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3.0étoiles sur 5
Post-apocalypse, post-modern SF, Fév 22 2003
Why is it that every post-apocalyptic book must have the same old tired plot: a youth, hearing about the grand old past, investigates and discovers the "truth" of the past? Of course, the fact is that these books, like most "non-adventure" SF, are about the present using this simplified vision of the future as a looking-glass to it. My problem with the sub-genre is that I don't hold with the simplification--most of these books Imply that our present life is "out of balance" and that, in a antediluvian world, the balance will be restored. I can hold with the former, but I disagree with the latter. So too may Stan Robinson, if I understand the theme behind his Orange County trilogy, of which this is the first book. Taking a common starting point, Robinson looks at the world through three different fun-house mirrors, the first of which is a back-to-nature, return to the "simpler" life. This is pure conjecture on my part, not having read the other two volumes as of yet, however. The Wild Shore was an Ace SF original, published in the same line edited by the late Terry Carr as Gibson's Neuromancer. While it did not set the genre on its ear as Gibson's novel, the seeds of Robinson's later career and his interests can be seen here. While post-apocalyptic, this novel is not a rehash of A Canticle of Leibowitz--rather than concentrating on the tragedy of the apocalypse and how it might happen again and again, Robinson celebrates the enduring human spirit by attempting to show that life goes on much the same as it ever did. Parents will continue to be parents, both supporting and domineering, and children will continue to be children, full of rash actions and the naive belief that they can live forever. Like his short story, "Down and Out in the Year 2000," The Wild Shore can be read as an answer to the cyberpunk belief that technology will reinvent the world. Robinson says, the world may change, but people will not. As a final aside to this incoherent rambling, I was surprised early on in the novel to find another coincidental relationship between this book and Neuromancer. Much has been made of Neuromancer's first line, which, to paraphrase, goes "The sky was the color of a television, tuned to a dead channel." On page 34 of The Wild Shore, Robinson depicts the same color by saying, "On the coast the sky was the color of sour milk...." The two similes are one of the best indications of the different milieu depicted, and the underlying themes of both books.
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de Kim Stanley Robinson
de Kim Stanley Robinson
