Detail from the cover of Central Station, by Lavie Tidhar. (credit: Sarah Anne Langton)
The scope of Lavie Tidhar's new novel Central Station may be galactic, but each of its many, many co-existing layers of reality are connected by one locale: the ever-present space port of Central Station, an unimaginably massive building that joins the human past on Earth to its rapidly evolving future. Trying to summarize Central Station is like trying to summarize an entire season of a soap opera, except there are no heroes or villains, and, you know, the plot's mysterious baby scandal is about who engineered him in the vat and to what purpose. Adding to the drama is the Conversation: an inescapable, interconnected network that touches (almost) all people throughout the space-time continuum.
Central Station grew out of 13 linked short stories, some previously published and some new, which is what grants World Fantasy Award-winning author Tidhar such a broad canvas. His interwoven mix of human and non-human lives is full of characters crashing into the world and sending out ripples like stones thrown into a pond.
Is the main thrust that prodigal son Boris Aharon Chong has returned to Central Station, with an alien parasite in tow, to face the family, woman, and otherworldly child he abandoned in different ways? (In the cast list at the back of the book, Boris Chong is described as having “issues”—an understatement.) Is the central plot the forbidden battlefield romance between Isobel Chow and a robotnik named Motl, a being that stopped being human as we understand it long ago? Is the story the machination of the Oracle, Ruth Cohen, and the rag-and-bone man Ibrahim, who are all joined with non-human, digital, sentient life forms called Others? What of techno-vampire Carmel and her romance with the least technologically capable human in the story, the node-less and thus data-less Achimwene Haile Selassie Jones? And what's up with the manufactured boys Kranki and Ismail anyway?
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