such."

It’s the condition of all things, Julian said. This blackberry, for example. He plucked one and held it in the pale palm of his hand. Has it always looked like this?

Obviously not, I said, impatiently.

Once it was a tiny green bud of a thing, and before that it was part of the substance of the bramble, which before that was a seed inside a blackberry—

And round and round for all eternity.

"But no, Adam, that’s the point. The bramble, and that tree over there, and the gourds in the field, and the crow circling over them—they’re all descended from ancestors that didn’t quite resemble them. A blackberry or a crow is a form, and forms change over time, the way clouds change shape as they travel across the sky."

Forms of what?

Of DNA, Julian said earnestly. (The Biology he had picked out of the Tip was not the first Biology he had read.)

Julian, Sam said, I once promised this boy’s parents you wouldn’t corrupt him.

I’ve heard of DNA, I said. It’s the life force of the secular ancients. And it’s a myth.

Like men walking on the moon?

Exactly like.

"And who’s your authority on this? Ben Kreel? The Dominion History of the Union?"

Everything changes except DNA? That’s a peculiar argument even from you, Julian.

"It would be, if I were making it. But DNA isn’t changeless. It struggles to remember itself, but it never remembers itself perfectly. Remembering a fish, it imagines a lizard. Remembering a horse, it imagines a hippopotamus. Remembering an ape, it imagines a man."

Julian! Sam was insistent now. That’s enough.

You sound like a Darwinist, I said.

Yes, Julian admitted, smiling in spite of his unorthodoxy, the autumn sun turning his face the color of penny copper. I suppose I do.

That night I lay in bed until I was reasonably certain both my parents were asleep. Then I rose, lit a lamp, and took the new (or rather very old) History of Mankind in Space from where I had hidden it behind a pinewood chest.

I leafed through the brittle pages of it. I didn’t read the book. I would read it, but tonight I was too weary to pay close attention, and in any case I wanted to savor the words (lies and fictions though they might be), not rush through them like a glutton. Tonight I meant only to sample it—to look at the pictures, in other words.

There were dozens of photographs, and each one captured my attention with fresh marvels and implausibilities. One of them showed, or purported to show, men standing on the surface of the moon, just as Julian had described.

The men in the picture were Americans. They wore flags stitched to the shoulders of their moon clothing, an archaic version of our own flag, with something less than the customary sixty stars. Their clothing was white and ridiculously bulky, like the winter clothes of the Inuit, and they wore helmets with golden visors that hid their faces. I supposed it must be very cold on the moon, if explorers required such cumbersome protection. They must have arrived in winter. However, there was no ice or snow in the neighborhood. The moon seemed to be little more than a desert—dry as a stick and dusty as a Tipman’s wardrobe.

I cannot say how long I stared at this picture, puzzling over it. It might have been an hour or more. Nor can I accurately describe how it made me feel—larger than myself, but lonely, too, as if I had grown as tall as the clouds and lost sight of every familiar thing. By the time I closed the book I saw that the moon had risen outside my window—the real moon, I mean; a harvest moon, fat and orange, half-hidden behind wind-tattered clouds.

I found myself wondering whether it was truly possible that men had visited that celestial orb. Whether, as the pictures implied, they had ridden there on rockets, rockets a thousand times larger than our familiar Independence Day fireworks. But if men had visited the moon, why hadn’t they stayed there? Was it so inhospitable a place that no one wanted to remain?

Or perhaps they had stayed, and were living there still. If the moon was such a cold place, I reasoned, people living on its surface would be forced to build fires to keep warm. There seemed to be no wood on the moon, judging by the photographs, so they must have resorted to coal or peat. I went to the window and examined the moon minutely for any sign of campfires, pit mining, or other lunar industry. But I could see none. It was only the moon, mottled and changeless. I blushed at my own gullibility, replaced the book in its hiding place, chased all these recreant thoughts from my mind with a hasty prayer, and eventually fell asleep.

* Whom I would meet when he was sixty years old, and I was a newcomer to the book trade—but I anticipate myself.

* Our local representative of the Council of the Dominion; in effect, the Mayor of the town.

2

It falls to me to explain something of Williams Ford, and of my family’s place in it, and Julian’s, before I describe the threat Sam Godwin feared, which materialized in our village not long before Christmas.*

Situated at the head of the valley was the font of our prosperity, the Duncan and Crowley Estate. It was a country Estate, owned by two New York mercantile families with hereditary Senate seats, who maintained their villa not only as a source of income but as a resort, safely distant (several days’ journey by train) from the intrigues and pestilences of the Eastern cities. It was inhabited—ruled, I might say—not only by the Duncan and Crowley patriarchs but by a whole legion of cousins, nephews, relations by marriage, and distinguished guests in search of clean air and rural views. Our corner of Athabaska was blessed with a benign climate and pleasant scenery, according to the season, and these things attract idle Aristos the way strong butter attracts flies.

It remains unrecorded whether the town existed before the Estate or vice versa; but certainly the town depended on the Estate for its prosperity. In Williams Ford there were essentially three classes: the Owners, or Aristos; below them the leasing class, who worked as smiths, carpenters, coopers, overseers, gardeners, beekeepers, etc., and whose leases were repaid in service; and finally the indentured laborers, who worked as field hands, inhabited rude shacks east of the River Pine, and received no compensation beyond bad food and worse lodging.

My family occupied an ambivalent place in this hierarchy. My mother was a seamstress. She worked at the Estate, as had her mother before her. My father, however, had arrived in Williams Ford as a bondless transient, and his marriage to my mother had been controversial. He had married a lease, as the saying goes, and had been taken on as a stablehand at the Estate in lieu of a dowry. The law in Athabaska allowed such unions, but popular opinion frowned on them. My mother had retained only a few friends of her own class after the wedding, her blood relations had since died (perhaps of embarrassment), and as a child I was often mocked and derided for my father’s low origins.

On top of that was the thorny issue of our religion. We were—because my father was—Church of Signs, which is a marginal Church. Every Christian church in America was required to secure formal approval from the Council of Registrars of the Dominion of Jesus Christ on Earth, if it wanted to operate without the imposition of crippling federal taxes. (The Dominion is sometimes called the Church of the Dominion, but that’s a misnomer, since every church is a Dominion Church as long as it’s recognized by the Council. Dominion Episcopal, Dominion Presbyterian, Dominion Baptist—even the Catholic Church of America since it renounced its fealty to the Pope of Rome in 2112—all are included under the Dominionist umbrella, since the purpose of the Dominion is not to be a church but to certify churches. In America we’re entitled by the Constitution to worship at any church we please, as long as it’s a genuine Christian congregation and not some fraudulent or satanistic sect. The Dominion exists to make that distinction. Also to collect fees and tithes to further its important work.)

We were, as I said, Church of Signs, a denomination shunned by the leasing class and grudgingly recognized (but never fully endorsed) by the Dominion. It was popular mostly with the illiterate transient workers among whom my father had been raised. Our faith took for its master text that passage in Mark which proclaims, In my Name they will cast out devils, and speak in new tongues; they will handle serpents, and if they drink poison they will not be sickened by it. We were snake-handlers, in other words, and famous beyond our modest numbers for it. Our congregation consisted of a dozen farmhands, most of them lately arrived from the Southern states. My father was its deacon (though we didn’t use that title), and we kept snakes, for ritual purposes, in wire cages on our back acre, a practice that contributed very little to our social standing.

That had been the situation of our family when Julian Comstock arrived in Williams Ford as a guest of the Duncan and Crowley families, along with his mentor Sam Godwin, and when Julian and I met while hunting.

At that time I had been apprenticed to my father, who had risen to the rank of an overseer at the Estate’s lavish and extensive stables. My father loved and understood animals, especially horses. Unfortunately I was not made in the same mold, and my relations with the stable’s equine inhabitants rarely extended beyond a brisk mutual tolerance. I didn’t love my job—which consisted of sweeping straw, shoveling ordure, and in general doing those chores the older stablehands felt to be beneath their dignity—so I was pleased when my friendship with Julian deepened, and it became customary for a household amanuensis to arrive unannounced and request my presence at the House. Since the request emanated from a Comstock it couldn’t be overruled, no matter how fiercely the grooms and saddlers gnashed their teeth to see me escape their autocracy.

At first we met to read and discuss books, or hunt together. Later Sam Godwin invited me to audit Julian’s lessons, for he had been charged with Julian’s education as well as his general welfare. (Fortunately I had already been taught the rudiments of reading and writing at the Dominion school, and refined these skills under the tutelage of my mother, who believed in the power of literacy as an improving force. My father could neither read nor write.) And it was not more than a year after our first acquaintance that Sam presented himself one evening at my parents’ cottage with an extraordinary proposal.

Mr. and Mrs. Hazzard, Sam had said, putting his hand up to touch his Army cap (which he had removed when he entered the cottage, so that the gesture looked like an aborted salute), you know of course about the friendship between your son and Julian Comstock.

Yes, my mother said. And worry over it often enough—matters at the Estate being what they are.

My mother was a small woman, delicate in stature but forceful, with ideas of her own. My father, who spoke seldom, on this occasion spoke not at all, only sat in his chair gripping a laurel-root pipe, which he did not light.

Matters at the Estate are exactly the crux of the issue, Sam Godwin said. I’m not sure how much Adam has told you about our situation there. Julian’s father, General Bryce Comstock, who was my friend as well as my commanding officer, shortly before his death charged me with Julian’s care and well-being—

Before his death, my mother pointed out, "at the gallows, for treason."

Sam winced. That’s true, Mrs. Hazzard—I can’t deny it—but I assert my belief that the trial was unfair and the verdict unjust. Just or not, however, it doesn’t alter my obligation as far as the son is concerned. I promised to care for the boy, and I mean to keep my promise.

A Christian sentiment, my mother said, not entirely disguising her skepticism.

As for your implication about the Estate, and the practices of the young Eupatridians there, I agree with you entirely. Which is why I approved and encouraged Julian’s friendship with your son. Apart from Adam, Julian has no reliable friends. The Estate is such a den of venomous snakes—no offense, he added, remembering our religious affiliation, and making the common but mistaken assumption that congregants of the Church of Signs necessarily like snakes, or feel some kinship with them—no offense, but I would sooner allow Julian to associate with, uh, scorpions, striking for a more palatable simile, than abandon him to the sneers, machinations, ruses, and ruinous habits of his peers. That makes me not only his teacher but his constant companion. But I’m more than twice his age, Mrs. Hazzard, and he needs a friend more nearly of his own growth.

What do you propose, exactly, Mr. Godwin?

I propose to take on Adam as a second student, to the ultimate benefit of both boys.

Sam was ordinarily a man of few words—even as a teacher—and he seemed as exhausted by this oration as if he had lifted some great weight.

"As a student of what, Mr. Godwin?"

Mechanics. History. Grammar and composition. Martial skills—

Adam already knows how to fire a rifle.

Pistolwork, sabrework, fist-fighting—but that’s only a fraction of it, Sam added hastily. Julian’s father asked me to cultivate the boy’s mind as well as his reflexes.

My mother had more to say on the subject, chiefly about how my work at the stables helped offset the family’s leases, and how difficult it would be to get along without those extra vouchers at the Estate store. But Sam had anticipated the point. He had been entrusted by Julian’s mother—that is to say, the sister-in-law of the President—with a discretionary fund for Julian’s education, which could be tapped to compensate for my absence from the stables. And at a handsome rate. He quoted a number, and the objections from my parents grew less strenuous, and were finally whittled away to nothing. (I observed all this from a room away, through a gap in the door.)

Which is not to say there were no misgivings. Before I set off for the Estate the next day, this time to visit one of the Great Houses rather than to shovel ordure in the stables, my mother warned me not to entangle myself in the affairs of the high-born. I promised her I would cling to my Christian virtues—a hasty promise, less easily kept than I imagined.*

It may not be your morals that are at risk, she said. The high-born conduct themselves by their own rules, and the games they play have mortal stakes. You do know that Julian’s father was hanged?

Julian had never spoken of it, and I had never pressed him, but it was a matter of public record. I repeated Sam’s assertion that Bryce Comstock had been innocent.

"He may well have been. That’s exactly the point. There has been a Comstock in the Presidency for the past thirty years, and the current Comstock is said to be jealous of his power. The only real threat to the reign of Julian’s uncle was the ascendancy of his brother, who made himself dangerously popular in the war with the Brazilians. I suspect Mr. Godwin is correct—Bryce Comstock was hanged not because he was a bad General but because he was a successful one."

No doubt such scandals were possible. I had heard stories about life in New York City, where the President resided, that would curl a Cynic’s hair. But what could these things possibly have to do with me? Or even Julian? We were only boys.

Such was my naïveté.

* I beg the reader’s patience if I detail matters that seem well-known. I indulge the possibility of a foreign audience, or a posterity to whom our present arrangements are not self-evident.

* Julian’s somewhat feminine nature had won him a reputation among the other young Aristos as a sodomite. That they could believe this of him without evidence is testimony to the tenor of their thoughts, as a class. But it had occasionally redounded to my benefit. On more than one occasion his female acquaintances—sophisticated girls of my own age, or older—made the assumption that I was Julian’s intimate companion, in a physical sense. Whereupon they undertook to cure me of my deviant habits, in the most direct fashion. I was happy to cooperate with these cures, and they were successful, every time.

3

The days had grown short, and Thanksgiving had come and gone, and so had November, and snow was in the air—the tang of it, anyway—when fifty cavalrymen of the Athabaska Reserve rode into Williams Ford, escorting an equal number of Campaigners and Poll-Takers.

Most people in Williams Ford despised the Athabaskan winter. I wasn’t one of them. I didn’t mind the cold and the darkness, not so long as there was a hard-coal heater in the kitchen, a spirit lamp to read by on long nights, and the chance of wheat-cakes or head-cheese for breakfast. And Christmas was coming up fast—one of the four Universal Christian Holidays recognized by the Dominion (the others being Thanksgiving, Easter, and Independence Day). My favorite of these had always been Christmas. It was not so much the gifts, which were generally meager—though last year I had received from my parents the lease of a muzzle-loading rifle, mine to carry, of which I was exceptionally proud—nor was it entirely the spiritual substance of the holiday, which I’m ashamed to say seldom entered my mind except when it was thrust upon me at religious services. What I loved was the combined effect of brisk air, frost-whitened mornings, pine and holly wreaths nailed to doorways, cranberry-red banners draped across the main street to flap cheerfully in the cold wind, carols and hymns chanted or sung. I liked the clockwork regularity of it, as if a particular cog on the wheel of time had engaged with neat precision.

But this year it was an ill-omened season.

The body of Reserve troops rode into town on the fifteenth of December. Ostensibly they had come to conduct the Presidential Election. National elections were a formality in Williams Ford, and in all such places distant from the national capital. By the time our citizens were polled the outcome was a foregone conclusion, already decided in the populous Eastern states—that is, when there was more than one candidate, which was very seldom. For the last six electoral years no individual or party had contested the federal election, and we had been ruled by one Comstock or another for three decades. Election had become indistinguishable from acclamation.

But that was all right, because an election was still a momentous event, almost a kind of circus, involving the arrival of Poll-Takers and Campaigners, who always had a fine show to put on.

And this year—the rumor emanated from high chambers of the Estate, and had been whispered everywhere—there would be a movie shown in the Dominion Hall.

I had never seen any movies, though Julian had described them to me. He had seen them often in New York City when he was younger, and whenever he grew nostalgic—for life in Williams Ford was sometimes too sedate for Julian’s taste—it was the movies he was provoked to mention. And so, when the showing of a movie was announced as part of the electoral process, both of us were excited, and we agreed to meet behind the Dominion Hall at the appointed hour.

Neither of us had any legitimate reason to be there. I was too young to vote, and Julian would have been conspicuous and perhaps unwelcome as the only Aristo at a gathering of the leasing class. (The high-born had been polled independently at the Estate, and had already voted proxies on behalf of their indentured labor.) So I let my parents leave for the Hall early in the evening, and I followed surreptitiously, taking one of my father’s horses, and arrived just before the event was scheduled to begin. I waited behind the meeting hall where a dozen lease-horses were tethered, until Julian arrived on a much finer animal borrowed from the Estate stables. He was dressed in his best approximation of a leaser’s clothing: hempen shirt and trousers of a dark color, and a black felt hat with its brim pulled low to disguise his face.

He dismounted, looking troubled, and I asked him what was wrong. Julian shook his head. Nothing, Adam—or nothing yet—but Sam says there’s trouble brewing. And here he regarded me with an expression verging on pity. War, he said.

War! There’s always war—

A new offensive.

Well, what of it? Labrador’s a million miles away.

"Obviously your sense of geography hasn’t been much improved by Sam’s classes. And we might be physically a long distance from the front, but we’re operationally far too close for comfort."

I didn’t know what that meant, and so I dismissed it. We can worry about that after the movie, Julian.

He forced a grin and said, Yes, I suppose so. As well after as before.

So we entered the Dominion Hall just as the torches were being extinguished, and slouched into the last row of crowded pews, and waited for the show to start.

There was a broad wooden stage at the front of the Hall. All religious appurtenances had been removed from it, and a square white screen had been erected in place of the usual pulpit or dais. On each side of the screen was a kind of tent, in which the Players sat with their scripts and dramatic gear: speaking-horns, bells, blocks, a drum, a pennywhistle, and so forth. This, Julian said, was a stripped-down edition of what one might find in a fashionable Manhattan movie theater. In the city, the screen (and therefore the images projected on it) would be larger; the Players would be more professional, for script-reading and noise-making were considered fashionable arts, and attracted talented artists; and there might be additional Players stationed behind the screen for dramatic narration or particular sound effects. There might even be an orchestra, with music written for each individual production.

The Players provided voices for the actors and actresses who appeared in the photographed, but silent, images. As the movie was shown, the Players observed it by a system of mirrors, and could follow scripts illuminated by a kind of binnacle lamp (so as not to cast a distracting light), and they spoke their lines as the photographed actors spoke, so that their voices seemed to emanate from the screen. Likewise, their drumming and bell-ringing and such corresponded to events within the movie.*

Of course, they did it better in the secular era, Julian whispered, and I prayed no one had overheard this indelicate comment. By all reports, movies had surely been very spectacular during the Efflorescence of Oil—with recorded sound, natural color rather than black-and-gray, etc. But they were also, by the same reports, hideously impious and often pornographic. Fortunately (or unfortunately, from Julian’s point of view) no examples were believed to have survived; the film stock had long since rotted, and digital copies were wholly undecodable. These movies belonged to the twentieth and early twenty-first centuries—that period of great, unsustainable, and hedonistic prosperity, driven by the burning of Earth’s reserves of perishable oil, which culminated in the False Tribulation, and the wars, and the plagues, and the painful dwindling of inflated populations to more reasonable numbers.

Our truest and best American antiquity, as the Dominion History of the Union insisted, was the nineteenth century, whose household virtues and modest industries we had been forced by circumstance to imperfectly restore, whose skills were unfailingly practical, and whose literature was often useful and improving.

But I have to confess that some of Julian’s apostasy had infected me. I was troubled by unhappy thoughts even as the hall torches were pinched out and Ben Kreel (our Dominion pastor, pacing in front of the movie screen) delivered a lecture on Nation, Piety, and Duty. War, Julian had said, implying not just the everlasting War in Labrador but a new phase of it, one that might reach its skeletal hand right into Williams Ford—and then what of me, and what of my family?

We’re here to cast our ballots, Ben Kreel said in his eventual summation, "a sacred duty at once to our faith and to our country, a country so successfully and benevolently stewarded by its leader, President Deklan Comstock, whose Campaigners, I see by the motions of their hands, are anxious to get on with the events of the night; and so, without further ado, etc., please direct your attention to the presentation of their moving picture, First Under Heaven, which they have prepared for our enjoyment—"

The necessary gear had been hauled into Williams Ford under a canvas-top wagon: a projection apparatus and a portable Swiss dynamo (probably captured from the Dutch in Labrador), powered by distilled spirits. The dynamo had been installed in a trench freshly dug behind the church, in order to muffle its sound, which nevertheless came up through the plank floor like the aggravated growling of a huge, buried dog. That vibration only added to the sense of moment, as the last illuminating flame was extinguished and the electric bulb within the mechanical projector flared up.

The movie began. As it was the first I had ever seen, my astonishment was complete. I was so entranced by the illusion of photographs come to life that the substance of it almost escaped me … but I remember an ornate title card, and scenes of the Second Battle of Quebec, recreated by actors but utterly real to me, accompanied by drum-banging and shrill pennywhistling to represent the reports of shot and shell. Those at the front of the auditorium flinched instinctively, while several of the village’s prominent women came near to fainting, and grabbed up the hands or arms of their male companions, who might be as bruised, come morning, as if they had participated in the battle itself.

Soon enough, however, the Dutchmen under their cross-and-laurel flag began to retreat from the American forces, and an actor representing the young Deklan Comstock came to the fore, reciting his Vows of Inauguration (a bit prematurely, but history was here truncated for the purposes of art)—that’s the one in which he mentions both the Continental Imperative and the Debt to the Past. He was voiced, of course, by one of the Players, a basso profundo whose tones emerged from his speaking-bell with ponderous gravity. (Which was also a slight revision of the truth, for the genuine Deklan Comstock possessed a high-pitched voice, and was prone to petulance.)

The movie then proceeded to more decorous episodes and scenic views representing the glories of the reign of Deklan Conqueror, as he was known to the Army of the Laurentians, which had marched him to his ascendancy in New York City. Here was the reconstruction of Washington, DC (a project never completed, always in progress, hindered by a swampy climate and insect-borne diseases); here was the Illumination of Manhattan, whereby electric streetlights were powered by a hydroelectric dynamo, four hours every day between 6 and 10 p.m.; here was the military shipyard at Boston Harbor, the coal mines and re-rolling mills of Pennsylvania, the newest and shiniest steam engines to pull the newest and shiniest trains, etc., etc.

I had to wonder at Julian’s reaction to all this. This entire show, after all, had been concocted to extoll the virtues of the man who had executed his father. I couldn’t forget—and Julian must be constantly aware—that the incumbent President here praised was in fact a fratricidal tyrant. But Julian’s eyes were riveted on the screen. This reflected (I later learned) not his opinion of current events but his fascination with what he preferred to call cinema. This making of illusions in two dimensions was never far from his mind—it was, perhaps, his true calling, and would eventually culminate in the creation of Julian’s suppressed cinematic masterwork, The Life and Adventures of the Great Naturalist Charles Darwin … but I anticipate myself.

The present movie went on to mention the successful forays against the Brazilians at Panama during Deklan Conqueror’s reign, which may have struck closer to home, for I saw Julian flinch once or twice.

As exciting as the movie was, I found my attention wandering from the screen. Perhaps it was the strangeness of the event, coming so close to Christmas. Or perhaps it was the influence of the History of Mankind in Space, which I had been reading in bed, a page or two a night, ever since our journey to the Tip. Whatever the cause, I was beset by a sudden sense of melancholy. Here I was in the midst of everything that was familiar and ought to be comforting—the crowd of the leasing class, the enclosing benevolence of the Dominion Hall, the banners and tokens of the Christmas season—and it all felt suddenly thin, as if the world were a bucket from which the bottom had dropped out.

I supposed this was what Julian had called the Philosopher’s perspective. If so, I wondered how the Philosophers endured it. I had learned a little from Sam Godwin—and more from Julian, who read books of which even Sam disapproved—about the discredited ideas of the Secular Era. I thought of Einstein, and his insistence that no particular point of view was more privileged than any other: in other words his general relativity, and its claim that the answer to the question What is real? begins with the question Where are you standing? Was that all I was, I wondered, here in the cocoon of Williams Ford—a Point of View? Or was I an incarnation of a molecule of DNA, imperfectly remembering, as Julian had said, an ape, a fish, and an amoeba?

Maybe even the Nation that Ben Kreel praised so extravagantly was only an example of the same trend in nature—an imperfect memory of another Nation, which had itself been an imperfect memory of all the Nations before it, all the way back to the dawn of Man (in Eden, or in Africa, as Julian believed).

The movie ended with a stirring view of an American flag, its thirteen stripes and sixty stars rippling in sunlight—betokening, the narrator insisted, another four years of the prosperity and benevolence engendered by the rule of Deklan Conqueror, for whom the audience’s votes were solicited, not that there was any competing candidate known or rumored. The completed film flapped against its reel; the electric bulb was quickly extinguished; the Poll-Takers began to reignite the wall torches. Several of the lease-men in the audience had lit pipes during the display, and their smoke mingled with the smudge of the torches to make a blue-gray thundercloud that brooded under the high arches of the ceiling.

Julian seemed distracted, and slumped in his pew with his hat pulled low. Adam, he whispered, we have to find a way out of here.

I believe I see one, I said, it’s called the door—but what’s the hurry?

Look at the door more closely. Two men of the Reserve have been posted there.

I looked again, and what he

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