Engineering Infinity

by Jonathan Strahan (Editor)

The Infinity Project (1)

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The universe shifts and changes: suddenly you understand, you get it, and are filled with wonder. That moment of understanding drives the greatest science-fiction stories and lies at the heart of Engineering Infinity. Whether it's coming up hard against the speed of light - and, with it, the enormity of the universe - realizing that terraforming a distant world is harder and more dangerous than you'd ever thought, or simply realizing that a hitchhiker on a starship consumes fuel and oxygen show more with tragic results, it's hard science-fiction where a sense of discovery is most often found and where science-fiction's true heart lies. This exciting and innovative science-fiction anthology collects together stories by some of the biggest names in the field, including Gwyneth Jones, Stephen Baxter and Charles Stross. Author bio: Jonathan Strahan is an editor and anthologist. He co-edited The Year's Best Australian Science Fiction and Fantasy anthology series in 1997 and 1998. He is also the reviews editor of Locus. He lives in Perth, Western Australia with his wife and their two daughters. show less

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15 reviews
This book bills itself as a collection of hard science fiction stories. Now, any collection is bound to be a little uneven. But some of the stories in here were in no way, shape, or fashion "hard" SF. And they weren't that good, either. But others particularly the first 2 and the last 1, had me thinking, "Yes! This is the stuff I fell in love with as a kid." So if you pick this book up, just know that you are in for some very disparate experiences.
An anthology of hard science fiction from a variety of authors, from veterans like Gregory Benford to newcomers like Hannu Rajaniemi. The settings vary from the very near future of Peter Watts’ “Malak” (applying a very interesting if-this-goes-on to drone warfare in Afghanistan) to the very far future of David Moles’ “A Soldier of the City”. Charles Stross’ “Bit Rot” will be of interest to people who enjoyed his novel Saturn’s Children— it takes place centuries down the line from the events of that book (and manages to put a high-tech twist on the popular phenomenon of zombies). Overall, a good look at the current state of hard sf writing.
I remember reading glowing reviews of the Infinity anthologies in Locus years ago, and I long for well-written hard SF -- not space opera. I was bit disappointed when I finally read the first entry. Many authors I like, and almost everything readable, but absolutely nothing knocked me out and I'm already having trouble remembering what happened in each story.

The lingering impression I have is a mix of stories set either in the far future, deliberately and jarringly disconnected from today, or set very near future. War is a common setting, of the modern space opera sort, where everything happens very quickly at great magnitudes. A few read like the opening chapter of a longer novel, though not annoyingly so.

I'm neither down on the show more collection nor excited by it, so my recommendation has to be "sure, why not." show less
½
There are some good stories in here, and I only really disliked one, but there was too much testeria in the middle of the book. Along with the male gaze being strong in this one, though 2 of the 8 authors are women.
Declares in the introduction that it's a "hard science fiction anthology" and it sure is. Good stories that move along quickly; some are enigmatic at first, but hard sf fans like to work a little, don't they? The flow of themes from story to story is good - they're ordered well. The later tales are a little dark and the fast-paced final story has whimsy and a little raciness that ends it all on an uplifting note.
½
A couple of great stories in here, but otherwise I found it dragged. 2.5/5
A few really good stories here but fundamentally flawed collection, too many duds and too few diamonds in there.

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ThingScore 75

According to Strahan’s introduction this anthology is a collection of stories roughly categorisable as hard SF, adding the disclaimer that the term is now a slippery concept hence the stories are inevitably broader in scope than might once have been implied. Whatever his claim that they all invoke the sense of wonder, most exhibit a tendency to be didactic in their narrative styles.

The tone show more is set early with “Malak” by Peter Watts, the tale of an unmanned airborne war drone that learns from its experiences.

Kristine Kathryn Rusch’s “Watching the Music Dance” deals with the effect of enhanced abilities for children on their dependency and psychological development.

The ghosts of the Soviet space programme are being made real in “Laika’s Ghost” by Karl Schroeder, mainly set in the former cosmodrome in Kazakhstan.

Stephen Baxter’s “The Invasion of Venus” is peculiar in that everything that happens, including the disappearance of the planet Neptune, occurs off stage. Apt, in that humans, and Earth, are of no consequence to the eponymous invaders.

Hannu Rajaniemi’s “The Server and the Dragon” has an intergalactic AI on some inscrutable purpose creating a baby universe as its plaything before being suborned and consumed by a message packet it receives. Extremely dry in the telling, a knowledge of quantum physics and cosmology might be advantageous here.

Charles Stross’s “Bit Rot”is a generation starship type story where the ship is “manned” by cyborgs who are suffering the deleterious aftermath of a gamma and cosmic ray burst. Stross references Tom Godwin’s “The Cold Equations” but overall the story is more reminiscent of John Wyndham’s “Survival.”

In “Creatures with Wings” by Kathleen Ann Goonan the remnants of humanity eke out their lives in what could almost be a zoo which the protagonist leaves to achieve enlightenment. Though Goonan tries to finesse it the story has too large a disjunction when these survivors are taken from Earth by the creatures of wings of the title.

“Walls of Flesh, Bars of Bone” by Damien Broderick & Barbara Lamar is the story from which the collection’s title may have sprung. A man sees himself on a film shot in 1931. The story moves on swiftly to become a concoction of quantum entanglement, self-interference of particles, Bayesian probability, spatial displacements and time travel.

Robert Reed’s “Mantis” concerns the realness (or otherwise) of our experiences and how to tell whether or not we live in stories. The SF gloss involves two way CCTV type screens called infinity windows.

The title of John C Wright’s “Judgement Eve” evokes Edgar Pangborn but unfortunately Wright is no Pangborn. The story, involving angels and Last Judgement, aspires to the condition of myth or Biblicality. As a result the “characters” become cyphers, the prose overblown, the dialogue bombastic and syntactically archaic.

In “A Soldier of the City” by David Moles the eponymous soldier volunteers for the revenge attack on the habitat of the terrorists who attacked his city and killed the goddess whom he loved.

The somewhat loopy protagonist of “Mercies” by Gregory Benford, made rich by inventing a logic for constructing unbreakable codes, invests in and then uses quantum flux technology to “jogg” to nearby timelines in order to execute serial killers before they set out on their sprees; thus becoming himself the object of the same fascination.

In Gwyneth Jones’s ”The Ki-Anna” a man travels to a distant planet to discover the circumstances surrounding his sister’s death and encounters the obligatory strange and disturbing ritual practices.

John Barnes’s “The Birds and the Bees and the Gasoline Trees” features a humaniform who has swum Europa’s oceans and stridden the beds of Titan’s methane seas unravelling the unforeseen consequences of humans trying to offset climate deterioration by seeding Earth’s Southern Ocean with iron from meteorites.

Hard SF? Sense of wonder? In an uneven collection a few stories fail to hit these marks. Enough do, though.
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Jack Deighton, Interzone 233
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Author Information

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Editor
71+ Works 8,534 Members
Jonathan Strahan was born in 1964 in Belfast, Northern Ireland. He is an editor and publisher of science fiction. His family moved to Perth, Western Australia in 1968, and he graduated from the University of Western Australia with a Bachelor of Arts in 1986. In 1990 he co-founded Eidolon: The Journal of Australian Science Fiction and Fantasy, and show more worked on it as co-editor and co-publisher until 1999. He was also co-publisher of Eidolon Books which published Robin Pen's The Secret Life of Rubber-Suit Monsters, Howard Waldrop's Going Home Again, Storm Constantine's The Thorn Boy, and Terry Dowling's Blackwater Days. In 2015 he was nominated in the editor and anthology categories for the Locus Awards with the title Reach for Infinity. In 2018, he won the 2017 Aurealis Awards for the best Australian anthology for his book, Infinity Wars. (Bowker Author Biography) show less

All Editions

Barnes, John (Contributor)
Baxter, Stephen (Contributor)
Benford, Gregory (Contributor)
Broderick, Damien (Contributor)
Goonan, Kathleen Ann (Contributor)
Jones, Gwyneth (Contributor)
Lamar, Barbara (Contributor)
Moles, David (Contributor)
Rajaniemi, Hannu (Contributor)
Reed, Robert (Contributor)
Schroeder, Karl (Contributor)
Stross, Charles (Contributor)
Watts, Peter (Contributor)
Wright, John C. (Contributor)

Some Editions

Martiniere, Stephan (Cover artist)

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Common Knowledge

Original publication date
2011
Disambiguation notice
This anthology was edited by Jonathan Strahan. Reed is the author of one of the stories included.

Classifications

Genres
Science Fiction, Fiction and Literature
DDC/MDS
813Literature & rhetoricAmerican literature in EnglishAmerican fiction in English
LCC
PS648 .S3 .E565Language and LiteratureAmerican literatureAmerican literatureCollections of American literatureProse (General)
BISAC

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Reviews
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Rating
½ (3.39)
Languages
English
Media
Paper, Audiobook, Ebook
ISBNs
7
ASINs
5