author : Charles Stross

A collection of Stross' early short stories. He has a preface explaining how, with things moving so fast, these stories are already out of date (especially the Y2K ones!) However, they all have a very strong Stross "voice", and are well worth reading, despite any slight anachronisms. Stross a few years out of date is still vastly more up to date than many other SF authors!

Contents (possible spoilers)

• After the Future Imploded. 2002

The challenges of writing SF in a rapidly moving world, including an amusing conversation with H. G. Wells

• Antibodies. 2000

The dangers of weakly superhuman AIs, and how Everett-worlds agents attempt to stave off the problems.

• Bear Trap. 2000

(An Eschaton Universe story.) Stockbroker Alain Blomenfeld is on the run from bankruptcy, when his wife accuses him of acting strangely. But he doesn't have a wife.

• Extracts from the Club Diary. 1998

How coffee has fueled progress, and more.

• A Colder War. 2000

(One could probably think of this as an early "Atrocity Archives" universe story set in a parallel world.) The Russians have a Shoggoth, and start using it in Afghanistan. But do they really have it under control?

• TOAST: A con report. 1998

Report from a post-Singularity ancient computer hardware convention

• A Boy and His God. 1997

Howie's parents buy him a pet god, which is safe enough provided he doesn't start worshipping it

• Ship of Fools. 1995

Avoiding the Y2K problem

• Dechlorinating the Moderator. 1996

Geeks will be geeks, even in a post-Singularity society

• Yellow Snow. 1990

In a future world where bio-mods make designer drug production simple, he decides he needs more capital, and that a time machine will open up the perfect market.

• Big Brother Iron. 2002

1984, 20 years on, with computers. Doublethink and programming don't mix

In the early 21st century, the Singularity occurred, and the super-powerful Eschaton resulted. Now, the Eschaton is a bit nervous about anyone time-travelling to before it was born, and possibly editing it out of existence. So it has scattered humanity widely around the galaxy, and has strict laws against causality-violating time travel. The Diaspora has produced several strange outposts, one of which is the repressive New Republic, forcibly keeping technology at 19th century levels, to keep the peasants in their place. Then the Festival arrives at one of its planets, an alien fleet of infovores, paying for stories with cornucopia machines. The planet's socio-economic fabric isn't so much torn as annihilated, as peasants no longer need their masters, and the New Republic decides this is an act of war. So they send a space fleet to intercept the Festival -- and have the cunning plan of arriving just after the Festival does, using a little bit of (but not too much) time travel. But since the Eschaton is quite willing to enforce its laws against causality-violating time travel with the odd supernova or two, the bulk of humanity is also quite keen to stop anyone coming even close to this, and agents are sent to thwart the New Republic's moves. And the New Republic has no idea how to fight advanced alien technology anyway.

This is a very clever and wonderfully witty first novel. The culture clashes, the sheer alienness of the Festival and its fringe elements, how a planet reacts to going through two hundred years of technology advancement in a week, and the look at life after the Singularity, are all handled very well. It is dense with wonderful little descriptions, such as describing battlecruisers as looking like a cubist's vision of a rabies virus crossed with a soft drink can. There are several "in jokes" -- sly references to other SF and popular culture -- that add a layer of fun, but don't detract from the plot. Best of all these, the plot appears to be leading up to a space battle of apparently epic Weberian dimension, but which has a wholly different kind of outcome (and where again, not knowing about Weber does not harm enjoyment of the overall plot). I'm not totally convinced that a small Empire like the New Republic could keep most of its technology and mores at 19th century levels, whilst still having beanstalks and FTL interstellar spaceships -- but that's a minor quibble. The various threads are interwoven nicely, and come together for a great conclusion.

This is set in the same universe as Singularity Sky, with Rachel Mansour trying to halt yet another giga-death episode. This time the planet Moscow has had its star turned into a super-nova, utterly destroying it. The only thing the people had time to do was fire off planet-busting missiles at the assumed aggressor, New Dresden -- but they are in fact innocent. The only people who can stop these missiles are the Muscovite Ambassadors in exile, who each have pieces of the abort codes -- but they are being assassinated one by one. It's up to Rachel to stop the missiles, and combat the several different conspiracies under way, each after their own ends.

This is a super sequel. All the plot complexities are present, with loads of hard science, from nanoware to bio-implants, from faster than light drives to weird, and very icky, social structures. The writing has the same lightness of touch, but there are fewer jokes this time, which seems to allow Stross to concentrate more on the plot, which zips along in nicely interwoven threads. There are several apparent gigantic coincidences, but given the invisible finger of the Eschaton in every pie, they can easily be explained away. This is not fluff -- the issues brought up, about the right to tell other people how to live their lives, and when and who to kill, are very pertinent, and even (some of) the bad guys manage to evoke sympathy even as you realise how truly evil they are.

There is satisfying closure at the end, but this universe is open enough to allow Stross to go back and play there any time he wants to.

Bob Howard works for a secret government department. Very secret. Because, you see, there really are eldritch horrors out there, waiting to invade anytime someone proves the wrong mathematical theorem, and it's this department's job to make sure no-one does, and if they do, to clear up the ichor afterwards. The Nazis were stopped from summoning a very nasty demon just in time, but now it seems some present day terrorists are again deliberately trying to contact it. But they don't realise just how nasty the demon really is. Bob stumbles into this plot, and has to save the world. Whilst remaining ISO9000 compliant.

The book is two long stories: the novel The Atrocity Archive, followed by a novella The Concrete Jungle. On the one hand it's is a funny light hearted romp through SFnal and geek allusion space -- from Mornington Crescent to concrete cow abuse in Milton Keynes, by way of Knuth, Clarke and Heinlein, and many more references. It's fun spotting these, but they do occasionally pull you out of the story. However, this romp is mere froth on top of a much grimmer story of, well, atrocities. This is handled well, full of horror and disgust at what the Nazis and others did, and do, without ever feeling voyeuristic. And that's quite amazing, because the whole story itself is a great hard-SF/fantasy/spy thriller, with a believable geek action hero. (Yes, really!)

Bob Howard, secret agent and hacker, is having a bad day. He's been cut up on the autobahn by a demon-infested beauty, who turns out to be his entanglement partner in a race to save the world from eldritch horrors, again. Most of the parties involved have their own secret agendas, which may or may not involve helping the bad guys. And, worst of all, it is important to the success of his mission that he doesn't know what his mission is, despite all the clues along the way that might give him an inkling.

This is another great romp on several layers, from the underlying demon horrors, to the nice self-referential plot device being about a plot device. The overall plot is slightly better structured than The Atrocity Archives, and the denouement wonderfully played. Stross, it appears, can't write a bad book in any of the sub-genres he inhabits.

Discovery that you are a long-lost princess is a standard fantasy trope. But what if it happened for real -- where the reality isn't that of a fairy tale princess, but of an unenlightened mediaevalesque family, full of feuding, intricate and fatal political manoeuvrings, all funded by drug dealing? That's what happens to Miriam Beckstein, one day a 21st century investigative journalist, the next catapulted into a parallel world and revealed as the unwelcome long lost heir to a powerful Family. She has to adapt, and fast. But she isn't going to be the compliant little heiress the head of the family wants.

This is quite a departure for Stross -- the only science fictional part is the "world walking" of the select few who can slip between the parallel worlds. The rest is politics, economics, updated Norse religion, and culture shock, but still in the great Stross style. And Miriam is a likeable and competent character, struggling to come to terms with, even to outwit, her fate.

The cover proclaims this as "Book one of the Merchant Princes" -- there is truth in advertising here, as there is very little closure on the first part of the story -- everything is left on a series of sizzling cliffhangers -- can Miriam not only survive, but even prosper, in her new life?

Miriam Beckstein has discovered that she is a missing member of the Clan, world walkers between our world and a medieval one. An assassination attempt leads her to discover a third, Victorian-esque world, populated by a lost branch of the Clan formenting civil war in mistaken revenge for their unwitting abandonment. Miriam decides to solve her problems through advanced economics.

If Glasshouse is an exercise in showing just how awful contemporary civilisation is in contrast to a post-Singularity world, the Merchant Princes series shows just how wonderful contemporary civilisation is compared to the past, particularly concerning plumbing, medicine, and freedom. The story is getting deliciously intricate, with the advent of a third world, and indications that there might be more. And the ability to world walk has enough restrictions around it that it isn't an automatic "beam out of trouble free" card.

Miriam Beckstein's problems are getting worse. Her attempts to prove her worth to her Clan by setting up a profitable business in the Victorian-esque world appear to be backfiring: her relatives are interpreting this manoeuvre as dangerous revolution. As the net tightens around her, and even her mother acts against her, it appears that she may lose even the last vestige of freedom, and be married off to the King's idiot son.

This is lovely stuff, full of marvellous characters, subtle sub-plots, and snappy dialogue, impossible problems, unexpected twists, and little foreshadowings. This entry in the series digs Miriam into a deeper pit, and ends on a cracking cliffhanger.

The Singularity: the "event horizon" of the future, beyond which technological advance is so rapid no meaningful predictions can be made. Accelerando: a story of the post-Singularity. So, Stross has his work cut out.

This is a "fixup" novel of nine substantial chapters, each essentially covering a single decade of the 21st Century, from the almost recognisable 2010s, to the completely incredible fin de siècle, from the point of view of the Macx family, and their AI pet cat Aineko. (The fixup nature makes for some repetition, but that's probably not a bad thing in a book with a scope as sweeping as this.) It starts simply enough, with an extrapolation of today's computer power, with instant access to all information, and ends with weakly godlike transcendent intelligences that have disassembled most of the solar system and reconstituted it as computronium. The final grim vision makes any of today's doom-and-gloom eco-catastrophe scenarios look positively benign in comparison: either become a transcendent incomprehensible inhuman intelligence, or remain a greatly enhanced but nevertheless essentially mentally defective and impoverished humanoid.

This is brilliant: the scope of the vision, the density of the techno-details, the beautiful witticisms (Rousseau's Universal Robots, indeed), just the sheer chutzpah of attempting to meaningfully describe a post-singularity world. Almost paradoxically, the earlier chapters have more techno-details: these are the hardware extrapolations of today's capability. Later chapters, with much modified or uploaded humans forking off ghost personalities to analyse problems as casually as we would write Post-It reminder notes, have less detail. After all, as Benford's Corollary states: "any technology distinguishable from magic is insufficiently advanced"; this certainly does not fail that test. A convincing demonstration of the exponential power of Moore's law growth, and beyond. This feels like a possible future, and one that's not that far away!

• Concussion panel discussion of the Arthur C Clarke Awards shortlists

Robin has put himself through memory erasure, but, naturally, can't remember why. It must have been to forget something terrible, and he fears people are out to kill him over it. He is beginning to realises that he needs to get to safety somewhere, when his robot counsellor tells him of an interesting experiment: a group of social scientists is setting up an experiment in primitive social behaviour, and wants volunteers for a three year stay, living in a secure pre-Singularity habitat. It seems like the ideal way to be safe from his pursuers, but once in the experiment, he realises he might not have been told the whole truth about its purpose, and that his life is in danger again. Or he might just be going mad.

This is set in the same universe as Accelerando, Stross' post-Singularity vision. But now it's much further in the future, where long-lived post-humans routinely undergo voluntary memory modification to stop them getting stale and bored, and also undergo involuntary memory modification by rogue viruses left over from debilitating censorship wars. The future post-scarcity culture is only briefly shown, mostly in flashback (literally, as some of Robin's memories return unbidden). What's most fun is the deeply disturbing depiction of our own culture, or at least an experimental pastiche of it, as viewed through the horrified gaze of a 27th century dweller: no assemblers, no backups, no datalinks, no freedom.

I initially thought that the ending (just who dies, and who survives) didn't work. But on reflection, I think it does a good job of showing just how different this post-Singularity society is -- a society where identity theft is a heinous crime, but murder is a mere peccadillo, both for very sensible reasons.

Sometime in the next decade, in an independent Scotland, a daring bank robbery is committed. In this time of near-universal surveillance, the entire event is captured on video. But that doesn't really help: the robbers are orcs, and the bank is in an online game. Nevertheless, the police and the insurance company investigators are called in, and it turns out things are maybe more serious than it seems, especially when one of the game's programmers vanishes -- perpetrator, or victim?

It appears that Stross cannot write a bad book in any genre, or in any style. Here it is multiple second person viewpoints, that work perfectly to emphasise the gaming context. The main characters are great, and the various locations beautifully realised. I love the way Stross can do nerdy types, and make them realistic and sympathetic.

The tech is futuristic enough to be fun, and immediate enough to be scary. We are at a tech level only a year or so before the opening events in Accelerando, where augmented reality glasses provide all with different views of the world. And this can occasionally delve into weird when the wearers are have a very different view, such as gaming on the bus to work, or being hacked into. This world is close enough that it seems plausible, and far enough out that it's beginning to be very different. And it's a good mystery, too.

Freya is a robot designed to be a "companion" for humans -- but she rolled off the production line a year after humanity went extinct. Doomed to be unable to fulfil her design parameters, she is miserable and contemplating suicide. But she is interrupted by a vicious aristo trying to kill her. Suddenly she finds herself dodging assassins, on the run across the Solar System, searching out her sib-bots, figuring out who's on which side, finding out what it means to be free, and trying to discover why she is the target of assassins.

This is a marvellous late-Heinlein homage, with many nods to Friday (but without the baby fetish) and others. There are laugh-out-loud puns, allusions, and direct references to Heinlein's work (wait for the "spung", and the door dilating, amongst others). If you don't get the references, it won't spoil the plot, for although it owes something to Heinlein, it's all Stross: funny, clever, with wonderful future tech, brilliant robot designs, some horrific imagery, and a mind-manglingly complicated plotline with complexity upon complexity slowly revealed. It's wonderfully written -- it's in the present tense, which I usually hate, but here didn't even notice until about two thirds in, it's just so right. And I love his description of space travel -- the size sheer of the Solar System is brilliantly captured (giving me flashbacks to that other great Heinlein homage, The Golden Globe), and the mind-numbing tedium of that travel will stay with me for a long time.

Marvellous, on many levels.