Review by Matthew Scott Winslow
The distinction between fantasy and science fiction is a fine one, often given to blurring. As an enthusiast in both genres, I am often trying to decide exactly what is the difference, for there is a difference. Just when I think I've found a definition I can live with, along comes a book like Darwinia by Robert Charles Wilson and I have to work through the differences all over again.
In 1912 an event that will come to be known as the Miracle eliminates all of England and Europe and parts of Northern Africa and the Middle East. In their place is a landmass with similar geographic features, but that has evolved its own life forms. The Old World has become a brave New World for the remaining world power—viz., America—to explore and exploit.
Into the scientific curiosity and entrepreneurial exploitation that is the New World, known affectionately and ironically as Darwinia, goes the Finch expedition to discover the origins of the Miracle, whether they be natural or supernatural or a combination of the two. The photographer of the expedition, Guilford Law, begins to see and experience things—not the least of which are his own dreams of having fought and died in the trenches of a great war—that don't quite correspond to any theory put forth about Darwinia's origin. The expedition is soon reduced to only a handful who discover the greatest of Darwinia's anomalies: an ancient city in the heart of the new continent.
From there, the narrative rushes forward, revealing a cosmic struggle that, while couched in modern scientific terms, is more reminiscent of the great spiritual warfare of Charles Williams's fantasy. (At one point, one of the characters even refers to it as a War in Heaven.) After Law returns from Darwinia, the story jumps ahead about twenty years and then again another twenty, culminating in a battle both grand and personal as Law becomes part of the struggle to save all reality.
The central rationale of Darwinia is indeed science fictional and remains so throughout, but what makes Darwinia one of those troublesome genre-bending books is the fact that the central rationale is more religious—and thus more fantastic—than scientific. The cosmic beings that populate the book are never adequately explained away, leaving one to have to have faith in the author's assertion that they are scientific, rather than religious. But if the reader gives up that distinction, decides not to let it be worrisome, the novel becomes a discussion worthy of great fantasy: who are we and what is free will? What is the nature of God's creation in light of science? What do we do when science contradicts religion, and vice versa? And finally, are we flies to wanton boys?
In the end, while Darwinia may not be fantastical enough to be an MFA finalist (although I would vote for it if it makes the list), it definitely is a keeper that will sit on my shelf with all the other mythopoeic works.
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