Orson Scott Card – Speaker for the Dead

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Scott Card still puzzles me. Here, he’s beyond the power of editors. The writing is more dense, with more inner monologues and more pointless words. Nothing about it is terrible, but it does reek of an inexperienced author who can’t edit himself.

Authors who can’t edit themselves will let their worldview seep into the novel. If they lack critical thinking. then expect all the Good Guys to hold their opinion and all the Bad Guys to disagree with them. The novel won’t raise questions or confront the difficulty of its subject matter. At best, it will give the illusion of realism using cheap techniques like ‘surprise deaths’.

Where’s the bigotry, though? I mean, Scott Card is a homophobe and very strictly religious. This only goes to show you how bizarre and full of contradiction the human mind are. Religion and homophobia are, justifiably, close-minded dogmatic ideas. They’re about limiting our options, and won’t be held by people who try to think deeply.

Card broke the stereotype on Ender’s Game, and here he continues. In fact, if you didn’t know his background you wouldn’t guess Card holds such views.

It’s ironic I’m judging Card like this, in a review of a novel where judgment is a big theme. The religious theme of forgiveness is here, and just like in the previous novel Card doesn’t take the easy way out. He’s always looking at a subject from both sides, always willing to accept both the good and the bad involved. The best moment is the actual ‘speaking’.

Evil doesn’t exist in the real world. Everyone is convinced they’re right. We need morality and to mark some actions as wrong, but we must be wary of branding people as just ‘sick assholes’ and be done with it. It’s important to understand why they do what they do. This way we won’t go down that path, and we will be able to prevent it.

Murder is considered one of the most horrible things you can do, and Card uses it cleverly to make us question what is evil. From the viewpoint of an organism that doesn’t really die when they’re killed, there’s no such thing as murder. So when they do the same to you, can you really brand them as evil? They sure they were doing you good, bringing you to your next life.

His desire to understand people, the idea that we should see people as people through their flaws reflects in the characters. They’re all flawed humans, doing what they think is best. Some of them are crueler than others, but each has a reason for what they do. Some Card clearly disagrees with, like the religious zealotry of Quim or the Bishop. They never slide into the unlikeable. They never become wrenches in the gears of the plot that the heroes have to get rid of. Like everyone else, they have a worldview of their own that they adjust as they learn new things. Card never converts them to their side, but lets them learn like people do.

It sounds fun and deep, but it never goes as deep as it should. The biggest challenge is to take a true scumbag, a person who disregarded everyone else and make them sympathetic. Not every cruel person is a tragic case and could be redeemed. Some people do use their power for pleasure while hurting others. Some people are so extreme in their views they cannot be changes. He confronted the reality of inevitable violence in Ender’s Game, but here he’s hesitant. The novel has a bigger plot, a wider scope and states its subject matter more clearly. Yet it doesn’t match what came before for depth. Despite the simple plot, Ender’s Game did go much further.

The story itself is great though. The writing is more dense and a little more rambling. The easy flow of Ender’s Game is gone and Card has no stylistic quirks, but it’s readable. It also helps Card tends to ramble on the novel’s focus, its characters. The prose is otherwise is easy to read. Plain utilitarianism has its place, especially when everything surrounding it is good enough.

For a very famous series, its structure is vastly different than stereotypical sci-fi. Science fiction is burdened with the stigma that it’s all technobabble, silly worldbuilding and too much exposition. I even talked to some people who think sci-fi is all about new technologies.

Speaker for the Dead is a character-driven novel where gadgets take a secondary place. The best sci-fi comes up with meaningful technologies or aliens. They don’t ask how a new technology can function, but how it will affect society. The effect of technology is more central. It doesn’t bore us with how space travel works, but we constantly see how the lack of aging affects relationships. How the big computer network functions doesn’t matter. What does is that it creates a new ‘currency’, a new way to hold power without weapons. The new biology is also a symbol of such ideas. The whole ‘third life’ thing creates a situation in which killing is different, where ‘symbiosis’ is taken to the next level. Card is more concerned how such a difference in biology breeds different cultures, how they clash rather than the plain mechanics of it.

It’s also a perfect example of how a sequel should be. Books in a series should be separated for a specific reason. When we say a sequel should ‘stand on its own’, we don’t mean that it should be accessible for those who didn’t read the predecessors. ‘Stands on its own’ means the sequel is a work with its own unique qualities. It has its own style, themes and structure that separates it. A sequel shouldn’t just show us what happens next but offer something new. Speaker is different in many ways – prose, structure, characters, atmosphere – than Ender’s Game, and all that justifies its existence.

The flaws are negligible. It doesn’t scale the heights of Ender’s Game because it’s not as willing to face the darkness and it rambles more. These prevent it from being a masterpiece, but it’s still a great sci-fi story. It’s a story of ideas and characters, using setting, technology and aliens to raise questions instead of spitting technobabble. Whatever views Card holds, his story is multi-layered and doesn’t preach dogma but encourages understanding the unfamiliar. Hopefully, the good stuff doesn’t stop here.

4 dysfunctional families out of 5

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