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This book reminds me a lot of the second book in Robert Jackson Bennett's Divine Cities trilogy. Both are set out in the hinterlands, with a different focus and locale than the first book, but crucially both are there to establish the thematic question for the series. Here, that question is around the human nature of kings and emperors, and the complicated human desire for them.

Unsurprisingly, this series continues to be solidly in the mystery genre despite being blended with kaiju fantasy worldbuilding. It opens with a locked room murder mystery (and a missing body), has a brilliant Moriarity-adjacent mastermind, and ends with a dramatic reveal. This was true in the first book as well, but I quite appreciate how the details and clues are meticulously laid out for the reader to spot; even when there is a "our investigator must go into a fugue state to find answers" moment, her revelations are all something the reader could have intuited themselves.

One friend who has been reading this series (and crucially has not read any mystery books) has been disappointed at the "small-ness" of the plot threads, where the climax is a mystery rather than a fantasy escalation, and the terror of the leviathans only looms in the distance. These books certainly do not have the escalation of ideas from his previous series The Founders Trilogy. However, following the Divine Cities example above, my prediction is that the final book is going to satisfyingly tie together the themes from the first two books while answering our questions about the nature of the leviathans and the silent Khanum emperor.

More fun times with the crime-solving (& committing!) pensioners. The stakes are higher but doesn't feel so fresh. A bigger role for the inscrutable Bogdan is welcome. Laughs off some pretty substantial abuse of the justice system.

Anathem leads you down a garden path: The first few chapters happen in a compound that seems a lot like a monastery here on Earth, except that it’s sort of like a university too. The avout who live inside its walls study philosophy and theoretics, having contact with the outside world for only ten days each year.

“Avout”? Stephenson invents words that straddle the two perspectives, like “concent” (the compound isn’t quite a convent; it studies thought, so let’s bring in some of the word “concentrate’) and “saunt” (revered thinkers aren’t saints, but savants, which kind of works if you remember how Latin U and V are the same letter). Indeed, the book title itself is one of these, a cross of “anthem” and “anathema”. The words soon become familiar, and depending on the context, and maybe your prior knowledge of classical languages and religious rituals, you can figure many of them out, but if you don’t want to, there is a glossary at the end of the book.

It all feels very comfortable and familiar. And then Erasmus, the relater of the story, is pulled from this safe environment and thrust into the outside world, which resembles a version of our own in a slow decline. The world needs the help of Erasmus and others from the concent, and from other similar communities across the planet. This is a global crisis, and it has something to do with something in the sky.

From here, the story snowballs alarmingly in ways that would spoil the surprise for me to even hint at. Every step is plausible, but the plot grows exponentially and the climax is out of this world.

All through the story, the characters engage in Dialog, extended discussions covering seemingly random topics like philosophy, geometry, nuclear physics, the many-worlds hypothesis, and consciousness. These topics are very much not random, though, and they play a pivotal role in the plot.

Stephenson borrows heavily from the classics, deliberately, with reasons that turn out to be sensible in terms of the plot. It’s clear that he’s having fun breaking the fourth wall. If you’re not trained in philosophy you’ll probably fail to link the historical characters mentioned in Anathem with their equivalents in Earth history—I certainly did—but it doesn’t matter a lot. There’s plenty of references you will still get.

I’ve read a few Neal Stephenson books, including his classics Snow Crash and Cryptonomicon. I feel compelled to point out that Stephenson is normally terrible at writing endings, but with Anathem he lands a satisfying denouement.

@KnitAFett@books.theunseen.city Yep, that was my beef with the book as well. But it just means it's less good than her others, not that it's bad.

A young woman gets caught up in magical machinations and is turned old & fabulously crotchety. Great characters and vibe but I lost track of the plot a bit (disclaimer: listened to this as a sleep story), and wasn't really into the romantic ending.

www.youtube.com/watch?v=q8eOjQ3JrXk&list=PLp6dwtXsi8Pu6G7MT4ajMGB1YrumzQRZ9

@KnitAFett@books.theunseen.city Huh, I hadn't heard that. I think this one is still worth a read, there are some much more positive reviews than mine out there.