Adrian Tchaikovsky’s “The Doors of Eden” is a compulsive and extraordinarily entertaining labyrinth of parallel Earths and alternate dimensions threaded together with endearingly human (and non-human) characters. Punctuated with frenetic action scenes and interspersed with fascinating evolutionary histories of the multiverse’s “other” Earths, this is blockbuster science-fiction writing, as smart as it is exhilarating.
The premise is magnificently uncomplicated: interdimensional cracks are forming in the multiverse. Earths are overlapping; “a pick-and-mix of realities slopping together,” which is causing chaos, and signifies the end of all things. Nothing is safe. Everything is unravelling. Unless a conglomeration of the multiverse’s greatest minds can find a solution.
The cast is suitably diverse: you’ve got Lee Pryor and her girlfriend Elsinore “Mal” Mallory; transgender genius theoretical mathematician Kay Amal Khan; MI5 agent Julian Sabreur (more office administrator than 007); ex-army, now private security goon Lucas May, and his villainous boss; and a whole host of others, who snake in and out of story, which shifts seamlessly between their perspectives, building towards an epically intricate finale. Leaving room for a sequel, perhaps? I’d be down for more.
The science of “The Doors of Eden” stayed just the right side of palatable. Hard science fiction scares me a lot of the time. But despite its complexity and immensity, Tchaikovsky never tries to outsmart the reader. He’s got big ideas, but he understands his role as a storyteller. This is a breathless sci-fi masterclass.
Format: Trade Paperback
Pub Date: 25/08/2020
Imprint: Tor UK