I had no intention of writing a review of Andy Weir 's book Artemis. I did not even know who he was when I noticed his book on the shelves of a local bookstore last November. It had an remarkably well designed minimalist cover in grey tones. I did not buy it then.
Eventually I got it as an ebook a month later and read it mostly during the Christmas vacation period. Today (in the beginning of January 2018), while trying to consolidate my own personal assessment of the novel, I googled the string andy weir artemis review. Relevant texts from Guardian, Gizmondo and Washington Times popped up.
My first finding was that everyone compares the author's second book to the first, The Martian. The fact that I had not read the first book might somehow turn into an advantage, since I could evaluate the book with a clean slate. Of course I had seen the film, but movies based on novels typically bear little relevance to the original book. The film was a particularly "realistic" science fiction attempt that explored the issue of a possible mission to Mars. Mars seems now more popular than ever before and has already been targeted by Elon Musk. However, Gravity was just as realistic, and the absence of a previous novel does not seem to have mattered at all. Gravity was only based on the excellent script of Alfonso Cuaron and his son. A robust scenario is all that is needed for a good movie. At the same time it is almost impossible to convey the literary value of a novel to a movie. An airport quality novel often makes a great film, particularly if it is a political thriller with a high quantity of action. Effectively, my previous knowledge of The Martian movie was practically useless for the purpose of comparing the Weir's first book with Artemis.
All the reviews that I have been able to read so far seem to agree that Artemis was less well written than Martian, an issue that I cannot appreciate. A second observation I made about the above reviews was that their authors were not particularly meticulous in linking Artemis to the existing science fiction literature. One of these critics (in the Washington Times) is Fred J. Eckert, former diplomat and adviser to president Donald Reagan, definitely a respectable and knowledgeable person, but perhaps more suitable to write a review on House of Cards rather than Artemis. Eric Brown, from Guardian, has confined himself to saying that Weir's work reminds Robert Heinlein's youthful texts decorated with a dose of profanity ("Heinlein juvenile with added F-words"). Remarkably, a quick search reveals that the F-word appears 61 times in The Martian and 62 times in Artemis.
My relatively extensive sci-fi reading experience is long past, and perhaps somewhat outdated. But as long as I can remember, most science fiction authors rely more on fiction than on science. Authors that try to remain true to science usually rely on a series of assumptions, which at best cannot be refuted easily, as they usually lie beyond the limits of the currently available science. Creatively used such assumptions can lead to the creation of fascinating worlds, and some of these sci-fi projects have generated extremely interesting near scientific descriptions. Back in the nineties I had authored several technical scenarios within the framework of scientific research projects (with the purpose of refining the design of the target system). From this experience I could say that certain sci-fi projects are very close to a purely scientific work, but always depending on the validity of the initial assumptions. Jules Verne and Isaac Asimov, in a number of their works, tried to remain loyal to scientific accuracy. However, imagination has always been the strongest driving force of sci-fi authors, who are always tempted to describe ambitious complex worlds in the far away future of an equally far away galaxy, and to explore not only technological, but also also social, political and economic issues. Their heroes are often eager and able to save a planet or even a galaxy. Frank Herbert's Dune is representative of the species. In this same direction Interstellar is a recent addition in movies.
On the contrary Andy Weir remains down to earth even when he explores Moon or Mars. His imagination shapes the world under description to the bare minimum possible, while avoiding arbitrary scientific assumptions. He strives to make the most of what we know today about the world under scrutiny. He effectively places his heroes in a realistic simulation of the target world. Being himself a computer programmer he probably would rather code this simulated world and have his heroes react with the environment, if it were not for the immense effort that would be necessary for the coding. Thus for the time being he prefers to run the simulation in his own head.
I will open a quick parenthesis at this point: The "flexible novel" is, admittedly, an older dream. Back in the 80's the first generation of computer based adventure games were text adventures, which brought forward the question whether it is possible to write a novel with alternative courses of action. Steve Jobs then offered a computer to Umberto Eco (who at the time was sitting on the laurels of the Name of the Rose) in order to encourage him to embark in such a project. Alas, there was no visible substantial result. Eco wrote Foucault 's Pendulum on a word processor and performed some basic tests, which appear in the novel.
Now returning to Artemis, Andy Weir persists on presenting the consequences of the motives and actions of his heroes in a world governed by the known laws of nature, as they are implemented in the lunar environment (i.e. mainly in reduced gravity and in lack of atmosphere). These interactions generate and justify the whole story. He does not allow himself to drift towards less stable ground, e.g. societal, political, or economical sciences, albeit very rarely, almost only when he cannot avoid a reference. The heroine's main incentive is to improve her financial situation by making the most of the given environment.
Up to the middle of the book I had been led to believe that the author, whose personality probably tends towards depression, would not have been seduced by grandiose "save the planet" action models. Any such plans would have shown up from the very beginning. He could have created a great lunar city of the far future, which would have given him considerably more freedom. Instead, he has opted for a small basic colony only a few decades beyond the current era. His main character is not of the super-hero type, although she is often able to outsmart other members of the restricted lunar society. Her most prominent ability is that she is well suited to her environment, is a child of the Moon. She is a working girl, but her income is too meager for her ambitions, which are nothing more than a comfortable life in Moon terms. Therefore, she occasionally resorts to less lawful parallel activities.
Eventually however Weir succumbed to the "save the planet" temptation, somewhere around the middle of the book. I cannot say whether this turn was wilfully undertaken, or it was a publishing house editor's idea, which would make the book more successful commercially, and a good candidate movie script. Weir's second novel was de facto written not in the same conditions as the first one. While writing The Martian he was still unknown; still that self-published book sold around millions of copies. Needless to say, as a reader I would be quite content even without the blockbuster extensions in Artemis.
Some of the critics have tried to judge the novel with typical literary criteria, e.g. whether the heroine's personality is adequately and convincingly presented. The heroine is humorous, she even mocks herself on occasion. Her decisions are not always optimal. However, a main intention of the author is to describe how the claustrophobic lunar environment has shaped her personality.
The point that did not convince me was this: The heroine is making great efforts to never return to Earth, which she has left while she was very young. The argument offered by the author comes again from physics and biology: It would take months to adapt her body to Earth's gravity. So she has even abandoned the idea of casual tourism in the mother planet. Strangely, while living in a limited and gray world, she dreams neither of the colorful scenery of the Earth nor of the freedom to move around without a space suit.
The basic story is a political and economic thriller modulated by lunar peculiarities. However, the author's mind always exploits any possible chance to return to technical description, explanation, and justification. When action reaches the apogee, he insists for pages and pages on the tiniest of the details. Few readers could tolerate these extremely technical passages in a novel. Personally, I confess that I skipped quite a few pages.
But the final result is that the persistent reader will feel rewarded by having plunged in a totally realistic futuristic environment, which offers both knowledge and entertainment. The dilemma "business or pleasure" becomes thus redundant.
Eventually I got it as an ebook a month later and read it mostly during the Christmas vacation period. Today (in the beginning of January 2018), while trying to consolidate my own personal assessment of the novel, I googled the string andy weir artemis review. Relevant texts from Guardian, Gizmondo and Washington Times popped up.
My first finding was that everyone compares the author's second book to the first, The Martian. The fact that I had not read the first book might somehow turn into an advantage, since I could evaluate the book with a clean slate. Of course I had seen the film, but movies based on novels typically bear little relevance to the original book. The film was a particularly "realistic" science fiction attempt that explored the issue of a possible mission to Mars. Mars seems now more popular than ever before and has already been targeted by Elon Musk. However, Gravity was just as realistic, and the absence of a previous novel does not seem to have mattered at all. Gravity was only based on the excellent script of Alfonso Cuaron and his son. A robust scenario is all that is needed for a good movie. At the same time it is almost impossible to convey the literary value of a novel to a movie. An airport quality novel often makes a great film, particularly if it is a political thriller with a high quantity of action. Effectively, my previous knowledge of The Martian movie was practically useless for the purpose of comparing the Weir's first book with Artemis.
All the reviews that I have been able to read so far seem to agree that Artemis was less well written than Martian, an issue that I cannot appreciate. A second observation I made about the above reviews was that their authors were not particularly meticulous in linking Artemis to the existing science fiction literature. One of these critics (in the Washington Times) is Fred J. Eckert, former diplomat and adviser to president Donald Reagan, definitely a respectable and knowledgeable person, but perhaps more suitable to write a review on House of Cards rather than Artemis. Eric Brown, from Guardian, has confined himself to saying that Weir's work reminds Robert Heinlein's youthful texts decorated with a dose of profanity ("Heinlein juvenile with added F-words"). Remarkably, a quick search reveals that the F-word appears 61 times in The Martian and 62 times in Artemis.
My relatively extensive sci-fi reading experience is long past, and perhaps somewhat outdated. But as long as I can remember, most science fiction authors rely more on fiction than on science. Authors that try to remain true to science usually rely on a series of assumptions, which at best cannot be refuted easily, as they usually lie beyond the limits of the currently available science. Creatively used such assumptions can lead to the creation of fascinating worlds, and some of these sci-fi projects have generated extremely interesting near scientific descriptions. Back in the nineties I had authored several technical scenarios within the framework of scientific research projects (with the purpose of refining the design of the target system). From this experience I could say that certain sci-fi projects are very close to a purely scientific work, but always depending on the validity of the initial assumptions. Jules Verne and Isaac Asimov, in a number of their works, tried to remain loyal to scientific accuracy. However, imagination has always been the strongest driving force of sci-fi authors, who are always tempted to describe ambitious complex worlds in the far away future of an equally far away galaxy, and to explore not only technological, but also also social, political and economic issues. Their heroes are often eager and able to save a planet or even a galaxy. Frank Herbert's Dune is representative of the species. In this same direction Interstellar is a recent addition in movies.
On the contrary Andy Weir remains down to earth even when he explores Moon or Mars. His imagination shapes the world under description to the bare minimum possible, while avoiding arbitrary scientific assumptions. He strives to make the most of what we know today about the world under scrutiny. He effectively places his heroes in a realistic simulation of the target world. Being himself a computer programmer he probably would rather code this simulated world and have his heroes react with the environment, if it were not for the immense effort that would be necessary for the coding. Thus for the time being he prefers to run the simulation in his own head.
I will open a quick parenthesis at this point: The "flexible novel" is, admittedly, an older dream. Back in the 80's the first generation of computer based adventure games were text adventures, which brought forward the question whether it is possible to write a novel with alternative courses of action. Steve Jobs then offered a computer to Umberto Eco (who at the time was sitting on the laurels of the Name of the Rose) in order to encourage him to embark in such a project. Alas, there was no visible substantial result. Eco wrote Foucault 's Pendulum on a word processor and performed some basic tests, which appear in the novel.
Now returning to Artemis, Andy Weir persists on presenting the consequences of the motives and actions of his heroes in a world governed by the known laws of nature, as they are implemented in the lunar environment (i.e. mainly in reduced gravity and in lack of atmosphere). These interactions generate and justify the whole story. He does not allow himself to drift towards less stable ground, e.g. societal, political, or economical sciences, albeit very rarely, almost only when he cannot avoid a reference. The heroine's main incentive is to improve her financial situation by making the most of the given environment.
Up to the middle of the book I had been led to believe that the author, whose personality probably tends towards depression, would not have been seduced by grandiose "save the planet" action models. Any such plans would have shown up from the very beginning. He could have created a great lunar city of the far future, which would have given him considerably more freedom. Instead, he has opted for a small basic colony only a few decades beyond the current era. His main character is not of the super-hero type, although she is often able to outsmart other members of the restricted lunar society. Her most prominent ability is that she is well suited to her environment, is a child of the Moon. She is a working girl, but her income is too meager for her ambitions, which are nothing more than a comfortable life in Moon terms. Therefore, she occasionally resorts to less lawful parallel activities.
Eventually however Weir succumbed to the "save the planet" temptation, somewhere around the middle of the book. I cannot say whether this turn was wilfully undertaken, or it was a publishing house editor's idea, which would make the book more successful commercially, and a good candidate movie script. Weir's second novel was de facto written not in the same conditions as the first one. While writing The Martian he was still unknown; still that self-published book sold around millions of copies. Needless to say, as a reader I would be quite content even without the blockbuster extensions in Artemis.
Some of the critics have tried to judge the novel with typical literary criteria, e.g. whether the heroine's personality is adequately and convincingly presented. The heroine is humorous, she even mocks herself on occasion. Her decisions are not always optimal. However, a main intention of the author is to describe how the claustrophobic lunar environment has shaped her personality.
The point that did not convince me was this: The heroine is making great efforts to never return to Earth, which she has left while she was very young. The argument offered by the author comes again from physics and biology: It would take months to adapt her body to Earth's gravity. So she has even abandoned the idea of casual tourism in the mother planet. Strangely, while living in a limited and gray world, she dreams neither of the colorful scenery of the Earth nor of the freedom to move around without a space suit.
The basic story is a political and economic thriller modulated by lunar peculiarities. However, the author's mind always exploits any possible chance to return to technical description, explanation, and justification. When action reaches the apogee, he insists for pages and pages on the tiniest of the details. Few readers could tolerate these extremely technical passages in a novel. Personally, I confess that I skipped quite a few pages.
But the final result is that the persistent reader will feel rewarded by having plunged in a totally realistic futuristic environment, which offers both knowledge and entertainment. The dilemma "business or pleasure" becomes thus redundant.