Published by Simon & Schuster/Saga Press on October 20, 2020
Machine is a space opera infused with a mystery. The setting — a hospital in space — is fresh, allowing Elizabeth Bear to breathe new life into familiar science fiction themes.
Brookllyn Jens is a human trauma doctor who zips around the galaxy in a super-fast medical vessel that is the spacefaring equivalent of an ambulance or rescue vehicle. One might expect most space accidents to end with a quick death but Jens tells us that she regularly saves lives. Perhaps ships are so rugged that they routinely sustain enough damage to need a tow and a doctor without coming apart. In any event, Jens’ anecdotal tales of lifesaving aren’t so important to the plot that the reader needs to buy into them.
Jens’ rescue vehicle is crewed by two other Terrans, a couple of aliens, and an autonomous Artificial Intelligence named Sally that runs the ship. The galaxy, it turns out, is a crowded place. Humans have taken their place with syster races and AIs in the Synarche. Conflict is largely avoided by “rightminding,” a form of education and brain tinkering that reduces aggression and inclines disparate beings toward cooperation.
A distress signal brings Jens to a generation ship that left Earth a long time ago. Jens finds a ship of methane breathers attached to the generation ship. There are life signs on both ships but no obvious activity. Jens investigates and discovers that the generation ship’s crew members are in cold storage. They are guarded by an AI who has occupied a peripheral in the shape of a female humanoid. The ship is also infested with mechanical blocks that seem to be eating the hull. The methane breathers are sound asleep in their own ship. All of this is ominous but Jens’ duty is to save life when she can so she brings some of the sleeping humans and aliens back to the hospital (Core General, much to the chagrin of the humanoid AI (whose name is Helen Alloy) who isn’t sure the rescuers can be trusted.
The rescue mission is plagued by technical glitches that Sally can’t explain. Back at Core General, even more glitches are occurring, perhaps as the result of sabotage. The hospital administrator, who happens to be a tree, wants Jens to investigate because (a) she has clearance to see medical files and (b) she used to be a cop. Jens discovers a mysterious wing in the hospital that nobody will talk about and wonders whether it is connected to the sabotage.
Getting to the bottom of the mystery is a long but pleasant walk. The reveal is a bit disappointing — it hinges on an overused science fiction theme, the kind that makes readers think “not another one of those stories” — but the mild disappointment is tempered by Bear’s ability to pull the reader into the story. The book is set in Bear’s White Space universe, a fully realized background that is interesting in itself, but the real fun is in Bear’s imaginative look at how a hospital designed as a space station might minister to the needs of various races that require different atmospheres and diets and gravitational settings to survive.
Agency is a popular theme in current science fiction — the notion that individuals have the power to make independent choices (actually, it’s always been a theme, but sf writers have only recently turned to the label “agency” to describe it). Jens felt she had no agency as a child. Her character development, as is customary in science fiction, focuses on her ability to find creative solutions to problems. One of her problems is unexplained pain that has gripped her throughout her life, pain she endures with the help of an exoskeleton that aids her movement. At more than one point in the novel, Jens thinks about surrendering to a pain-free existence, but in the science fiction tradition, sacrifice is the definition of heroism.
Bear’s aliens are assembled with the kind of convincing detail that makes it easy to suspend disbelief in their existence. Their conflicts, rightminding notwithstanding, add to the story’s interest. A number of action scenes contribute excitement to the story, but Machine doesn’t rely on the conventions of shoot-em-up science fiction. The story might have been a bit tighter — Jens’ struggles after the reveal go on a bit too long — but that’s a small complaint about a book that gives us another of Bear’s smart takes on the subgenre of space opera.
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