FALL; OR, DODGE IN HELL
By Neal Stephenson
Exposition, or the background explanation necessary to make a fictional plot understandable, is often seen as the bane of narrative: usually introduced in a clumsy fashion and bringing the action to a halt until the reader is brought up to speed.
This is not the case in a Neal Stephenson novel. Exposition is Stephenson’s métier. There is nothing he likes better than to have his characters break into mini-TED talks and go into full explainer mode.
But these discursions are never a drag on the story. Stephenson’s lecturing has the same energy and imagination as his descriptions of nail-biting action. He is as informative as he is entertaining when dealing with just about any subject.
Such as, for example, the next step in our digital evolution.
Fall; or Dodge in Hell is a book with a lot of explaining to do. As things begin, Richard “Dodge” Forthrast, the billionaire videogame developer we first met in Stephenson’s 2011 novel Reamde, dies during a routine medical procedure. But, being a titan of tech and having more money than God with the hubris to match, death no longer has to be the end.
Cheating death by having one’s consciousness digitized is currently a hot topic in silicon circles, and it provides the launching pad here for an epic account of just how such a process might work and what a digital afterlife might look and feel like to the saved and uploaded.
It’s an ambitious agenda for any author to pursue, but Stephenson has never been one to shy away from epic undertakings. And with Fall coming in at nearly 900 pages, he’s again given himself room to approach his subject from many directions: scientific, social, political, economic, religious, and philosophical.
With all of this, we’re 300 pages in before Dodge’s brain gets a reboot and awakens in the digital dimension known as Bitworld (the virtual counterpart to Meatspace). Bitworld is a blend of SF and Fantasy, mythology and science, that may be the next generation of cyberspace, an outmoded construct Stephenson sees as being badly in need of a conceptual update anyway.
As Milton put it, “The mind is its own place, and in itself can make a heaven of hell, a hell of heaven.” And if we replace the mind with a connectome in cyberspace? Bitworld, like any imagined afterlife, is the product of a certain culture or historical moment, casting its creators into a heaven or hell of their own making. A scary thought for the rest of us.
Review first published in the Toronto Star, May 31 2019.