Next up in this unplanned ‘Best of Megan’s Sharkelist” series is Central Station by Lavie Tidhar, a novel I didn’t expect to dig as much as I did. I loved Tidhar’s BSFA-nominated Osama, but I thought this one might wear a little thin with the trope-ish diligence I’d picked up from other, pre-Shadow Clarke reviews, but it’s nothing like that. There’s an earnest love for sci-fi, sure, but also an undoing of sci-fi, and it’s all done in a way that feels fresh and forward-thinking, while also being welcoming and unpretentious.
Comments on the Shadow Clarke blog have discussed its fix-up nature, and whether its fix-up origins are obvious or not. It may be that I’ve been reading too many fragmented, mosaic novels over the years to be sensitive to odd transitions, but it all felt complete and cogent to me.
I can’t imagine a Clarke jury that wouldn’t shortlist Central Station, but in case it does get ignored, I highly recommend you read this novel.
As one of the more popular Clarke-eligible novels among the shadow jurors, much has already been written about Lavie Tidhar’s Central Station. Maureen sees it as a metafictional next step in science fiction, Victoria sees it as a tale about love and nuanced optimism, and Jonathan values its use of multiculturalism and space (physical space, not outer space, but that omission is just as key in this novel). What I adore about this novel is that it is all of these things, embracing traditional science fiction while reworking it, molding it into a human, rather than a techno, landscape. Continue reading