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The Jagged Orbit, by John Brunner
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Matthew Flamen, the last of the networks' sppolpigeons, is desperate for a big story. And there's no shortage of possibilities: the Gottschalk cartel is fomenting trouble among the knees in order to sell their latest armaments to the blanks; which ties in nicely with the fact that something big is brewing with the X Patriots. And then there's the story that just falls into his lap: the one that suggests that the respected director of the New York State Mental Hospital is a charlatan...
- Sales Rank: #2982025 in Books
- Published on: 2000
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 1.18" w x 5.35" l,
- Binding: Paperback
- 397 pages
Most helpful customer reviews
11 of 11 people found the following review helpful.
The made up story about how everything one day comes true all at once
By Michael Battaglia
If you've at all heard of John Brunner, it's probably by way of his masterpiece (and masterpiece of 1970s SF) "Stand on Zanzibar", which managed the neat trick of creating a book about overpopulation that actually felt clastrophobic while taking a cross-section of its overstuffed expanse and spraying it at the reader all at once. It remains an extraordinarily visceral experience and probably works better as a multi-faceted depiction of a broken world than its more famous cousin Harry Harrison's "Make Room! Make Room!" (the basis for a movie about the most notorious food ever). But Brunner didn't limit himself to just discussing one way we could mess up the world in the future, he decided to depress even further and force us to make our children feel guilty for years to come with three other novels along the same trajectory. The best of those "other ones" is probably "The Sheep Look Up", which I remember finding brutally savage and unsettling (plus the original cover of the people with sheep heads wearing gas masks I found inexplicably frightening, something the new "Doctor Who" television show would take advantage of years later) but I recall "The Shockwave Rider" being pretty decent. Which only leaves one more.
So here we are. Unlike the other novels, this one doesn't seem utterly obsessed with a single dire topic, instead propelling us to a future where pretty much everything is going wrong on various levels. In the not too distant future we've experienced some variation of race riots (somewhat quaint now, with divisions seemingly more centered around religious differences) so that black and white people have sectioned themselves off into various cities, with very little crossover between the two and what does exist winding up being newsworthy. Which is convenient because "spoolpigeons" use their media shows to report their versions of investigative journalism. Meanwhile people can ingest drugs and have unconscious visions of where the world is going, and one man thinks we're all just a little crazy inside, but it can be okay.
The structure of the novel takes on some forms of the techniques that Brunner would later, especially the fractured cross-section feel of events, especially in the beginning where it seems like you're stuck to a camera hopped up on speed, zipping through impressionistic scenes of this new future with all the focus of a hyperactive toddler. We're treated to snippets of narrative, news reports, essays and other clips that help to give this world some shape, although all it really does is highlight how strange everything is and how out of place we feel. All the jargon seems warped, the landscape feels familiar in a way that bad dreams do and we're aware that all of this has some basis in a world we once knew but there's nothing really to cling to or use to launch ourselves into understanding. About the only real similarity this world has to the one we know is that its written in English. Which makes it gleefully disorienting at first, probably the closest I'll ever come to knowing how a man from the 1500s would feel if he were suddenly dropped into the present day. The level of culture shock is intense and while I don't like to actively fight with the books I'm reading, I did enjoy having to spend time trying to find my footing, especially since the world itself feels so assured.
The plot leaps between several characters of varying importance, from the efforts of spoolpigeon Matthew Flamen to figure out who keeps interrupting his broadcasts and also get his wife out of the asylum, to the doctors in the asylum wanting to deposit everyone in their crazy bank, to the young lady who likes to see the future. The threads variously bundle and disperse, often interrupted by the politics going on in the background, which seems tangential to all the vastly smaller problems that are infesting the characters, until all of that starts having an effect as well.
When the book works, its startlingly effective, layering extrapolations of Things That Have Gone Wrong on top of each other until you really start to wonder what year he wrote this in. Part of its power comes from the fact that we're probably a lot closer to his version of the world in its jagged timbre than he was back in the seventies and while he was exaggerating the potentcies of the world's problems as both warning and narrative, a lot of this stuff doesn't seem like a huge leap. And while he's still figuring out his grand style, the bones of it here are still fertile ground, especially in all the jumping about, the snippets of chapters and especially the often hilariously sardonic chapter headings, which are both Greek chorus and MST3K, underlining and mocking all at the same time.
As for the plot itself . . . well, as I said, he's still trying to figure it out. He has all the elements in place but isn't quite able to integrate them properly, which means the book mostly coasts on feel, skimming the surface of this busted up world and depending on our affinity for the new and desire to explore to carry us along. It isn't clear what the plot is until very late into it and part of that is because the book somewhat lacks focus. "Stand on Zanzibar" was able to take a single dire issue, overpopulation, and craft a whole world around it. Here he has a world without a core, which means its a variety of issues all intersecting with each other but lacking a strong central premise to really grab us. If you're going to go with "everything is wrong" we can forgive the scattershot approach if the characters and/or the plot are really gripping. Here, too much feels ancillary, just a way to color in the blanks and when the real menace rears its ugly and less than abstract head, you wonder what the point of wasting time with all the other stuff was (for one, I'm not even sure how all the pythoness stuff fits in). When the plot finds itself direction (strongly, when Xavier Conroy shows up to explain all the stuff that the slow members of class haven't gotten yet in the best Heinleinan mouthpiece fashion) you get bit of a sense of the stakes at play here. But with so many elements competing to be The Most Important Thing (evil corporations! robots! race riots! drugs! corrupt health system!) its a question of too many targets and not enough bullets, so to speak.
His style almost redeems all of this though, and gives the work an impression that to make functions as high praise: if you lived here, it would all make sense. The fast clipping snark underlying a savage sense of impending doom colors nearly every page but never gives way to sheer desperation the way a lazy writer might. Unlike for us, who can exit the book at any time it becomes too stifling, there's no real way out for the people inside. But when its your home, you don't go looking for an escape, not when the real bravery is to look for ways to make it better.
13 of 15 people found the following review helpful.
1969 Disaster of the Year
By J. Bradley Hicks
In the late 1960s and early 1970s, it seemed to me that you could tell which "oh my god we're all going to die" best seller John Brunner had just read, because every year he cranked out another fictional adaptation of the previous year's coming-disaster best seller. This book is his take on the predictions (in the wake of the Martin Luther King assassination and resulting riots in the US) that rising crime and increasing racial tensions would lead to a breakdown of society, and a general war of all-against-all.
Now, obviously that didn't happen, and the jargon used to describe racial issues seems awfully dated at this late a date, but the rest of this story is the fascinating part, and why it's still one of my favorites of his, and why so much of it now seems eerily prescient. The lead character mentioned above, Matthew Flamen, is a "spool pigeon." What they don't tell you above is that a "spool pidgeon" is a gossip columnist and political analyst who specializes in creating fake digital film footage of real news figures doing and saying what he thinks they said or did; even if the film couldn't possibly have been really shot, in his world he can't get sued if the event (or something substantially similar) actually happened. And if the network's computerized analysis of the news and other gossip sources says that the probability of his guess being right is at 90% or higher and he does get sued, they'll pay for it out of their lawsuit insurance.
The charlatan state mental health director mentioned above? The big revalation about him is that he considers all of society to be insane in some way or other, and aspires to have the entire state of New York (and eventually the world) under psychiatric treatment and control.
So for all that this book was written in 1969, and the main disaster predicted in the book didn't come true, it's still a book that has fascinating things to say about human society, and some of those things are more relevant now than they ever were.
8 of 10 people found the following review helpful.
Interesting for the fan of Brunner's more serious work
By Glen Engel Cox
I cannot recall what I was reading at the time, but the gist of it was that Brunner wrote four challenging and experimental novels in the late 60s/early 70s. Of those four, I had read three and considered two of them to be among my top 20 of all time (Stand on Zanzibar and The Sheep Look Up; the other that I had read was The Shockwave Rider, which I like and which should be mandatory reading for cybergeeks, but I don't think if has the same impact of the other two). The fourth was this novel, The Jagged Orbit.
Of the four it is by far the weakest and suffers much by time. However, you can see in the characters of Matthew Flamen and Elias Mogshack the seeds of later ones, especially Chad C. Mulligan of Stand on Zanzibar. (I also sense a similarity with Norman Spinrad's Jack Barron, but I cannot recall who come first.) The stylistic changes from his earlier work, and that would make Stand on Zanzibar such a landmark work in SF, are present here mainly in the chapter titles and the structure of the beginning and end. While I hesitate to recommend this to anyone, it proved interesting to me.
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