Predictably (for the same praise and criticism applies to the Mars trilogy), New York 2140 is terrific from a literary perspective, but a frustratingly mixed bag from an economic and political perspective. Periodic expository chapters, leavening their infodumps with sardonic commentary from an anonymous “citizen,” give the novel simultaneously a 19th-century and a postmodern tone.Ī subplot, only tangentially related to the Manhattan storyline, involving an alternately zany and harrowing attempt to save polar bears from extinction by relocating them to Antarctica via airship (because science fiction writers love airships!) as part of an eccentric reality show, resurrects one of the central themes of Robinson’s Mars trilogy, namely the conflict between versions of environmentalism that favor active human intervention to create or preserve sustainable habitats and versions that valorize the natural, untouched landscape. The chapters devoted to different characters’ viewpoints also vary in style, with some being told in first-person, some in third some in present-tense, some in past and so on. Like many of Robinson’s books, New York 2140 divides its attention among many characters rather than focusing on one or two protagonists. Average people eking out a precarious existence in the more sunken parts of the city band together to resist the twin threats of storm surges on the one hand and wealthy, predatory speculators from the higher and drier sections of the city on the other. In its pages, the half-sunken (owing to global warming and consequent rising sea levels) but still-vibrant future Manhattan, criss-crossed by skybridges and streets-turned-canals, that figures peripherally in some of Robinson’s other works, here takes center stage. New York 2140 is a sprawling, magnificent tour de force. (The inconsistencies are explained in Galileo’s Dream, where we learn that these various narratives belong to distinct but closely adjacent timelines.) Recurring themes in his stories include ecology, archeological exploration, anti-capitalist politics, and the ineluctable passage of time – all of which feature in New York 2140, which, like much of his work (including Icehenge, The Martians, 2312, Galileo’s Dream, and Aurora) fits almost-but-not-quite into the future history established in the Mars trilogy, his best-known work.

Kim Stanley Robinson is one of the best science-fiction writers working today.

2140 kim stanley robinson