I just finished the first half of Connie Willis’ Nebula-award winning duology, Blackout – the second title being All Clear. To write a review of it I suppose I should wait until I finish the second book and review them as a whole, but here are some initial thoughts. Don’t worry, beyond general, initial plot points, there are no spoilers ahead – nothing that you wouldn’t find out in reading the publisher’s synopsis.
The Problem With Time Travel (Plots)
Really it’s the problem with science fiction in general, as Theodore Sturgeon so aptly pointed out: it’s tough to be original. So far as the first book is concerned, there is nothing new or original here in terms of time travel as plot device; it’s kind of ho-hum, in that regard. To be honest, if it hadn’t been a Nebula award winner, I would have passed on these books altogether, just based on the publisher’s blurb.
It also doesn’t help that we never really get to know our three main characters (there is a fourth one, but she disappears completely from the narrative halfway through Blackout; presumably Willis picks up this character’s thread in All Clear). The pacing of the book is quite fast, and Willis employs a limited third person narration for each protagonist. As a result we only get cursory insights into what makes our protagonists tick.
While they do get into some scary situations once all are back in England in 1940 at the beginning of The Blitz and the Battle of Britain – Nazi Germany’s bombing campaign over British cities and its concurrent battle for air superiority, respectively – the fact that we know so little of these people as characters made it difficult to maintain interest in the book. They are not unsympathetic; we just don’t know much about them. It isn’t until the latter third of the book that we get a chance to see the character of three characters, if you will.
Painting Life in Wartime
In fact if it weren’t for Willis’ vivid depictions of wartime London, and the characters our protagonists meet there, I probably would have surrendered altogether and put Blackout down. Life is too short to read books you don’t like (unless you are getting paid to review them, which I am not). However, as one interested in history, this is Blackout’s saving grace, as far as I’m concerned. In fact Willis early on draws some contrast between the specter of terrorism and suicide bombing that we face today (and apparently still do in 2060) with the fears the British – and all of the Allied powers in Europe – had to face in Hitler’s march across the continent.
One might argue that we learn so little of our protagonists because the real heroes of the story are indeed the Londoners of 1940 who maintain that traditional stiff upper lip and carry on in the face of the Nazi’s aerial terror, and that this was be design. If that were the case, however, then why the limited third person narration? We only get glimpses of these other characters through our narrator’s eyes, after all. For that matter, why even place our protagonists bodily back in 1940 at all, if this were the case?
No, I don’t think this was Willis’ intent, just a byproduct, and a fortunate one at that. But before I make any further pronouncements, I’ll wait for the All Clear to sound – i.e., I’ll finish it.