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Twenty Trillion Leagues Under the Sea, by Adam Roberts
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Adam Roberts's Twenty Trillion Leagues Under the Sea revisits Jules Verne's classic novel in a collaboration with the illustrator behind a recent highly acclaimed edition of The Hunting of the Snark
It is 1958 and France's first nuclear submarine, Plongeur, leaves port for the first of its sea trials. On board, gathered together for the first time, are one of the Navy's most experienced captains and a tiny skeleton crew of sailors, engineers, and scientists. The Plongeur makes her first dive and goes down, and down and down. Out of control, the submarine plummets to a depth where the pressure will crush her hull, killing everyone on board, and beyond. The pressure builds, the hull protests, the crew prepare for death, the boat reaches the bottom of the sea and finds nothing. Her final dive continues, the pressure begins to relent, but the depth gauge is useless. They have gone miles down. Hundreds of miles, thousands, and so it goes on. Onboard the crew succumb to madness, betrayal, religious mania, and murder. Has the Plongeur left the limits of our world and gone elsewhere?
- Sales Rank: #1340149 in Books
- Published on: 2015-01-13
- Released on: 2015-01-13
- Original language: English
- Number of items: 1
- Dimensions: 8.17" h x .90" w x 5.47" l, .0 pounds
- Binding: Paperback
- 320 pages
Review
Praise for Adam Roberts:
"Our most intellectually engaged and literary SF author, crafting sentences the equal of any by Ian McEwan or Kazuo Ishiguro." - "The Financial Times"
"[Roberts is] an accomplished sculptor of prose and a cunning satirist, all that SF should be, packed with brilliant ideas and clever examinations of the human condition." - "Deathray"
"Psychological depth in a picaresque protagonist: most unusual and very welcome...in line with Proustian concerns of memory, Cavala remembers not only himself but much of the central matter of the '50s satirical SF of Sheckley, Bester, Pohl and Kornbluth...very pleasing." - Nick Gevers, "Locus"
From the Inside Flap
Praise for author Adam Roberts:
"Our most intellectually engaged and literary SF author, crafting sentences the equal of any by Ian McEwan or Kazuo Ishiguro." - The Financial Times
"[Roberts is] an accomplished sculptor of prose and a cunning satirist, all that SF should be, packed with brilliant ideas and clever examinations of the human condition." - Deathray
"Psychological depth in a picaresque protagonist: most unusual and very welcome...in line with Proustian concerns of memory, Cavala remembers not only himself but much of the central matter of the '50s satirical SF of Sheckley, Bester, Pohl and Kornbluth...very pleasing." - Nick Gevers, Locus
About the Author
ADAM ROBERTS is a writer of sci-fi novels and stories, as well as Professor of Nineteenth-century Literature in English at Royal Holloway, University of London. Salt, Gradisil and Yellow Blue Tibia were nominated for the Arthur C. Clarke Award. By Light Alone has been shortlisted for the 2012 BSFA Award.
MAHENDRA SINGH is a freelance illustrator whose Melville House illustrated edition of The Hunting of the Snark was praised by Library Journal, the New Yorker, Salon.com, and Shelf Awareness.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Mostly brilliant...
By FictionFan
It's June 1958, and French experimental submarine the Plongeur has taken off on her maiden voyage to test her new nuclear engines and her ability to dive to depths never before reached. The small crew is supplemented by the two Indian scientists responsible for the submarine's design, and an observer, M. Lebret, who reports directly to the Minister for National Defence, Charles de Gaulle. It is soon enough after the war for resentments against those who supported the Vichy government still to be fresh, and Lebret was one such, so there are already tensions amongst those aboard. The first trial dive is a success, so the Captain gives the order to go deeper, down to the limits of the submarine's capacity. But as they pass the one thousand five hundred metre mark, disaster strikes! Suddenly the crew lose control of the submarine, and it is locked in descent position. The dive goes on... past the point where the submarine should be crushed by the pressure... and on... and on...
This is a brilliant start to a novel that remains brilliant for about two-thirds of its length and then fades a little towards the end. Undoubtedly the most original sci-fi I've read in a long time, it's a mash-up of references, both explicit and in style, not just to Jules Verne and the Captain Nemo stories, but to lots of early sci-fi, fantasy and horror writers, from Alice in Wonderland to Poe, and even to Dickens. And I'm sure a more knowledgeable sci-fi reader would pick up loads that I missed. Stylistically it reads like a book from the early twentieth century, Wells or Conan Doyle perhaps, but it has a surreal edge and a playfulness with the traditions that keeps the reader aware that it's something more than a pastiche.
And the surreality grows as the adventure progresses and the Plongeur continues its dive to depths that should have taken it through the centre of the earth and out the other side. As it gradually becomes clear to those aboard that the normal rules of physics seem no longer to apply, their reactions range from panic to getting royally drunk to religious mania, while one or two are still willing to speculate that there might be a rational explanation. Arguments begin over what can be happening and what should be done, and the crew are soon at each other's throats. And when it eventually becomes a little clearer where they might have ended up, there's a Lovecraftian feel about the Plongeur's new surroundings and the creatures it encounters there. The book contains 33 illustrations by Mahendra Singh, and even in the Kindle version they work well in adding to the ever-growing atmosphere of horror. There's much science and philosophy in the book, especially around the nature of reality and God, and even a little politics, but this too all feels deliberately off-kilter – not quite in line with the real world and therefore not to be taken too seriously.
I thought I might be hampered by not having read the original Captain Nemo stories, but for the most part I didn't feel I was, though I suspect someone familiar with those would have got more of the references. There was only one point where I felt a little lost (when we were introduced to a character and were clearly supposed to recognise him from elsewhere) and a quick look at Wikipedia's pages on Jules Verne and Captain Nemo was enough to get me back up to speed. The story moves through the Verne originals and on beyond where they finished. But Roberts is playing with Verne's world rather than retelling it, just as he is playing with the real world and science of the '50s too. In the last section he gets a bit overly philosophical and a little too clever, and also takes us into a sequence that drags a little, unlike the rapid pace of the earlier part of the book. But while I felt the ending wasn't as strong as the rest, overall I found this an exciting ride, cleverly executed and full of imagination, and with a great mix of tension, humour and horror. Highly recommended, and I'm looking forward to trying some of Roberts' other books. 4½ stars for me, so rounded up.
NB This book was provided for review by the publisher, St. Martin's Griffin.
1 of 1 people found the following review helpful.
The Deeper You Dive In...
By Alvaro Zinos-Amaro
This review originally appeared in Intergalactic Medicine Show, January 2015:
Over the last fifteen years Adam Roberts has published fifteen science fiction novels, nine parodies, two short story collections, books on various aspects of sf and other scholarly studies. In addition to being extremely well-versed in literature and history he also knows a thing or nine about science. His recent novel Jack Glass (2012) received, among other accolades, the John W. Campbell Memorial Award. If you aren't familiar with Roberts' work, I hope this review will spark your interest.
Twenty Trillion Leagues Under the Sea is obviously inspired by Jules Verne's classic Twenty Thousand Leagues Under the Sea (1870). Roberts' novel begins on the 29th of June, 1958 (Verne's starts on the 20th of July, 1866) in a world not quite our own. The French submarine Plongeour, outfitted with an experimental atomic pile and a skeleton crew, sets out on a series of diving tests. During one of these descents it finds itself sinking uncontrollably. Equipment malfunctions; pressure mounts; everyone expects to die. And yet somehow they don't, but rather continue to plummet to ever more absurd depths -- five thousand meters, ten thousand, fifty thousand, and so on, well beyond where the seabed should have stopped them. Questions abound: Why hasn't the pressure crushed them? Where are they? Will they make it back home alive? And of course we as readers wish to know: Is the novel's title meant literally (if I were in a punning mood I might say "litorally"), or is it hyperbole? All is eventually answered.
During their increasingly bizarre journey the novel's characters entertain plenty of hypotheses. But as the voyage continues, without end in sight, they begin to break down, and Bad Things Happen. Fortunately, absurdist humor tends to leaven the grimness. In one of my favorite exchanges, one character chastises another with the scornful "assuming you are a Christian;" the antagonized character responds, "I'm a dialectical materialist;" to which the first says, "Some kind of Protestant, eh?"
Roberts' handling of tone and language is precise. The earlier chapters are measured and richly descriptive. As events become more violent and behaviors more desperate, the prose adjusts accordingly -- though never quite shedding a deliberate quasi-19th-century novel patina.
The strange environments and unraveling psyches are masterfully depicted, but I have a few quibbles. As befits Roberts' literary model(s), all the characters are male. But since history is different here, couldn't he have included women too? Perhaps a bigger challenge is that the characters are not particularly well individuated, and the most disagreeable ones tend to feature most heavily. As a result, even though the novel's central mystery, along with smaller conundrums that accrue, coral-like, chapter by chapter, are more than enough to propel us forward, it's hard to care much about the characters as individuals.
Still, these faults are rendered pint-sized by the novel's oceanic excellences. Without giving away specifics, I'll say that its resolution entails fascinating cosmological world-building. In fact, I think the novel's lineage antedates Verne: the story's ingenious literalization of metaphysical ideas evokes Voltaire's "contes philosophiques."
So, then, how exactly does Roberts' novel relate to Verne's -- sequel? Meta-textual commentary? Post-modern critique? Alternate history interquel? I'd say all of the above. The deeper you dive in, the richer the kinship becomes.
1 of 1 people found the following review helpful.
Odd and enjoyable
By Daniel Gonçalves
Simple and straightforward yet an interesting read. Overall somewhat predictable but at times thought-provoking, it was, overall, an enjoyable book.
Unlike other reviewers, I did not find it either long nor strange (stranger than Adam Roberts' other books, at any rate). The intractions among characters in the Plongeur are what one would expect in this kind of "close-environment stressful situation" type story, but the things happening outside the submarine were enough to keep me interested. Granted, this kind of appeal wouldn't have sufficed to keep me interested if the novel had twice the length, but for its size it worked ok.
The ending is stranger, but the solipsistic nature of it all was foreshadowed throughout the book so it was by no means a jarring end.
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