Name: The Centauri Device
ISBN: 9780575088054

M. John Harrison

John Truck was to outward appearances just another lowlife spaceship captain. But he was also the last of the Centaurans, or at least half of him was, which meant that he was the only person who could operate the Centauri Device, a sentient bomb which might hold the key to settling a vicious space war. M. John Harrison's classic novel turns the conventions of space opera on their head, and is written with the precision and brilliance for which is famed.

The Centauri Device

Bryan Alexander

The Centauri Device is a bitter anti-space opera and a vital precursor to cyberpunk. Important reading for anyone interested in sf.

The plot concerns the voyages of Captain Truck as he shambles around the galaxy being pursued by military superpowers. The latter convince the former to help find the title's ancient superdevice. In the end (view spoiler)[and after much suffering Truck finds the device, then uses it to destroy the Earth and nearby stars (hide spoiler)].

There's a lot going on in Centauri, and I'll mention a few things.

First, the grimness and bitterness of the story smacks science fiction space opera upside the head. Almost nothing in the far future is gleaming, awesome, or even very decent. Most of the scenes take place in bad bars, police interrogation chambers, trashed alleyways, and bedsits for nearly starving people. Characters are junkies, poor people, failures, thugs, prostitutes, beggars, losers. The two military interstellar empires (based on Arab nations and Israel, weirdly, sort of hilariously) are powerful but disgusting and entropic. Most plots ends badly, quests failing, human civilization flopping towards mediocrity. Call it grimdark space opera, or a response to Flash Gordon.

It's a melancholy book, lacking any sense of a future. Most of the characters look to the past, all too often the 20th century, or their own sorry backstories. There isn't much hope for a better tomorrow.
(That 20th century fixation is one of the few imaginative weaknesses of the novel.)

Second, and following this, Centauri lays important groundwork for cyberpunk. We see the world dominated by stupid powers, and the hero an antihero who can't really make the world a better place. We also see some culture mixing of the kind Gibson did well in Neuromancer. Not much cyber, but plenty of punk.

Third, the novel shows once again Harrison's excellent style. Each snarling, brooding paragraph is beautifully shaped, setting up ideas with a precise minimum of words.

Recommended for anyone remotely interested in sf.