Speculative Sociology in Children of Time

A book about spiders? Hallowe'en must be approaching. But on this occasion, it's not our eight-legged friends who are the horrors. It's us. Adrian Tchaikovsky's Children of Time might also be scary for those who don't like the contemporary commonplace in SF where postmodern difference sits comfortably with future visions and compelling story. Anyone in that camp are ruling themselves out from one of the best SF novels of the last decade. Spoilers follow.

Children is set several centuries into the future and we've made our way out among the stars. Earth-analogues are non-existent, so we have to make them and terraforming efforts are underway on several worlds. But not all is well. There is a schism on Earth between the relatively enlightened technocracy that runs things, and anti-tech zealotry. An insurgency erupts and civilisation is laid to waste, with saboteurs destroying humanity's off-world presence and vicious malware effectively bricking any advanced technology that is left. The war breaks out as Dr Avrana Kern is about to experiment with accelerated evolution. Her world has been successfully terraformed and has prepared a group of nano-virus infected monkeys that should bootstrap them to sentience within a millennia or two. Unfortunately, her station is destroyed just as she escapes to the monitoring pod. Unbeknownst to her, the poor monkeys are toasted on atmospheric entry but the nano-virus makes it to the surface where it finds an accommodating host: Portia labiata - jumping spiders. As the centuries roll on, civilisation re-emerges on Earth after a war-induced ice age but as the glaciers recede the poisons of the past thaw out and destroy what's left of the biosphere. The survivors are forced to scrape together the Gilgamesh, a generation ship, and head out to find the terraformed worlds hinted at in the 'old empire's' surviving records.

Tchaikovsky isn't the first to imagine a civilisation arising from another species, but perhaps no one has managed it with such aplomb. The world building is among the best that 21st century SF can offer, but this is much more than a latter day The First and Last Men. The narrative is compelling as the spiders climb to sentience and build a sophisticated society, as setbacks on the Gilgamesh reduce the humans to barbarism and, toward the end, bloodthirsty would-be conquerors of the spiders.

On the spiders, they share their world with several other sentient and semi-sentient aquatic, arachnid, and insect species. Spider cities emerge resembling shifting structures of webbing (what else?) based around matriarchal households. Males are, like their real life counterparts, much smaller and endure a second class existence as discards and, sometimes, post-coital prey. There are also significant evolutionary filters the spiders have to overcome. The first is an out-of-control super colony of mutated ants. The nano-virus has developed a non-sentient collective nest intelligence that works like a computer, and threatens to overrun all spider settlements. They are only defeated by employing chemical manufactories to render the ants docile. Thanks to the manipulation of scent the great nest is programmed to serve spider kin. It also has the happy affect of accelerating technological development as the ants had mastered mining and metal smelting.

The other key factor in their cultural development is The Messenger. A small star that whips through the night sky, this is Kern's life pod/sentry construct. From the ants the spiders learn it is broadcasting radio, and as they decipher the utterly alien human language they are driven to develop mathematics to crack the code. Unfortunately, as Kern by this time is a half-mad composite of human, an AI copy of her personality, and the life support system that sustains her she sets herself up as a god and urges the spiders to follow her message. The results are schisms and wars, with the largest city of Great Nest the seat of orthodoxy and its sometimes rival Seven Trees cast as the apostates. Great Nest's armies carry all before it until a wiley male refugee creates a method for programming ant armies on the fly. The religion is overthrown and, as a price extracted for his invention, Seven Trees and other spider cities concede full personhood status to the males.

Meanwhile, things go from bad to worse for the humans aboard Gilgamesh. As they approach Kern's world they are forced to retreat in the face of the sentry's weapon systems. But not before a crash landing and a rescue reveals the planet is infested with oversized bugs. They head off to another terraformed world but find it's a bust. From pole to pole it's covered by an extremely invasive species of fungi. They are able to salvage some useful ancient technology as a sticking plaster, but their only option is to turn back. After internal power struggles they approach the world with their weapons armed for a war of annihilation ... but are shocked to find the spiders have now mastered sub-orbital space flight and have built an equatorial ring (also out of webbing, of course). Who will prevail?

Tchaikovsky's speculative sociology is more or less on point. While the spiders have developed a class society, the taming of the mindless ants provides a material base that means it's a lot less exploitative and conflict ridden than human communities. There is also a stronger sense of empathy among them thanks to the novel way they can pass on knowledge. The spiders discover that some selective breeding allows for Lamarckian evolution. Experiences, behaviour, and "understandings" can be written into the genetic code and passed on. They are later able to isolate this further so one can go to a library and effectively inject a memory, a skill, or knowledge. This all thanks to the nano-virus's mutations. It's this ability that ultimately saves both species. The spiders lead an assault on the Gilgamesh and overpower its defenders through chemical warfare. But this is a passive technology based on re-engineered nano-virus. Exposure to it causes humans to empathise and recognise the spiders as sentient beings, and that war against them is futile and wasteful. If only questions of war and peace could be settled so easily.

Children of Time sits well with Tchaikovsky's SF oeuvre. In The Doors of Eden, only the merging of radically divergent parallel Earths can save the universe. The Shards of Earth sees humanity combining and hybridising with alien species to see off civilisation-ending threats. Dogs of War and Bear Head are about bio-engineered super soldiers that are crossed with animals. And Alien Clay sees an exile from a totalitarian Earth get to grips with the weird diversity of an alien ecosystem. Here, the spiders progress not through the exclusion or extermination of other species but by a benign domestication of their environment. The use of chemicals and scents are central to their symbiotic relationship with the ants, and likewise humans are only able to overcome their declinist, warmongering rut by becoming a companion species comfortable with the oddness of the other. Donna Haraway would approve. The book therefore ends on a hopeful note some decades after the spiders and humans have come together. A signal is received from another world and a multi-species starship crew are dispatched to investigate. Hence the next volume, Children of War, has its jumping off point. Once again, without bashing us over the head difference and multiplicity are shown to be our route to a better future. Those that emphasise oneness, be they closed identities or symptoms of contemporary alienation are dead ends. Children of Time serves as an entertaining reminder of this.

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