Gary Gibson hit the ground running with Angel Stations, a confident space opera with a hint of Fred Pohl’s ‘Heechee’ saga about it. In the near future, a host of artefacts from a disappeared alien race, given the name Angels, are discovered in the Oort cloud at the edge of the solar system, and among these are devices found to possess an unknown technology that connects to other Angel stations across the galaxy by means of instantaneous matter transference. One of these stations is in the solar system of a planet known as Kasper on which survives the only living alien intelligence yet discovered, and is being observed from afar by humans occupying the abandoned Angel station. Into this setting come a variety of well-drawn characters, alien and human: the Kaspians are a wolf-like, pre-industrial society, cynically manipulated by a cargo-cult use of the Angel artefacts into believing they have a direct line to their god. The architect of this deception is Ernst Vaughn, one of four genetically-altered humans given powers of either precognition or increased longevity by our experimentation with the Angel's genetic technology. Other more normal humans, notably the female space pilot Kim, find themselves drawn into a conflict between these four as Vaughn is about to attempt the takeover of Kasper with an army of devout followers. Meanwhile as Earth falls under a virulent plague known as the Blight and a deadly radiation burst from the centre of the galaxy threatens to wipe out all life on Kasper, is the Angel's all-encompassing technology some kind of key to the way much of all this can be resolved?
There’s a lot going on here, and Gibson delineates the bones of his story adequately and with the barest minimum of infodumps. One of the philosophical thrusts of the book, though possibly too well hidden behind the action, is questioning the existence of free will or, instead, if our lives follow a pre-ordained route into the future. This is quite well illustrated by the central female character, Kim, who has her head illegally wired with Angel technology so she can experience episodes from the life of her late lover Susan by a technology known as ‘books’, in which all sensory experience is recorded as opposed to just sounds or pictures; Kim can experiences Susan’s life precisely as it happened, with no option or choice in what she ‘experiences’. In the real world her own life seems to be dictated by choices forced upon her, which in turn she has no way of realising will have a bearing on the outcome of a larger scenario, one she is probably ill-equipped to survive. A good point Gibson makes is that if true precognition is achieved by just one person this surely removes free will for the rest of the species; conversely this is what would make precogs something other than human, and it also hints at the reason the Angels might no longer to be found in the universe.
I was occasionally left wondering quite how all the assorted Angel technology connects up, particularly their self-replicating and voracious silver bugs, and the resolution, probably too easy, hinges on just this kind of absence of knowledge by retaining its technological mystery at a point when perhaps a more precise explanation was needed. These small matters aside, Gibson’s debut novel is notably well-rounded, its many merits marking the arrival of a confident new voice.