To Fear The Light
The sequel to 'To Save the Sun'
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4.0 • 2 Ratings
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- $11.99
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- $11.99
Publisher Description
Two hundred years ago, Adela de Montgarde, the brilliant astrophysicist, conceived the centuries-long plan to forestall the death of Earth's sun, thus preserving the original genetic material of the Empire of the Hundred Worlds-and of the Emperors who enabled her visionary plan.
Now Adela emerges from cold sleep to oversee the final stages of her great work. She awakens to an Empire transformed: her son Eric is Emporer, faster-than-light travel has finally been achieved, and humanity has spilled out to innumerable new planets, far beyond the Empire's Hundred Worlds.
In the twilight of the Empire, human and alien factions vie for advantage, while Adela's awesome feat of stellar engineering approaches its final fruition: the preservation and re-invigoration of the fearsome light at the heart of humanity's first solar system...the saving of Earth's Sun.
At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
PUBLISHERS WEEKLY
This weak sequel to the authors' To Save the Sun tries to invoke the look and feel of old-time science fiction. Adela de Montgarde, creator of the prequel's eponymous project, is revived after 200 years of ``cryosleep'' to find that her son Eric is emperor of an intergalactic empire that has been rendered obsolete by ``instantaneous communication'' (which is a recurrent mantra of today's hard SF). Meanwhile, a man calling himself ``Jephthah'' disseminates hateful, chauvinistic propaganda through the increasingly balkanized human colonies. He targets first the alien Sarpans (who assisted on the project to save the dying Sun) and then another, apparently more primitive, alien race. There is a curious subplot about Aborigines and the need of their allegedly homogeneous society to maintain old ways. Billy Woorunmarra's attempt at an ethereal form of multiculturalism is, however, undermined by being presented with the same presumptuous narrative voice as the rest of the novel. There is little doubt where the authors' politically correct sympathies lie-the characters are more mouthpieces than beings-and the renderings, especially of Jephthah, make pedestrian several scenes that should have been interesting. It must be granted that the two authors have melded their voices well: the narrative has a single, strident tone.
