Charlie Jane Anders’ All the Birds in the Sky
Science Fiction and Fantasy—or SFF, to the cognoscenti—is a rich breeding ground for cautionary tales fashioned for the times, from the threat of nuclear annihilation in the 50s and 60s to the dangers inherent in bioengineering and virtual reality in the 00s to Climate Change in our current decade. Now, it seems, the apocalypse, and the tattered post-apocalyptic remains, are standard fare for novels and movies alike, whether they’re dressed up comic book tales from Marvel or more literary fare like Margaret Atwoods’ Year of the Flood. So many “OMG the fate of the entire earth/universe is at stake!” stories are among us to keep raising the stakes (of a bored public?) that some novels and movies these days focus on That Terrifying Moment to the detriment of other interesting stuff—you know, like voice and character.
As shown by her first novel (Tor, 2016), Charlie Jane Anders is clearly aware of the tropes and uses them both playfully and urgently. She pulls no punches when it comes to facing the very real catastrophe awaiting both our planet and the human race, but she does it with a genuine funny voice and two sympathetic main characters, the whimsical yet serious witch Patricia, and her imaginative tech nerd counterpart Laurence. These two are joined at the hip from their early teen years, drift apart, and then when they meet again have to face both their attraction to each other and the fact that their respective social circles are locked in a death struggle.
So yes, the latter stages of the novels feels quite familiar to anyone steeped in the ubiquitous action tradition. But by then characters are so tenderly drawn, it’s impossible (for me, anyway) to get stuck in sneering, “Here go again.”
Each has their own serious faults. Patricia is a highly skilled healer, yet finds herself forced to kill people on occasion. Laurence works on a tech project that could possibly destroy the planet. They’re forced to become enemies just as they fall in love with each other. And both, aided by Anders’ quirky hipster voice, are charming as hell.
Most of the story is set in San Francisco, and Anders, who clearly knows the territory, uses the magic of the city to bolster the atmosphere. In this setting, the two main characters, perhaps preposterous elsewhere, seem to fit right in to the scene.
The writing is not without its occasional faults. Anders is a dedicated head hopper, jumping from one character’s point of view to another, a tactic she gets away with only because she’s so brazen about it. Sometimes the quirky fun gets overly cute—hard SF fans may find her tiresome at times. The ending disappointingly peters out. But if you don’t mind a bit of freak with your science fiction, you could do worse than pick this up for a summer read.
Side note: I got this book after hearing her and two other SFF writers talk on a panel at the 2019 Bay Area Book Festival. The topic was how contemporary SFF writers deal with Climate Change. It may not seem to be the driving element in this novel, but it’s always there in the background, and goes full ecodisaster near the end. If it gets people to think at all about the consequences of Global Capitalism culture, it’s done its job.