Another Interzone review, this time from late 2015. I’m still sad I didn’t like this novel more.
The publicity surrounding Luna would have us read it as a gritty species of space opera: The Godfather on the Moon. Ian McDonald is already known for taking others’ ideas and pushing them in new directions, as if to see just how far they can be made to go. In that case, why not take stories from other genres and do the same? The question is what, if anything, does this sidelong hommage bring to the main story? Do we accept it as a literary shorthand to get us beyond the corporate wars of something like Ben Bova’s Grand Tour novels and into a new, more intricately corrupt world. McDonald is quite clear that the battle for the Moon and its resources will be ugly, and a million miles from the utopian cooperation beloved of a certain kind of sf novel. Or should we simply regard it as an opportunity to experience gang wars in space? And if this latter, is there really any point?
McDonald’s Moon is run, inevitably, by five clans, the Five Dragons, under the impotently watchful eye of the Eagle of the Moon (a nod perhaps to the original explorers of the Moon). The peace between them is uneasy, maintained by an elaborate series of dynastic and, unsurprisingly, mostly loveless marriages. Business is all, and everything, including friends and family, is liable to be sacrificed to that. Of the five families, Corta Hélio, headed by the formidable eighty-year-old Adriana Corto, is the brash young kid on the block. Corta’s ambition lifted her out of poverty in Brazil, and brought her to the Moon, where she spotted a business chance and turned it to her advantage. AKA, Mackenzie Metals, VTO and Taiyang have only grudgingly admitted Corta Hélio to their ranks, and only because it is so powerful they can’t afford not to. Lunar high society, reluctantly tight-knit as it is, seems also to be riddled with secret groups, hoping to leverage things to their own advantage. And around them the beautiful people, for whom money is no object, meet and party, while out of sight the workers get on with making more money for them, while paying for the Four Elementals that keep them going: air, water, carbon and data.
McDonald employs the montage technique that has served him well in the past – one thinks inevitably of Desolation Road – but while we may jump from Adriana, contemplating her death and seeking solace in the religious beliefs of her past, to Lucasinho, youngest male scion of the clan, on the run from his repressive father, to Marina Calzaghe, saviour of Rafael Corta after an attempt on his life, to Ariel, the brittle lawyer, only daughter of the clan, none of this seems to move the novel forward significantly. The more interesting parts of the narrative dwell in the glimpses of those elements of family life that are avoided in polite conversation, and which are of course precisely those places the reader wants to go.
We are also directed to admire the staggering diversity of nationalities and beliefs which intermingle and form lunar society, not to mention the ever-so-slightly too casual presentation of same-sex relationships, as well as bisexual and gender-neutral characters, but the fact of their being so very front and centre in the novel suggests discomfort rather than casual acceptance of them as the norm. In truth, it’s difficult to find a reason to care about the Corta children and their business, perhaps because rich people being rich, and worrying about remaining rich, just aren’t that interesting. Adriana’s autobiography, her final confession to Irma Loa, a Sister of the Lords of Now, is the meatiest, and maybe most traditional part of the story, but it’s not enough on its own to sustain the novel. We might wonder about Lucasinho’s charming but incomprehensible interest in baking cakes, or be drawn, as Marina is, to the discovery of the perpetual run taking place in the tunnels of João de Deus, as much a spiritual as a physical exercise. We certainly crave to know more about Wagner, the moonwolf, the Corta outsider. All these are elements of the Ian McDonald whose work I love for its verve and daring, but they remain underexplored, somehow constrained by the form and setting that he’s chosen for this novel. Adam Roberts noted that Luna has much in common with the soap opera Dallas, and this is true, but I think also of The Great Gatsby, and of Tom and Daisy Buchanan: ‘careless people … they smashed up things and creatures and then retreated back to their money or their vast carelessness … and let other people clear up the mess they had made’. They have much in common with most of the Corta family.