Singularity Sky
Stross, Charles. Singularity Sky. New York City: Ace, 2003. For translations, reprints, awards, and numerous reviews, see Internet Speculative Fiction Database (ISFDb), as of November 2023, here.[1] Sequels in Singularity Sky/Eschaton series: Iron Sunrise (2004) and (perhaps) Timelike Diplomacy (2004).[2]
Comic satire space opera tagged by ISFDb for, most relevant here, "social impact of technology."
Cited as a notable work on nanotechnology by Amy J. Ransom in her review of Out of This World, Belphégor: Issue on "Littératures populaires et médiatique" (Popular Literature and Media), 11 January 2013 ("11-1 | 2013").[3]
Opening of Wikipedia article (as of Nov. 2023), "Singularity Sky is a science fiction novel by British writer Charles Stross, published in 2003. [...] A sequel, Iron Sunrise, was published that same year. Together the two are referred to as the Eschaton novels, after a near-godlike intelligence that exists in both."[4] So note for computer-god motif, and AI. Wikipedia entry goes on to tell us that "Themes of the novel include transhumanism, the impact of a sudden technological singularity on a repressive society, and the need for information to be free [...]. Its narrative encompasses space opera and elements of steampunk and science fantasy. Intertwined within are social and political satire, [...] dark humour and subtle literary and cultural allusions."
Wikipedia notes in the backstory the singularity and an off-stage appearance (so to speak) by the Eschaton:[5]
Singularity Sky takes place roughly in the early 23rd century, around 150 years after an event referred to by the characters as the Singularity. Shortly after the Earth's population topped 10 billion, computing technology began reaching the point where artificial intelligence could exceed that of humans through the use of closed timelike curves to send information to its past. Suddenly, one day, 90% of the population inexplicably disappeared.
Messages left behind, both on computer networks and in monuments placed on the Earth and other planets of the inner Solar System carry a short statement from the apparent perpetrator of this event:
"I am the Eschaton; I am not your God. // I am descended from you, and exist in your future. // Thou shalt not violate causality within my historic light cone. Or else."
Among other heavy-hitter critics, reviewed by Warren G. Rochelle, SFRA Review #266 (Oct./Nov./Dec. 2003): 23-24.[6]
The events of the novel occur some four hundred years after the Eschaton's re-ordering in the territory of one such colony, the New Republic, which wants no part of [...] technological advance. The New Republican government has isolated its citizenry from other human worlds, to prevent the evils of advanced technology, such as the Eschaton. Any technology that is developed is suppressed. Then, out of nowhere, in the skies of one of the New Republic's planets, Rochard's World, appears the Festival, whose raison-d'etre is the dissemination of information. Telephones rain out of the sky. Answer one, as does a street urchin [...] and this is the question posed: "Hello. Will you entertain us?" The boy asks why. "Entertain us and we will give you anything you want" (2). [...] Suppressed technology is available to any and to all. The old are made young. Cornucopia machines crank out food, riches, weapons — stuff, lots and lots of stuff. Rebellion and chaos follow. Enter Martin Springfield, from Earth, who is secretly working for the Eschaton. Meet Rachel Mansour, an agent for the Earth's UN, who has an amazing bag of many tricks. And they are on the fleet from the New Republic's capital planet to fight the Festival and restore Rochard's World to the fold. Fighting the Festival is, of course, impossible. Can order be restored anyway [...]? Stay tuned [...]. (Rochelle p. 24)
RDE, Initial Compiler, 23May20; finishing, 15Nov23
