This 2003 nuclear-steampunk space opera is crammed full of SF tropes and wink-and-nudge political satire. And in case you aren’t intelligent enough to sniff out the satire, Stross will bruise your ribs from his incessant elbowing of belabored musings and contrived character debates.
In the future, a mysterious force called the Eschaton has punished Earth for violating time-travel causality laws and relocates most of humanity to colonies throughout the galaxy. By the 23rd century, most of humanity has been rediscovered and efforts are made to reestablish relations. On neo-Victorian Rochard’s World, ruled by a technophobic regime, another mysterious presence called the Festival rains cell phones down from space, promising anything in exchange for entertainment. The reactionary government of Rochard’s World pursues war with the Festival, while the disenfranchised citizens demand revolution. At the same time, the mysterious employer of Martin Springfield, an engineer from Old Earth, plants him as a mole within the New Republic navy, and UN diplomat Rachel Mansour is sent to spy on the New Republic war tactics in order to prevent causality violations that might further upset the Eschaton. Martin and Rachel spend their time on the ship playing double-agent on board, playing doctor with each other, and then agonizing about getting caught. Continue reading