BOOK REVIEW: Ancillary Mercy

written by David Steffen

Ancillary Mercy is the third and final book in Ann Leckie’s award-winning Imperial Radch series with previous installments Ancillary Justice and Ancillary Sword.  If you are a newcomer to the series, these are books that I would recommend reading in order, otherwise there’s a lot of important events that aren’t going to make a lot of sense.  You can read my review of Ancillary Justice here, and my review of Ancillary Sword here.  There’s no way to discuss this book without spoiling major elements of the previous books, so I’m not going to try.

Breq, the one remaining ancillary (human avatar) of the starship Justice of Toren has stabilized the situation in Athoek System.  She was sent her by Anaander Miaanai, many-bodied emperor of most of the human star systems.  Well, sent here by… part of Anaander Miaanai, anyway.  The trouble with having countless bodies scattered across the galaxy is that a situation that you find truly conflicting can start a civil war within yourself.  A civil war that even Anaander Mianaai wasn’t openly admitting to until Breq confronted her at the end of Ancillary Justice.

After that initial confrontation, one faction of Anaander Mianaai shut down much of the gating system used for travel between star systems so that only military ships (which can make their own gates) can travel.  After that, Anaander Mianaai sent Breq to Athoek System with the claim that this vital station needed to be stabilized and prepared for difficult times.  Breq consented in large part because there was a person on Athoek Station that she desperately wanted to see, the sister of Lieutenant Awn who had been an officer aboard Justice of Toren.

In Ancillary Sword, Breq succeeded for the most part in stabilizing the system, although one major event that happened is that a Presger translator was killed during a violent conflict.  The Presger are an incredibly powerful alien race that has not exterminated humanity only because they have forged an uneasy treaty with them.  They themselves are nigh incomprehensible (and offscreen) and communicate through the medium of their translators–human-ish ambassadors who are decidedly strange and mostly incomprehensible themselves.

Phew, that was a rather long run-up to the actual review.  Sorry.  Even this is leaving out major important bits, but a lot of the ideas are complex enough that it’s hard to jump into book three without any context.

After this brief period of stability that bridges book two and three, events start picking up again as they find someone in the unsurveilled Undergarden area of the station, another Presger translator arrives, and one of the factions of Anaander Mianaai arrive to confront Breq and take back Athoek Station.

Ancillary Mercy is a worthy conclusion to the series.  It doesn’t tie everything off with a neat bow, far from it, but it is a satisfying conclusion to most of the major plotlines of the trilogy.  There is plenty of exciting action, political intrigue, interesting conflicts and I was never bored.  Leckie, as ever, is a master of the kind of concise writing I love best.  The pacing is perfect– the tension goes up and down with the events of the book but my interest never waned because every scene is there for a reason.

I remarked in my review of Ancillary Sword that that book felt like half a book, and I still feel that way.  To me it feels like a two book series, with Ancillary Justice as the first book, and the other two combined as the second book.  I don’t knock Orbit for publishing it in three books of approximately equal length, but it does affect how I think of them and read them.  For instance, I don’t think Ancillary Justice has to necessarily be very fresh in the mind to read Ancillary Sword, but I found it rather more difficult to read Ancillary Mercy with my only reading of Ancillary Sword 14 months in my past.  If you have a choice, now that all the books are out, I’d recommend reading 2 and 3 back to back.

One element of this book that surprised me (in a good way) was that there was a bit more comedy in this one, generally in the form of the Presger translator doing strange things, and especially in the translators conversations with other characters, especially with a particular ancillary character.  The translator, though she appears to be human, has no experience at being human and so despite being intelligent and powerful, she is also often childlike and bizarre.  If this kind of humor had been without the right finesse, the translator could’ve ended up as annoyance that didn’t fit into the series’s tone (ala Jar Jar Binks) but it was handled very well and especially contrasted well with Breq’s dry personality.  I loved it, and was surprised by it.

Out of the whole trilogy, I still think that Ancillary Justice is my favorite, for its novelty and for the extremely difficult point of view it manages to succeed with during Justice of Toren flashbacks where one POV character is existing and interacting in dozens of bodies seamlessly and simultaneously.  But to say that I like books 2 and 3 less is no insult–I like the first book so much that that’s a tough threshold to beat, and I like books 2 and 3 enough to give a hearty recommendation.

 

Interview: Ann Leckie

LeckiePhoto-160x240Ann Leckie‘s Ancillary Justice swept the awards. (See the list below.) The sequel, Ancillary Sword, is due in October 2014. The third novel in the trilogy will be titled Ancillary Mercy. Lecke is a Clarion West graduate, former VP of SFWA, founder of GigaNotoSaurus, and former slush editor for Podcastle. Her short fiction has appeared in Realms of Fantasy, Strange Horizons, Beneath Ceaseless Skies, and Subterranean Magazine.

CARL SLAUGHTER: YOU’RE A CLARION GRADUATE. WHAT DID YOU LEARN AT CLARION THAT MADE A CRUCIAL DIFFERENCE IN YOUR WRITING CAREER?

ANN LECKIE: I learned a *lot* at Clarion West. It would have been difficult not to. But I think there were two things that made the biggest difference.

One was something that, when I say it, maybe sounds kind of trivial. But it was so important. Which was, that before I went, I knew that I wanted to write, and I had been writing–of course, you have to send a sample of your fiction with your application. And I had written two novels (now trunked, fortunately) and several short stories, and had been submitting those short stories. But I was hesitant to say, “I’m a writer.” I would, when asked, kind of hedge. “I’m trying to write.”

After six weeks of being with people who took my work seriously, who all assumed that of *course* I was a writer, I went home feeling like I could take my own work seriously now. Not that I was holding back, or not taking it seriously before. But the “gosh should I really be doing this, am I wasting my time, what if I’m not really a writer?” part of my internal critic was gone, which psychologically freed me up to push harder and be more confident in my work. This might not be a big deal for some folks, but it was really important to me.

The second thing is maybe also a bit odd. So, our week six instructor was Michael Swanwick. Who is awesome. I mean, he read every single story each of us had applied with and also every single story we’d turned in during the entire workshop, and gave us critiques on every one of them. This is an amazing commitment, an incredible gift to us. And he’s Michael freaking Swanwick, right? So when he critiqued the story I’d turned in for week six, he gave me all kinds of fabulous advice, much of it very specific, and I noted it all down and was all set to revise the story according to his advice. Because, seriously, it was, no question, excellent advice. How could it not be?

But the more I thought about it, the more it seemed to me that it was excellent advice for an entirely different story. Not the story I’d written, but the story he’d perceived in the shambles that was my first draft. And I said to myself, “Self, you can’t actually take any of that advice. Instead, you need to rewrite the story in such a way that Michael Swanwick would not have misread it.”

That story turned out to be my first genre sale, my first pro sale, and my first appearance in a Years Best anthology. And the vitally important lesson Michael Swanwick taught me was that sometimes you ought to ignore even the very best advice. Even if it comes from Michael Swanwick. Maybe that sounds trivial, too. But anyone who’s been faced with several, possibly contradictory critiques of a story will probably know how incredibly useful that knowledge is.

 

CARL SLAUGHTER: FROM THE FIRST DRAFT OF ANCILLARY JUSTICE AS A SHORT STORY UNTIL YOU SOLD THE NOVEL MANUSCRIPT WAS, WHAT, 10 YEARS? WERE THERE TIMES DURING THAT DECADE WHEN YOU THOUGHT YOU’D NEVER FINISH THE BOOK OR THOUGHT IT WOULD NEVER BE GOOD ENOUGH TO SELL?

ANN LECKIE: Oh, merciful Unconquered Sun, yes. Pretty much the entire time I was working on it, plus the entire time I was querying agents. I’ve come to think of that as the normal emotional background of writing, actually.

 

CARL SLAUGHTER: YOU WERE WORKING ON THE MANUSCRIPT WHILE YOU HAD YOUNG CHILDREN IN THE HOUSE. HOW DID YOU MANAGE BOTH AT THE SAME TIME?

ANN LECKIE: With some difficulty. At first, I would write in the few hours a day that my toddler napped, while my older child was at school. When he stopped napping, I signed him up for morning nursery school and wrote then. Once both kids were in school full time it got easier, though I’d made my life a bit more complicated by taking a job as a lunch lady. I wasn’t able to finish Ancillary Justice, though, until I quit that job and had school hours to myself. It would have been a zillion times harder if I’d had a full-time day job to handle. I’ve been really, really lucky.

 

CARL SLAUGHTER: ANCILLARY JUSTICE SWEPT THE AWARDS. ANY IDEA WHAT THE APPEAL OF THE STORY IS THAT MADE IT SO POPULAR?

ANN LECKIE: I honestly don’t. Well, I did sit down to write a kind of story that I thought I’d enjoy reading. I threw in things that appealed to me–heck, I crowbarred them in. I was working the whole time with the assumption that it would never sell so I might as well please myself. I guess there are other people out there who like the same kinds of things I do!

 

CARL SLAUGHTER: YOU HAVEN’T DONE SHORT STORIES IN A WHILE. TOO BUSY WITH NOVELS?

ANN LECKIE: Pretty much, yes! Though I’d like to do more short fiction some time.

 

CARL SLAUGHTER: WHAT WAS YOUR INVOLVEMENT WITH GIGANOTOSAURUS AND WHAT WERE THE HIGHLIGHTS OF YOUR TIME THERE? WHAT ABOUT YOUR ROLE AT POD CASTLE?

ANN LECKIE: I started GigaNotoSaurus because I’d inherited a bit of money, and I felt that there weren’t enough places publishing longer fiction. I’ve been really pleased with how it’s turned out: in its first year, two stories I published were nominated for Nebulas, and another one the next year. And I published some amazing work by amazing writers, like Zen Cho’s “House of Aunts” or Benjanun Sriduangkaew’s “Woman of the Sun, Woman of the Moon.” Or Yoon Ha Lee’s “The Winged City.” Or…I could go on.

Podcastle–when Rachel Swirsky became editor of Podcastle (that was before PC had even started running) she asked me if I’d like to read slush for her. And I said yes, because it seemed like it would be fun. And it was! I also did some episode intros, and narrated some stories, which was also great fun. When Rachel was ready to step down, she asked me if I was interested in editing, but I was already setting up GNS, and felt two editing gigs would be too much. So I stayed on slushing for Anna and Dave when they took over.

I enjoyed it very much, but I’ve stepped down as slusher there, and turned over my GNS editing duties to Rashida J Smith, because noveling right now is taking up a lot of brain space.

 

CARL SLAUGHTER: WHAT PERSPECTIVE DID YOU GAIN DURING YOUR TIME AS SECRETARY OF SFWA?

ANN LECKIE: There’s a lot of work that goes on behind the scenes at a volunteer organization. Orgs like SFWA continue to exist and function because of the hard work of folks who actually have lots of other things to attend to, and they spend their free time doing that hard work. And it’s easy for members to think of the Board (or whatever the org equivalent is) as “them” to our “us” but really “they” are us to begin with. I’ve come to be a bit more patient with how slow some organizational decisions are, and how easy it is to think a particular issue or procedure is just a matter of immediately doing one particular thing, when really it’s more difficult and complicated than that, for reasons that aren’t necessarily visible to me.

 

CARL SLAUGHTER: GOT ANY ADVICE TO ASPIRING SPECULATIVE FICTION WRITERS?

ANN LECKIE: Yes! Don’t give up. Be willing to take criticism, be willing to reconsider what you’re doing, but once you’ve decided on what you’re doing, do that. Don’t worry about what someone told you editors want or don’t want, don’t worry about whether your work is marketable, don’t worry about lists of “rules” that tell you not to use second person or never to use adverbs or whatever. Just do it, and do it as awesomely as you can at that particular time in your life, and trust the universe for the rest. And when it’s done, send it out and try to forget about it, and start working on the next thing. And speaking as a former slusher–when you submit, always read and follow the guidelines!

 

Ancillary Justice won the following awards:

2014 Hugo Award for Best Novel
Golden Tentacle for best debut novel of 2013.
Arthur C. Clarke Award for best science fiction novel of the year.
British Science Fiction Association BSFA Award for Best Novel of 2013.
Nebula Award for Best Novel.
Locus Award for Best First Novel.

The novel was also nominated for the following awards:

Shortlisted for the Philip K. Dick Award.
Tiptree Award Honor List for 2013.
Finalist for the 2013 Compton Crook Award.

 

Carl_eagle

 

Carl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.