Elysium Fire is the second in Alastair Reynold’s ‘Prefect
Dreyfus’ sequence – itself part of his ‘Revelation Space’ universe. It’s been
ten years since the first of the sequence introduced us to Dreyfus, in a
stellar blend of sci-fi and noir, so I was quite excited to see where this
sequel took us.
Where it takes us first of all, is the Glitter Band, an
orbital ring of high-tech habitats orbiting the planet Yellowstone. The Glitter
Band is perhaps humanity’s finest achievement. It’s effectively a post-scarcity
economy, with no starving masses yearning to be free. In part, this is because
of its unique political system. Each citizen of the Band is able to vote on
issues in real time, using neural implants. It’s a society that is run,
basically, by the people within it. Each habitat in the Band is able to set up
its own society, and its own rules. Some of these societies are downright odd –
like the habitats where everyone is perpetually wired into virtual reality with
their body on ice, or where all the citizens have entered a voluntary coma.
Others are considerably more toxic – “voluntary tyrannies” for example.
But the one core right of the Glitter Band is the vote. No
matter your society, you can vote. It’s at the core of the Band’s social
structure. When there are irregularities in the voting, that’s when the
Prefects are called in. They’re what passes for law enforcement in a world
which has largely eschewed crime. Negotiators, a quick reaction force,
investigators, analysts – the Prefects do it all, with limited resources.
Following the events of the previous book, which involved considerable loss of
life and property damage, they find their institution eyed with increasing
scepticism by the citizenry. There’s an antiauthoritarian trend here, and
sparks of demagoguery and secession movements are starting to fly. The Band is
a delicate structure, always dancing on a tightrope between the needs of the
citizenry, the increasingly constrained and beleaguered authority of the
Prefects, and the risk of catastrophic incidents in a world which is incredibly
tightly coupled. It’s an entirely
plausible, complicated, sharply realised society, one which showcases its
complexity and provides a living, breathing world for the characters to work
within.
Speaking of characters. Inspector Dreyfus, unsurprisingly,
returns for this book. The duty-bound inspector was always a joy to read. He
has a clear affection for the high-tech utopia around him, and an awareness of
its vulnerabilities. That’s matched with a similar incisiveness into both his
own condition and those of his subordinates and suspects. Dreyfus is, of
course, troubled – still carrying the physical and mental scars from the
previous emergency, and from decisions he took decades earlier. Here is a man
with the capacity to cut through the wood of false trails one so sharp he might
actually cut himself.It’s nice to see that he’s as gruff with his team as ever,
a layer sat over a deeper affection.
Dreyfus is backed by Sparver and Ng, the duo who served as
his team in the previous book. Sparver is perhaps the more emotional, the one
more prone to action over analysis. Where Dreyfus navigates through the wood to
find the trees, Sparver is probably off somewhere arranging for a chainsaw
delivery. Ng is the more technical, quieter, less authoritative, at least
within the team. Like Sparver, she’s insightful, and a wizard with technology –
but more prone to analysis, and less prone to reach for a weapon. Between them,
the hyper-pig and the tech make a great backup for Dreyfus, a man in whom they’re
prepared to invest their trust. Together, they make a compelling triad – laced with
flaws, as all families are, but with an emotional depth that resonates off the
page.
They’re surrounded by a cast of other characters of course,
from the terrifyingly intelligent Jane Aumonier, head of the Prefects, for whom
Dreyfus is an excellent button-man, and the more martial Prefects trying to run
the organisation, to stern faced, damaged orbital construction workers, and
open-faced, virulently persuasive demagogues. It’s a pleasure to seem some
familiar faces in the background, their faces and views tracking from the
previous book. This new emergency carries new heroes and villains of course,
though the cunningly crafted narrative often left me wondering which was which.
From a plot standpoint – well, this is a mystery novel, so
no spoilers. There are mysterious deaths occurring throughout the Glitter Band,
and their pace appears to be escalating. Dreyfus and his team have to track
down the cause, before even more people die. There’s a lot to love in the plot –
the investigation is snappily paced, slowing down to give you a view on Dreyfus’s
thoughts, and the reactions of those around him, letting you draw your
conclusions alongside the Prefects; but it’s quite happy to ramp up for some vividly
drawn and snappily paced action scenes, which wrap around the emotional core of
the story and keep the stakes high and the adrenaline going. This is a story
willing to look at social change and consequences in the micro and macro
levels, to explore the ways that new technologies would impact people – but also
wants to show you that the participants are, at heart, people. The central
mystery is thoughtfully crafted and left me scratching my head trying to work
it out as I went along; the world, as always with Reynolds, is beautifully
drawn, and the characters seem to stroll off the page, bringing wry remarks and
the streets of the Glitter Band with them.
If you’re new to Reyonold’s work, I’d say go back and start
with the first in this series (“The Prefect”/”Aurora Rising”) – there’s some
back story which it’s worth knowing before you take the plunge here. But as a returning
reader, Reynolds has brough back Dreyfus and the Glitter Band in high style; if
you’re looking for a cracking sci-fi mystery, pick this one up.
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