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Carnival [Englisch] [Taschenbuch]

Elizabeth Bear
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Kurzbeschreibung

28. November 2006
In Old Earth’s clandestine world of ambassador-spies, Michelangelo Kusanagi-Jones and Vincent Katherinessen were once a starring team. But ever since a disastrous mission, they have been living separate lives in a universe dominated by a ruthless Coalition—one that is about to reunite them.

The pair are dispatched to New Amazonia as diplomatic agents Allegedly, they are to return priceless art. Covertly, they seek to tap its energy supply. But in reality, one has his mind set on treason. And among the extraordinary women of New Amazonia, in a season of festival, betrayal, and disguise, he will find a new ally—and a force beyond any that humans have known….

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Produktinformation

  • Taschenbuch: 432 Seiten
  • Verlag: Spectra (28. November 2006)
  • Sprache: Englisch
  • ISBN-10: 0553589040
  • ISBN-13: 978-0553589047
  • Größe und/oder Gewicht: 11 x 2,9 x 17,3 cm
  • Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 366.073 in Englische Bücher (Siehe Top 100 in Englische Bücher)

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Produktbeschreibungen

Über den Autor

Elizabeth Bear was born on the same say as Frodo and Bilbo Baggins, but in a different year. This, coupled with her childhood tendency to read the dictionary for fun, has led inevitably to penury, intransigence, and the writing of speculative fiction. Her hobbies include incompetent archery, practicing guitar, and reading biographies of Elizabethan playmenders.

She is the recipient of the John W. Campbell Award for best New Writer and the author of over a dozen published or forthcoming novels, including the Locus Award-winning Jenny Casey trilogy and the Phillip K. Dick Award-nominated Carnival. A native New Englander, she spent seven years near Las Vegas, but now lives in Connecticut with a presumptuous cat.

Leseprobe. Abdruck erfolgt mit freundlicher Genehmigung der Rechteinhaber. Alle Rechte vorbehalten.

Chapter One



Michelangelo Osiris Leary Kusanagi-Jones had been drinking since fourteen hundred. He didn't plan on stopping soon.

He occupied a bubbleport on the current observation deck of Kaiwo Maru, where he had been since he started drinking, watching a yellow main-sequence star grow. The sun had the look of a dancer swirling in veils, a Van Gogh starscape. Eons before, it had blundered into a cloud of interstellar gas and was still devouring the remains. Persistent tatters glowed orange and blue against a backdrop of stars, a vast, doomed display of color and light. Kusanagi-Jones could glimpse part of the clean-swept elliptical path that marked the orbit of New Amazonia: a darker streak like a worm tunnel in a leaf.

Breathtaking. Ridiculously named. And his destination. Or rather, their destination. Which was why he was drinking, and why he didn't intend to stop.

As if the destination–and the mission–weren't bad enough, there was the little issue of Vincent to contend with. Vincent Katherinessen, the Old Earth Colonial Coalition Cabinet's velvet-gloved iron hand, far too field-effective to be categorized as a mere diplomatic envoy no matter how his passport was coded. Vincent, whom Kusanagi-Jones had managed to avoid for the duration of the voyage by first taking to cryo–damn the nightmares–and then restricting himself to the cramped comforts of his quarters . . . and whom he could avoid no longer.

Vincent was brilliant, unconventional, almost protean in his thinking. Unless something remarkable had changed, he wore spiky, kinky, sandy-auburn braids a shade darker than his freckled skin and a shade paler than his light-catching eyes. He was tall, sarcastic, slender, bird-handed, generous with smiles as breathtaking as the nebula outside the bubbleport.

And he was the man Michelangelo Kusanagi-Jones had loved for forty years, although he had not seen him in seventeen–since the last time he had betrayed him.

Not that anybody was counting.

Kusanagi-Jones had anticipated their date by hours, until the gray and white lounge with its gray and white furniture retreated from his awareness like a painted backdrop. If Kusanagi-Jones captained a starship, he'd license it in reds and golds, vivid prints, anything to combat the black boredom of space.

Another man might have snorted and shaken his head, but Kusanagi-Jones didn't quite permit himself a smile of self-knowledge. He was trying to distract himself, because the liquor wasn't helping anymore. And in addition to his other qualities, Vincent was also almost pathologically punctual. He should be along any tick–and, in fact, a shadow now moved across Kusanagi-Jones's fish-eye sensor, accompanied by the rasp of shoes on carpet. "Michelangelo."

Kusanagi-Jones finished his drink, set the glass in the dispensall, and turned. No, Vincent hadn't changed. Slightly softer, belly and chin not as tight as in their youth, gray dulling hair he was too proud to have melanized. But in the vigorous middle age of his sixties, Vincent was still–

"Mr. Katherinessen." Kusanagi-Jones made his decision and extended his hand, ignoring Vincent's considering frown. Not a gesture one made to a business associate.

Through the resistance of their wardrobes, fingers brushed. Hands clasped. Vincent hadn't changed his program either.

They could still touch.

Kusanagi-Jones had thought he was ready. But if he hadn't known, he would have thought he'd been jabbed, nano-infected. He'd have snatched his hand back and checked his readout, hoping his docs could improvise a counteragent.

But it was just chemistry. The reason they'd been separated. The reason they were here, together again, on a starship making port in orbit around a renegade world. Old times, Kusanagi-Jones thought.

Vincent arched an eyebrow in silent agreement, as if they'd never parted.

"Kill or be killed," Vincent said, next best thing to a mantra. Kusanagi-Jones squeezed his fingers and let their hands fall apart, but it didn't sever the connection. It was too practiced, too reflexive. Vincent's gift, the empathy, the sympathy that turned them from men into a team. Vincent's particular gift, complement of Kusanagi-Jones's.

Vincent stared at him, tawny eyes bright. Kusanagi-Jones shrugged and turned his back, running his fingers across the rainbow lights of his subdermal watch to order another martini, codes flickering across neuromorphed retinas. He stared out the bubble again, waiting while the drink was mixed, and retrieved it from the dispensall less than a meter away.

"Oh, good." Vincent's Earth patois–his com-pat–was accentless. "Nothing makes a first impression like turning up shitfaced."

"They think we're animals anyway." Kusanagi-Jones gestured to a crescent world resolving as Kaiwo Maru entered the plane of the ecliptic and began changing to give her passengers the best view. "Not like we had a chance to make them like us. Look, crew's modulating the ship."

"Seen one reconfig, seen them all." Nevertheless, Vincent came up to him and they waited, silent, while Kaiwo Maru reworked from a compact shape optimized for travel to something spidery and elegant, designed to dock with the station and transfer cargo–alive and material–as efficiently as possible.

"Behold," Vincent teased. "New Amazonia."

Kusanagi-Jones took a sip of his martini, rolling the welcome rawness over his tongue. "Stupid name for a planet." He didn't mind when Vincent didn't answer.

Bravado aside, Michelangelo did stop drinking with the one in his hand, and Vincent pretended not to notice that he checked his watch and adjusted his blood chemistry. Meanwhile, Kaiwo Maru docked without a shiver. Vincent didn't even have to put his hand out to steady himself. He pretended, also, that he was looking at the towering curve of the station beyond the bubble, but really, he was watching Michelangelo's reflection.

There had been times in the last decade and a half when Vincent had been convinced he'd never exactly remember that face. And there had been times when he'd been just as convinced he'd never get it out of his head. That he could feel Michelangelo standing beside him, glowering as he was glowering now.

One wouldn't discern it casually; Angelo wouldn't permit that much emotion revealed. His features were broad and solemn, his eyes stern except when bright. He seemed stolid, wary, unassuming–a blocky muscular man whose coloring facilitated his tendency to fade into the shadows. But Vincent felt him glowering, his displeasure like the weight of an angry hand.

Michelangelo glanced at his watch as if contemplating the colored lights. Vincent knew Michelangelo had a heads-up; he wasn't checking the time. He was fidgeting.

Fidgeting was new.

"I don't love you anymore." Michelangelo pressed his hand to the bubble and then raised it to his mouth.

"I know. I can still read your mind."

Michelangelo snorted against the back of his fingers. "I'm a Liar, Vincent. You'll believe what I want you to believe."

"How generous."

"Just true." Then the irony of his own statement seemed to strike him. He dropped his head and stared at the tips of his shoes as if hypnotized by the rainbows reflected across them. When he glanced back up, Vincent could read laughter in the way the crinkles at the corners of his eyes had deepened.

Vincent chuckled. He touched his watch, keying his wardrobe to something more formal, and stilled momentarily while the program spread and the...

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2 von 2 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Viel Potential, viele kleine Teufel im Detail. 3 von 5 15. September 2007
Von V. Wanner
Format:Taschenbuch|Von Amazon bestätigter Kauf
Die Behandlung des titelgebenden "Carnival", der auf New Amazonia während der gesamten Handlungsdauer stattfindet, ist analog zur gesamten Handlung dieses Buches.
Es wird viel drüber geredet, Erwartungen geweckt, "Carnival" wird als eine Art Metaanalogie der zentralen Themen im Roman aufgebaut (Die verschiedenen "Masken" die wirklich ALLE Protagonisten tragen, besonders natürlich Vincent als "Superperciever" und Michelangelo als "Liar") - und letztendlich bleibt der Karneval in der Hauptstadt, genauso wie der Maskenball der Lügen auf der politischen Ebene, doch nur Hintergrundgeräusch.

Als Trilogie, mit einigen zusätzlichen Schauplätzen, sowie Zeit und Muse seitens der Autorin die Bühne für ihren "Carnival" entsprechend vorzubereiten, hätte die Idee völlig aufgehen können.
Als einzelnes Buch jedoch bleibt "Carnival" ein wenig überambitioniert und leicht konfus.

Bear's Stil ist leicht literarisch angehaucht und eigentlich sehr angenehm zu lesen. Sie hat aber ein ganz grosses Problem: Die Perspektive, aus der man das Geschehen in der dritten Person betrachtet, wechselt viel zu häufig, oft mitten im Absatz und nicht selten merkt man es erst 3 Sätze später. Das führt dazu, dass man an relativ vielen Stellen stockt und nochmal nachlesen muss, um zu wissen WESSEN Meinung hier eigentlich gedacht/beschrieben wurde.

Bei so vielen Kritikpunkten sollte aber auch festgestellt werden, dass die Welt, in die man hier geworfen wird, sehr lebendig daherkommt. Die Beschreibungen sind eingängig und imaginativ und trotz aller Schwachstellen fällt einem das Weiterlesen leicht.
Leider merkt man aber zu sehr, dass dieses Buch eigentlich für mehr ausgelegt war, als nur die Geschichte zu erzählen und es schmerzt das durchaus dafür vorhandene Potential so verschwendet zu sehen.
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Amazon.com: 3.8 von 5 Sternen  16 Rezensionen
24 von 25 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Exciting and twisty planetary SF adventure on gender themes 15. März 2007
Von Richard R. Horton - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Elizabeth Bear's new novel is an exciting and twisty science fiction adventure story. Bear wields several fairly traditional (and not always quite so traditional) SF tropes with expertise: a female-dominated human culture, radical environmentalists killing off most of the Earth's human population, a dueling culture, transcended intelligences, AIs in control of society. This all works very well together, in a story that makes the reader think, makes the reader mad (with perhaps some disquiet), and keeps the reader turning the pages.

In a future after AI "Governors" programmed by radical environmentalists caused the depopulation of Earth, leading to colonization of a variety of other worlds, the Governors and the Earth-dominated "Colonial Coalition" are trying to re-integrated these worlds. Many years after a botched mission to one such world, New Amazonia, they have sent two diplomats to try again - and in particular to negotiate access to this planet's mysterious free energy technology.

The Coalition diplomats are Vincent Katherinessen and Michelangelo Kusanagi-Jones, secretly lovers who have been apart for years after their careers crashed. But New Amazonia's leaders will not negotiate with any but women or what they call "gentle" men. Homosexuality is generally taboo in the Coalition, and women are usually not allowed positions of power, so Vincent and Angelo are the best available choices. New Amazonia, we learn, is ruled by women. Men are kept as slaves, though in better conditions (for the most part) than say blacks in the American Antebellum South. Heterosexual males are matched in Trials: battles, often to the death, with the best chosen to be members of household, where they live in a sort of purdah. "Gentle" males are allowed slightly greater privileges.

The central New Amazonian character is Lesa Pretoria (one small conceit I enjoyed was the use of Old Earth world capitols as family names), an important figure in the Security Directorate. Her family is ranged on the political side urging continued separation from the Coalition. They are also involved in the more local issue of increased rights for males. (Motivated in part by Lesa's concern for her very intelligent young son.) Arrayed against them are the current government leaders, nominally in favor of the status quo, and of some attempt at rapprochement with the Coalition, and possibly secretly aligned with radical groups urging extermination of the male population.

So this is quite a political stew that Vincent and Michelangelo step into. And of course they each have their own secrets - even from each other. The motivations of all of the characters interact complexly, especially as there are not just two but several possible outcomes. And into all this is injected a surprising additional player: a representative of the disappeared original natives of New Amazonia.

It all plays out very entertainingly. There are twists upon twists. There is lots of neat SFnal detail. There is plenty of slam-bang action. Most of all this makes pretty good sense as well ... perhaps there are a couple of holes, but in general things were well explained. The resolution is mostly emotionally satisfying but perhaps a slight letdown - I felt Bear pulled her punches just a bit at the end. Plus, there is something of a deus ex machina aspect to the involvement of New Amazonia's natives - though that's not quite a fair statement as that was all foreshadowed from the beginning, and described in bits and pieces throughout. Carnival is a very fine SF novel, a contemporary SF novel with contemporary concerns that reads like a traditional SF book (in the best sense).
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5.0 von 5 Sternen seeing the world through new eyes 4. März 2007
Von amf0001 - Veröffentlicht auf Amazon.com
Format:Taschenbuch
The best science fiction allows you to look at the world today with new eyes (I could never look at water the same way after reading Dune: years later seeing a hose pipe flowing into the street still makes me wince.) This book too, makes you look at familiar things in a new way. And what better recommendation can a book have! This is a really good find!

Slow to start, dense and thickly plotted, but then the characters and worlds click into place and it becomes wonderful! The plot moves a long but it is the world building that works best for me - looking at gender roles and alternate ideas of taboos and cultures. I loved it. Happy find!
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2.0 von 5 Sternen The cover is the best part. 19. Januar 2009
Von Angie Boyter - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Von Amazon bestätigter Kauf
This was my first Elizabeth Bear novel. I was encouraged by the positive blurbs on her earlier books by people like David Brin and Mike Resnick. Perhaps I should have been warned by the absence of blurbs for this book....
I enjoy SF that explores unusual social setups, so my initial reaction to a book about a pair of male homosexual agents representing Old Earth to a female-ruled society on New Amazonia was positive. However, if an author spins a new society, it is his or her responsibility to make it credible. Neither society was very believable for many reasons, e.g., on New Amazonia the males are dominated by the women to the point of slavery. Yet these same males are bred for combativeness so that they will perform well in the ritual combats. Is it believable that such males will tolerate this dominance?
None of the characters is sympathetic or interesting or fully developed. I didn't care what happened to any of them. This makes it difficult to sustain interest in the book.
Finally, the book just does not seem to be well written. The author too often introduces new ideas or terms or refers to previous events without explaining them. This was so striking that several people in our SF discussion group asked if this was a sequel to another book because so much was left unclear. A good SF writer is able to set up suspense in a way that intrigues rather than annoys and to fill in any background necessary to help the reader envision the world that is created.
In sum, unbelievable world-building, unsympathetic characters, and bad writing. That is why I say the cover was the best part!
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