Chindi by Jack McDevitt

DeepsixSpoiler Alert! This review contains detailed information on the plot and resolution of the novel Chindi, by Jack McDevitt.  It is recommended that you read the novel before you read this review.  I also recommend reading The Engines of God and Deepsix, the first two novels in the series, before you read Chindi. It’s much more satisfying to read the entire series in sequence.

For those who haven’t read any of McDevitt’s Academy novels, a detailed introduction to the series is available at this site. Additionally, my reviews of The Engines of God and Deepsix are here as well. Chindi continues to develop the various themes that Jack McDevitt started seeding with the first book in the series.

The Earth continues to deteriorate under the burden of man’s existence. Overpopulation, drought, economic ennui, degrading weather patterns, religious strife and global warming all serve to hasten the downward spiral.  Yet humans continue to go on as if nothing was wrong.  The news headlines continue to be both bland recitations of meaningless power drivel, tawdry personal shortcomings and dire predictions.  Life goes on and everyone pretends that everything is okay.

People continue to be defined by their own shallow self-interest. Most everyone puts their own career and personal happiness above all: relationships, species growth, population control and the general health of the society.

The protagonist of these novels, our superluminal pilot, Hutch, is no exception, although she does possess other attributes that make us like and care for her. She herself cares for other people, she thinks positively about the universe and she has a fundamental understanding of how it works.  She’s not obsessed with power, wealth or the manipulation of others.

Author Jack McDevitt again uses many of the same devices that made the other Academy books successful. He starts us out with a Prologue set in the past – in this instance, it is June 2220 – only two years before the main action begins. This time frame for the Prologue is also during the period just prior to the main action which took place in Deepsix.

Unlike the other Academy novels, McDevitt does not break Chindi out into three or four sections, but rather simply goes chapter by chapter.

This book also contains the close escapes that mark most of McDevitt’s work and particularly the Academy novels. With such an intense degree of action, I’m quite surprised that the Academy novels have not been turned into movies or television.  In most of the books, these great escapes are not germane to thematic development, but are used to keep the reader glued to the page.  However, the themes explored in Chindi are based on the concept of risk.

The novel begins when a research vessel near a neutron star intercepts directed radio waves in the year 2220. Unable to trace them down to a source, the project leader, Pete Damon (a popular personality because of his program on the net explaining science to laymen), sends off all of the data to the Academy for review.

Two years later, on the verge of resigning from the Academy, Hutch is asked to perform one final mission. A group known as “the Contact Society” wants to mount a mission to investigate the radio waves.  Their leader, George Hockelmann (McDevitt has a lot of characters named George and they do seem to die), is an extremely wealthy businessman who has always dreamed of contacting an intelligent alien society.  He has built a starship, which he is willing to donate to the Academy, but first he wants to load up his friends and go investigate the radio waves, using Hutch as pilot.  She reluctantly agrees and boards the City of Memphis with George, Pete, Herman (George’s best friend) and Alyx Ballinger, an entertainer who does both live performances and sims, as actor, producer, and director.  She is, of course, fabulously beautiful.  They will pick up two other passengers along the way.

I find it a bit surprising, in the Academy universe, that scientists would be so skeptical of the Contact Society. In a world where intelligent aliens are known to exist (the Noks), where some intelligent species somewhere created the Omega clouds, where they know that several intelligent alien societies existed recently (the Hawks and the Monument Makers), and where there are a number of archeological sites on other planets, evidence of previous intelligent existence, why would scientists denigrate any group seeking to find intelligence?  This seems like a vestigial prejudice, something left over from our time that somehow carried forward into 2222.

For that matter, on first thought, it is at least mildly surprising that the Noks are so easily dismissed. Pretty much everyone refers to them as “the idiots” because they cannot seem to evolve past the point of constant warfare.  It has occurred to me that McDevitt might be trying to make a point about our own society – inferring that we are idiots for continuing to make war.  In some of the other Academy novels, Gregory MacAllister repeatedly refers to most of humanity as “morons”, people so caught up in their religions or politics or social beliefs that they cannot see the big picture – that all they are doing is reproducing, contributing waste, destroying the earth and adding nothing to human development and understanding.  Most readers, of course, would strongly disagree with the sentiment, especially if presented head-on.  But by presenting these thoughts in the example of the Noks and through the polarizing character of MacAllister, McDevitt is able to distance himself a bit from an unpopular opinion.

Part of the ridicule of the Contact Society from the world in general, and the scientific community in particular, is to set up a conflict between the “amateurs” seeking to make a breakthrough in contacting an intelligent species and the “professionals” who are certain they will not only fail, but make a blunder of it as well.

The two passengers they pick up are a funeral director, Nick, and an artist, Tor. It turns out that Tor had dated Hutch years before, but put up no resistance when she broke up with him, so she assumed he didn’t care.  In fact, Tor had fallen for her immediately, but didn’t want to seem pushy.  Years later, when he heard about the contact mission through his friends in the Society, he volunteered so that he could have a second opportunity with Hutch.

The relationship between Hutch and Tor is a good example of the shallow nature of the people that inhabit the Academy universe. When he knew Hutch previously, Tor was a failure as an artist, which was one of the reasons she dumped him.  He worked hard and became very good, partly so that he might have a second chance with her.  And she is actually very impressed that he is a good, successful artist.  The dynamic is typical male behavior played against typical female behavior.  Tor knows, for example, that Hutch will think less of him if doesn’t volunteer for dangerous assignments.  And, of course, Hutch knows that she will feel that way, too.  These appear to be simply archetypal reactions, behavior that could be demonstrated in a lab using any heterosexual male and female.  But it is another example of how, despite great scientific advances, people remain the same.

The book is also an example of Gregory MacAllister’s assertion in Deepsix that any time you put men and women together in a room the IQ drops dramatically.

As these members of the Contact Society follow the radio signal to its origination point, another ship follows it to its destination. There they discover the remains of what was once a living planet, destroyed in nuclear war, an old moon base and gigantic stealth satellites that receive the incoming signal.  While attempting to dismantle one of the satellites, something happens which destroys the ship.  Hutch and her group on the Memphis race to find out what happened.

After picking up the body parts, the group decides to investigate the moon base. It becomes apparent that the inhabitants were cut off from the planet after the nuclear annihilation and died from lack of food and oxygen.  Hutch has to babysit the amateurs who are mucking up scene.  Herman even attempts to steal an artifact.  While investigating, they discover that someone else had cut their way into the base long after the inhabitants had died, but they have no clue who or why.

The AI on the Memphis, Bill, discovers that there are a second set of stealth satellites in orbit, pushing the radio signals even further out into space.  They follow the signal and discover a habitable planet, one that looks much like earth and that does support advanced life.  There is a beautiful, intelligent flying species that they name the “Angels”.  George and the others immediately want to go down to meet them, but Hutch is reluctant.  Her past experience tells her that no matter what they look like, the situation could present great danger.  The others somehow talk her into going.

It is a mistake from the beginning. In the first place, you would think that a policy would be in place to prevent humans from barging into worlds where the technological level is low or non-existent.  In fact, humans have not interacted with the Noks because they are believed to be inferior.  Even Star Trek has a non-interference protocol that prevents them from blundering into societies that do not have warp capability.  For that matter, when McDevitt gets to the next book in this series, Omega, the World Council has a Protocol in place that prevents interference.

But George and the others go wading in and get attacked by the Angels. Both Herman and Pete are killed and the others are stunned and appalled that such beautiful creatures could behave so barbarically.  Hutch is vindicated.

Hutch’s courage is called into question quite a bit in this novel regarding the question of risk. She has already seen too many people die from taking stupid risks: Richard Wald, her archeologist friend delaying too long at Quraqua, George Hackett and Maggie Tufu taking foolish chances at Beta Pac III, another four dead at Deepsix and an entire ship just recently destroyed playing with a stealth satellite they didn’t understand.  She sees herself as fully justified in advising caution.  It certainly doesn’t mean that she is a coward, it just means that she is actually using her brains, something the others seem to have given up on.

Even after the death of his two close friends, George Hockelmann still feels like they did the right thing by attempting contact. Really?  With a species that was not technologically advanced?  What do you gain from that?  I thought the whole purpose of George’s mission was to contact a species that was at least as advanced as our own.  The mission becomes completely muddled after that fiasco – now all they want to do is to “see what’s out there” and that then allows them to do anything they want.

They do have a technological string dangling in front of their eyes: the radio signals. In each system, there are two sets of stealth satellites, one trio receiving signals, a second trio processing and resending them.

They move on to the next system receiving the signal, except that nothing is there and the signal appears to be going out toward a galaxy. Bill does some digging, however, and finds that the signal passes through twin gas giants on the outskirts of the system.  The team moves to investigate and they find two things: first that there is a moon in a vertical orbit that has a house on it and, second, that there is a spaceship orbiting one of the gas giants.

The house they find is quite large and had once been occupied by two very large creatures. It is filled with bookshelves, has a courtyard in the center, and has been frozen by exposure to space for a very long time now.  The view from the house – the gas giants with their ring systems and moons – is awe-inspiring.  McDevitt’s description of the scene is truly fine writing, worth the price of admission on its own.

But the spaceship orbiting one of the gas giants is huge. At first, they think it is an asteroid.  Indeed, it appears to have been built from an asteroid.  Alyx names the ship the Chindi, after the term Navajos use for a “spirit of the night”.  With Tor’s support – and against Hutch’s better instincts, George decides to investigate.  As the trip has gone on, Hutch has come to realize that she  returns Tor’s affection and it irritates her that he has pushed for boarding the Chindi.

They discover that the ship is actually automated – a roving museum, picking up artifacts and broadcasting events via the stealth satellites, a vast network of live entertainment, experienced sometimes thousands of years after it had occurred because it is broadcast at the speed of light. Fascinated, George breaks in and establishes a base to begin his investigation, along with Tor and Alyx.  There is intense pressure to get it done now.  Not only is an Academy team on the way (under the direction of a runaway egomaniac, Maurice Mogambo), but they have determined that the Chindi is simply using the gas giant’s upper atmosphere to refuel and it will be leaving soon.  To be caught on the Chindi during acceleration with limited air and power would be to invite death.  Dedicated McDevitt fans already know (more or less) what is about to happen.

As soon as the Chindi shows signs that it is about to leave, the team scrambles for the exit, but they are a little late.  Alyx manages to make it to the lander, but Tor gets stuck on the vehicle.  George, appropriately, gets swept away into space during the acceleration.

Throughout the novel, McDevitt balances the preciousness of life against the accomplishments of risk. After what Hutch has been through, she opts for life.  George, on the other hand, has made the decision that no matter what happens to his life, accomplishment is most important.  The problem with dying while accomplishing something is that you do not live to reap the rewards.  One has the sense, as George floats away into the soup of the upper atmosphere, that he has just realized this basic truth.  Throughout the novel, George’s major concern was not to make great discoveries, but rather to receive the accolades of accomplishment.  He is so concerned that Mogambo will ride in and take all of the credit that he ends up sacrificing the reward.  Mogambo, on the other hand, is distressed that George’s team has made all of the discoveries and he is scheming to spin the publicity to his own benefit.  With George gone – and given the gullibility of the press – this is actually quite easy.

The crux of the story comes down to the realization that the Chindi is not using FTL propulsion, but rather is running at sublight speed.  When it reaches cruise velocity, it is travelling at .25 of light speed – this is a velocity that no Academy ship can match.  Thus, Tor’s life is in serious jeopardy.

Hutch provides the solution: to use several ships tied together with a massive object, so that they can obtain a greater speed and enter hyperdimensional space loaded with mass. While in hyper, they dump the load and come roaring out into regular space slightly faster than the Chindi.  This proves to be another problem in that the engines are overheated and they cannot slow down enough.

At this point, Hutch throws all caution to wind and risks her own life for the reward of saving Tor. She jumps into a shuttle loaded down with go-packs and air tanks and brakes the shuttle till the fuel is gone, then she jumps out and uses the go-packs to continue decelerating.  Tor makes a net of cables and when she comes roaring in over the Chindi, he catches her and they both break free.

The scene contains all of the usual excitement that McDevitt generates in his bold rescues. The picture of Hutch soaring in over the Chindi at a velocity of 1/4 the speed of light and catching the net is brilliantly written and completely absorbs the reader, much like the conclusion of Deepsix.

It tells you a great deal about Hutch that she is willing to take a serious risk, but not for her ego; rather, she risks everything for her own personal happiness. As we see in the later novels, she marries Tor and they have several children.

But this is the end of Hutch as a pilot. For the remainder of the series, she will be tied to a desk at Academy Headquarters.  It is a terrific way to go out.  And for her, the reward was certainly worth the risk.

Where the Heart Is by Billie Letts

This novel of modern Oklahoma is something of an enigma.

It tells the story of a girl named Novalee Nation, from the time when she is 17 years old until she is in her mid-twenties. Eight months pregnant, naïve, and actually somewhat ignorant, she has left her home in Tellico Plains, Tennessee with her boyfriend Willie Jack Pickens and is headed for Bakersfield, California.where the heart is

Novalee is quite charming in her ignorance. She believes that the number seven always brings her bad luck.  After all, on her seventh birthday, her mother ran away with a baseball player, leaving her to the kindness of friends and orphanages, in the seventh grade, her only friend got sent to the Tennessee State School for Girls, and when she got stabbed in the arm at the bar she worked at, the wound required seventy-seven stitches.

When her shoes fall through the floor of the car and she has relieve her bladder, Willie Jack pulls into a Wal-Mart in Sequoyah, Oklahoma. He gives her ten dollars, then drives off and leaves her there.  She figures it out when her change from the ten dollars comes to $7.77.

On her first day there, she meets three people who will be instrumental in her survival and good fortune: Sister Husband, a blue-haired lady who runs the town Welcome Wagon, Moses Whitecotton, a baby photographer, and Benny Goodluck, a Native American boy who gives her a buckeye tree. At a loss for what to do, she simply lives in the Wal-Mart, keeping tabs of how much she owes them for the products she uses.  When the buckeye tree starts to get sickly, she goes to the town library and meets Forney Hull.  A strange young man addicted to knowledge, Forney runs the library while his sister, the alcoholic librarian, lives upstairs.  He becomes extremely protective of Novalee and he busts a plate glass window in the Wal-Mart to help her when she gives birth to a daughter.  Cautioned by Moses that she must give her baby a very strong name, she names the girl Americus.

A reader might derive from this that the novel is all about a naïve person overcoming their background to make a success of their life—and it’s true that part of the novel is definitely about that. All of the strange and interesting names would also suggest an air of goofy whimsy—and it’s true that part of the novel fits that description.  In fact, there is such a relaxed, fun, and goofy feeling about the book that the hard parts seem to come out of the blue.  However, they do not.  The gritty, sexually perverse parts of the novel only accent how important it is to appreciate the good things in your life, the people who are important to you, and the value of overcoming even the deepest, darkest adversity.

If the book has any theme, though, it is a message to young women: do not base your sexual or long-term relationships on how a boy looks or how much money a man makes.  While Novalee and Lexi make a long string of mistakes, their lives are contrasted sharply with Sister Husband, whose one illicit relationship carries far more love than that of Willie Jack or any of the men who have left Lexi with children—or the one man who left her beaten and sodomized her children. It is a very good feeling when both of these incredible women finally figure out what is important.

This novel is quite an achievement. You can hear Oklahoma on every page with the voice of the author, in the sound of the characters’ voices, in the wind blowing across the prairie.  It is inspiring, uplifting, and yet gritty and realistic.

I highly recommend this book!

An Introduction to the Universe of the Academy Novels by Jack McDevitt

Academy IntroIn the realm between hard science fiction and space opera there is a zone where some of the rules of science may be broken very carefully, but the author may still make his or her universe look and feel realistic.

The works of Jack McDevitt certainly belong in that zone and none more squarely than the Academy Novels, which I am about to begin reviewing. The purpose of this introduction is to present a basic understanding of the world that McDevitt has created. For those who have not yet read the novels, it will serve to set up the reading. For those who have already read the series, it will be a refresher to make the reviews easier to follow. As for the reviews themselves, I will be assuming that the reader has already finished reading the novels, so there will be spoilers. Not so for this introduction.

The Academy Novels officially begin on the date of February 12, 2197, which is where the Prologue to The Engines of God (1994) kicks the series off. The other novels in this series include Deepsix (2001), Chindi (2002), Omega (2003), Odyssey, (2006) and Cauldron (2007).  The conclusion takes place in the year 2255.

At this time in future history, governments have consolidated in order to control the gradual, but sure, devastation of Earth.  Although there is a governing World Council, it is made up of political entities that were previously two or more countries.  The North American Union (NAU), for example is made up of the United States and Canada.  However, between overpopulation, drought, economic ennui, degrading weather patterns, religious strife and global warming, death has become so commonplace that no one thinks twice about a few million dying in India due to a grain shortage.  Melting of the polar ice caps has raised shorelines around the world, so the people have had to re-engineer their cities to go on.  The wealthy and those who cultivate professions that are in demand still do quite well.  There are expensive restaurants, dinner parties and diverse live entertainment.  The poor are generally never seen.

What McDevitt has done in his future history is to show that no matter how bad things get, most of the population will continue to go on as if nothing was wrong.  He has taken this attitude directly from the present situation on Earth and extrapolated on it.  We are at this moment presiding over the initial stages of Earth’s deterioration: the world economy fluctuates dramatically with widespread unemployment and collapsing markets, the earth is suffering from multiple natural disasters, we continue to depend on fossil fuels and, yes, we are pretty much ignoring global warming. Yet, if you turn on a television today, you would think that we were at the height of prosperity with no problems in the world. 

Media plays a large part in these novels.  McDevitt drops in news headlines throughout the Academy Novels and the news is both devastating and understated.  No matter what happens, life goes on and we all pretend that everything is okay.  In fact, as long is everything is okay for me, then it is okay for everyone.

One criticism that McDevitt receives quite often is that his characters are shallow and two-dimensional.  Although I would not argue that point in general, I believe the characters in the Academy Novels are that way on purpose.  They fit in with his extrapolation of the present into the future.  Although everyone today tries to look on the bright, happy side of existence, the truth is that most people are terribly mundane.  We are gradually becoming a society of specialists, of people who concentrate on their own little niche.  Very few people are well rounded intellectually and most of them are not intellectual at all.  Most people today – and in McDevitt’s future – are shallow and self-involved.  We tend to feed off of tawdry news events, social gossip, games, images and social interaction aimed at our own personal well-being.

In the Academy, most of the scientists, academics, engineers and technicians are specialists who burrow into their own little worlds, so caught up in their own careers and specialties that most of them have no life outside of their areas of expertise.  And within those areas, most are concerned with their own ego more than they are with actual technological development.

The politicians are pragmatists who flow with the general tide.  They don’t think for themselves.  Instead, they take polls and roll with whatever will keep them in power.  When the Greens finally become a political powerhouse, they are just like the Democrats and Republicans of today.  They do not listen to others, they do not think things through and make rational decisions.  Instead, they push their agenda unconscionably regardless of any evidence to the contrary.

I think that this approach to future history by McDevitt is very smart indeed and it is something that we all can see and understand just by looking around us. He isn’t really introducing any new conflicts here, but he has extrapolated fiercely on what is and that realism sticks in your brain. Issues that we debate at this moment are still being debated nearly 200 years in the future and people and attitudes haven’t changed. It is both deeply chilling and bizarrely reassuring at once.

Throughout the novels, news organizations play a big role and McDevitt again has extrapolated from our present to our future.  Most of the reporters are plainly superficial; they are suave, beautiful manikins, who play up whatever appears to be an emotional event and they mostly ignore more difficult, in-depth stories.  Man jumps off building.  Congressman caught in love tryst: details at eleven.  Like scientists and entertainers, reporters are more concerned with their own future than they are with the news.

The exception to this is the magazine, The National, whose editor, Gregory MacAllister, delights in attacking pompous airheads.  He is definitely similar to the curmudgeonly journalist H. L. Mencken of the Twentieth Century.  Although, in many ways, he is dislikeable (for example, he is an outspoken chauvinist and he distrusts religious leaders on the grounds that they have become more important than God), he also provides one of the deeper characters in the series.  He is capable of listening, analyzing problems and changing his mind.  At his best, he truly does reach for the underlying truth of existence.  This level of complexity sets him well apart from others.

Technologically, some big changes take place during the next 200 years.

Of course, the big thing – and the first thing that really takes the Academy Novels outside the realm of hard science fiction – is the development of faster than light space travel (FTL).  At a time when space exploration was believed to be dead, scientist Ginjer Hazeltine developed a theory of transdimensional transit.  Once a drive unit was perfected, it was named the Hazeltine Drive.  This is a rather murky theory, but most science fiction that crosses the threshold into space opera depends on some mechanism or other to allow transit across many light years in a short period of time.  If you don’t worry about the details, you will be fine. 

The Academy, by the way, is the space exploration arm of the NAU, controlling all official flights throughout the galaxy.  Eventually, of course, private companies contract to have their own vessels built.  Kosmik, Inc., for example, is involved in the business of terraforming.  Orion Tours allows the extremely wealthy to go site seeing.  And the media have their own vessels so that they can rush to the scene of any intergalactic hanky panky.

Since development of the Hazeltine Drive, the Academy has been looking through the Orion Arm of our galaxy (our immediate neighborhood) for two things: planets with an Earth-like biosphere that would be good for colonization and alien life. 

Several planets have been found that meet the first criteria, some with only single-celled life, some with much higher, non-intelligent life, but most simply sterile.  One planet has been found that possesses intelligent life: Inokademeri.  But the inhabitants, referred to as Noks, have not developed technologically past where humans were at in World War I.  Due to their innate intolerance, they are constantly at war; they have used up most of their natural resources and are considered (in MacAllister’s words) “idiots”.  It is so bad on Nok that scientists are not permitted interaction with the locals.  A few of the planets capable of supporting human life have actually been colonized, one by religious zealots and the other by political malcontents.  Both colonies are failing.

And although humans most deeply desire to find another intelligent species, one that is technologically mature, they haven’t had much luck.  In fact, mostly what they have found is archeological treasures: races that evolved a complex society and then (for one reason or another) died off.  These discoveries – and others that will be discussed later – become a major plot element in several of the novels.

The other breakthroughs that keep the Academy Novels firmly outside the realm of hard science fiction are anti-gravity devices, artificial gravity and Flickinger fields.

Anti-gravity is used for a number of functions.  There are vehicles that skim through the sky, depositing their passengers on special landing pads.  (Apparently ground transportation has all but disappeared.)  There is also the “spike” which is used to lift vehicles beyond a planet’s gravity well.  And anti-gravity comes in really handy if you have to move anything that is large, massive or unwieldy.

Artificial gravity is, of course, used to keep people upright and functioning in a zero gravity environment, such as a space ship.

And the Flickinger Field is a kind of personal force field made of energy that molds itself to the human body.  When connected with air tanks, these fields act like a space suit, protecting the wearer from harsh environments.  They do have two problems: they are not impermeable (leaving them open to breaching) and they have a hard shell that forms over the face so that the wearer can breathe.  Rest assured that these problems will be exploited by McDevitt.

Two of the best technological advances are easily within our grasp.

Artificial Intelligence has become a booming business in the Academy Novels.  An AI runs every household; it serves as friend, cook, butler, maid, alarm and communications system.  It’s like having a Google you can chat with.  In addition, all complex operations are now exclusively handled by AIs and they even serve as back-up systems for pilots of space ships.

What’s really neat is that AIs can also appear as holograms.  The common AI system on every Academy vessel is named Bill and he interacts with every captain in a unique individual way, projecting different images of “himself” throughout the ship.  Contrary to the official line, AIs do have a sense of humor.

The disappearance of television isn’t spectacular because it is replaced (as is actually happening now) by the net and by 3D interactive entertainment known as Sims.  The Net is huge, but as we see now in television, there are a few “channels” that rise to the top.  In this way, there is a common experience, much the way we have now with the major broadcast networks.  Some programs and personalities always rise to the top.  And the desire for common entertainment experience will always funnel viewers in specific directions.

The Sims are like watching a movie that takes place around you, but you can also program your image and voice to appear as one of the characters.  If you have a number of people doing this, it is apparently quite a bit of fun.

The protagonist of the Academy Novels is a pilot named Priscilla Hutchins (everyone calls her Hutch), a diminutive, black-haired beauty imbued with her own particular hang-ups and fears. She is tied to the Academy pretty much throughout the series, but in the beginning she mostly works with the archeologists.  In fact, it is her association with one of the most prestigious of these, Dr. Richard Wald, which leads to the beginning of The Engines of God.

Hutch lives in Arlington, VA, just outside of what remains of Washington, DC. With all of the coastal flooding that continues as a result of polar ice melting, the former capital of the United States is now partly underwater, with the rest bolstered by levees so that the buildings may remain as tourist attractions.

She is one of those people matched perfectly with her job.  In the first few novels, one can feel the excitement of space exploration through her eyes: the awe of discovery, the wonderful little social groups that form during a long flight, and the vastness of the universe.  Hutch is smart and sexy, she has a grip on reality that others could benefit from touching.  She is heroic, but not for the reasons that others behave heroically.  She is immensely likeable, a terrific character to carry a series through six novels.

But the time she spends on Earth is pained.  Her mother wants grandchildren and a stable relationship for her daughter. Hutch herself would like some stability, but her long absence hampers this ambition. The men who are interested in her simply cannot tolerate the absences, so Hutch remains frustrated on that level. However, her relationship with academics and archeologists is most stimulating – the time that they spend traveling between systems (normally a few months) is really the basis of her social life. She is both intelligent enough to hold her own with them, so whether they are just playing games, running sims or engaged in arcane discussions, she gains a great deal emotionally from the trips.

The most fascinating and puzzling discovery by the archeologists is the existence of gigantic sculptures scattered here and there along the rim. Perhaps the most fascinating is an alien’s self-portrait left on the snow-covered surface of Iapetus, the third largest of Saturn’s moons. That these aliens, referred to as “the Monument Makers” (for lack of a better term), actually visited the solar system some 24,000 years ago is a source of amazement to archeologists.  Most of the sculptures are cubes or rectangles – shapes with straight lines and right angles – but the one on Iapetus is clearly a self-portrait.

It is at this point, on February 12, 2197, that The Engines of God begins. Hutch has piloted Dr. Wald to view the Iapetus sculpture and the opening words of the novel paint a chilling picture:

“The thing was carved of ice and rock. It stood serenely on that bleak, snow covered plain, a nightmare figure of gently curving claws, surreal eyes and lean fluidity. The lips were parted, rounded, almost sexual… stamped on its icy features was a look she could only have described as philosophical ferocity.”