Hammerfall | ||||||||
C.J. Cherryh | ||||||||
HarperCollins EOS, 400 pages | ||||||||
|
A review by Greg L. Johnson
Hammerfall is set on a desert world inhabited by a fairly primitive
looking village and nomadic tribe culture. Our viewpoint character is
Marak, a warrior and leader who has become mad. His madness is of a type
that afflicts many: voices and images threaten death and destruction, and
compel him to journey to a tower across the desert.
The Ila is gathering the mad together, and she tells Marak to go
where the voices tell him. The story becomes an intense recounting of the
dangers of crossing the desert. All the techniques that Cherryh has
perfected and used in order to draw us into her characters she here uses to
pull us into the landscape of her world.
When Marak and his companions reach the tower, we learn a little of
what is going on. There is nanotech underlying everything, and the Ila is a
refugee from an ages old war. Her old enemies aren't happy about what she's
doing to their planet. Marak is sent back to warn her.
Here is where the reader realizes that the nominal storyline of
Hammerfall is going to consist of not one, not two, but three harrowing
journeys across the same expanse of desert. Marak is used to carry
messages, and it's fairly hard not to wonder why people who have mastered
the technology of manipulating matter at the atomic level can't make a
phone call. If this were done by a first time writer, it would be laughable.
But this is C.J. Cherryh, so there has to be a reason for it. There
are clues, and they seem to have to do with the nanotechnology, which is so
pervasive in these people's culture that it may have superseded everything
else. For even as Marak and the refugees are crossing the desert while ice
asteroids pelt the planet, the real war is going on below the surface, in
the bloodstreams of the people and animals as the people of the tower's
nanoceles fight with those of the Ila. As Marak and his companions nanoceles
adjust, they are able to communicate through the nanotech, and are always
aware of where the others are. There is no need for other technologies of
communication. But none of this is spelled out, and it's possible to read
the clues in other ways.
So that's what we're left with. A novel that raises question after
question about the characters, their history and their motivations, and
provides fewer answers than any other C.J. Cherryh novel I can remember
reading. (And that's saying a lot. How many of us figured out who fired the
gun at the beginning of Foreigner before the answer was revealed in
Inheritor?) The overwhelming message of Hammerfall is that the the real
action is hidden from view, taking place below the surface, and that every
journey you make reveals a little more of the truth. Hammerfall is a
gripping, difficult novel which promises that future installments will
reveal its greatness. C.J. Cherryh is as good a novelist as there is in
science fiction, and it is a tribute to her high standards that her readers
should have no problems believing in the promise of Hammerfall.
Reviewer Greg L. Johnson is becoming convinced that there isn't an SF writer alive who can resist shaking things up by dropping big rocks on a planet. His reviews also appear in The New York Review of Science Fiction. |
If you find any errors, typos or other stuff worth mentioning,
please send it to editor@sfsite.com.
Copyright © 1996-2014 SF Site All Rights Reserved Worldwide