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Robert Charles Wilson’s ambitious novel Spin, winner of the 2005 Hugo Award for Best Novel, combines some hard science fiction with some highly speculative work in both cosmology and nanotechnology as it follows three characters after the cataclysmic event that gives the book its title. It’s a bold novel of ideas that struggles a little in its midsection but comes through with a rousing, clever finish that also gives a bleak story a hopeful if uncertain resolution.
The Spin of the title is the name humanity gives a temporal bubble that an unknown, external entity (later dubbed the “Hypotheticals”) has placed around the Earth, causing time inside the bubble to move more slowly than it does outside. Where one year passes on Earth inside the Spin, a hundred million years pass outside of it, which means that after thirty to fifty years inside the Spin, the region of the solar system where the Earth exists would become uninhabitable as the Sun begins the expansion that precedes its death.
The story itself starts with twelve-year-old Tyler Dupree and his two friends, Diane and Jason Lawton, from the night the Spin first appears, obscuring the stars and knocking out satellite communications worldwide. Jason is the scientific genius of the trio; Diane, his sensitive twin sister who turns to religion; and Tyler, the narrator and balancing figure, a bit of a Nick Newland for his bland presence in the story, whose love for Diane is unrequited and whose friendship with Jason feels professional even before, later in life, he becomes Jason’s personal physician.
The narrative jumps around in time, with vignettes from a distant future where Tyler is going through a process we later learn is a massive physical adjustment to a sort of drug regimen brought to earth by a human who has returned to Earth from Mars. It’s one of Wilson’s most clever gambits in the book – Jason and others at his father’s think tank/quasi-governmental organization Perihelion decide to create life on Mars by terraforming and seeding it from afar and then sending people. This takes advantage of the time discrepancy, so the hundreds of millions of years required by evolution take just a few years of Earth time. And it turns out that Life on Mars advances even beyond what life on earth has, with a life-extension treatment that upends the lives of the few on Earth who try it. His return to Earth sparks a second, even more extensive space program that holds the key to humanity surviving the imminent death of its home planet and solar system.
Spin is saved from itself by Tyler and the twins, as the story, while entertaining for its speculative aspects, could not support a 450-page novel by itself. They’re only moderately well-developed, but are at least developed enough to feel real (unlike the twins’ parents, who are straight out of central casting – the hard-driving, materialistic, unloving father, and his miserable alcoholic wife); the twins have a yin/yang dichotomy between them, the hardcore rationalist against the emotion-driven sentimentalist, but Wilson has them behave in ways that transcend two-dimensional stereotypes. Jason’s tortured relationship with his father could make up its own book, and felt more authentic than Tyler’s cold pining for Diane over years when he doesn’t see or hear from her.
The speculative science involved in the second space effort and the resolution of the Spin story reminded me a bit of Michio Kaku’s Parallel Worlds, a non-fiction science book that delves into the idea of the multiverse and whether, for example, wormholes might exist or someone (or something) might travel through a black hole into another universe. In the science world, this might be called “bunkrapt,” but it is fantastic fodder for hard science fiction, and gives Wilson an improbable but internally consistent resolution to the story. There was a point around 2/3 of the way through Spin where I felt like the narrative had slowed down and I was probably going to end up giving it a negative review, but the truly clever endings to the various plotlines make the book a success.
Next up: Another Hugo winner, Kate Wilhelm’s Where Late the Sweet Birds Sang.