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Leviathan Wakes, by James S. A. Corey
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This book is the basis for the first season of The Expanse, now a major television series from Syfy!
Leviathan Wakes is James S. A. Corey's first novel in the epic, New York Times bestselling series the Expanse, a modern masterwork of science fiction where humanity has colonized the solar system.
Two hundred years after migrating into space, mankind is in turmoil. When a reluctant ship's captain and washed-up detective find themselves involved in the case of a missing girl, what they discover brings our solar system to the brink of civil war, and exposes the greatest conspiracy in human history.
The ExpanseLeviathan WakesCaliban's WarAbaddon's GateCibola BurnNemesis GamesBabylon's Ashes
The Expanse Short FictionThe Butcher of Anderson StationGods of RiskThe ChurnThe Vital Abyss
- Sales Rank: #11002 in Books
- Published on: 2011-06-15
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.63" w x 6.00" l, 1.40 pounds
- Binding: Paperback
- 592 pages
Review
"It's been too long since we've had a really kickass space opera. LEVIATHAN WAKES is interplanetary adventure the way it ought to be written." --- George R.R. Martin
"This is the future the way it was supposed to be." --- The Wall Street Journal
"As close as you'll get to a Hollywood blockbuster in book form." --- io9.com
"An excellent space operatic debut in the grand tradition of Peter F. Hamilton." --- Charlie Stross
"If you like science fiction with great characters and set in real space, you'll enjoy this one." --- Jo Walton, author of Farthing
About the Author
James S.A. Corey is the pen name of fantasy author Daniel Abraham and Ty Franck. They both live in Albuquerque, New Mexico. Find out more about this series at www.the-expanse.com.
Most helpful customer reviews
266 of 287 people found the following review helpful.
Old school space opera meets futuristic detective story
By TChris
The Canterbury, an ice-hauling ship, receives a distress signal from the Scopuli, a deserted ship with a hole in the hull and a transmitter that sends a signal as soon as the ship is boarded. Soon the Canterbury is attacked and destroyed by a frigate that appears to be part of the Martian Navy. Only the shuttle crew that boarded the Scopuli survives, including XO Jim Holden. When Holden broadcasts the details of the attack, the news nearly ignites a war between residents of the Belt (represented by the Outer Planets Alliance) and those of Mars. Holden's story, told in the odd-numbered chapters, unfolds from there.
The story told in the even-numbered chapters belongs to Miller, a security officer (essentially a corporate cop) on Ceres, a Belt gateway. Miller is assigned to find Julie Mao, the missing daughter of a wealthy corporate executive, and return her to her parents. Miller eventually hears that Julie shipped out on the Scopuli and he goes looking for her. A little less than halfway into the novel, the two storylines converge as Miller and Holden meet in a moment of unexpected violence. Miller's investigation leads him to a conspiracy that relates to the prologue in which a character melts into goo. More than that I cannot say without revealing too much of the lengthy but carefully plotted story.
This is throwback science fiction, an old school space opera married to a futuristic detective story. While much of the background in Leviathan Wakes is familiar (the privatization of law enforcement, the conflict between the old "inner planets" and the rebellious "outer planets" that resent being taxed and controlled by Earth), James Corey (the combined pen name of Daniel Abraham and Ty Franck) does an impressive job of making it seem fresh. I particularly liked the Byzantine nature of interstellar politics as envisioned by Corey. I also appreciated the characters' philosophical debate about the merits of making potentially unreliable information openly available, even if it might lead to war (which Holden advocates) as opposed to concealing facts to prevent the aggression and rioting that might be sparked by faulty conclusions (as Miller advises). In the context of the story, neither position is clearly correct; that's the kind of nuanced writing that is too rare in science fiction.
Equally impressive is Corey's ability to tell an exciting story ("exciting" being a descriptor I don't often use). Battle scenes, both in space and hand-to-hand, are frequent and furious; they create genuine tension. While the novel is filled with action and thus moves quickly, none of it is mindless; the plot is intelligent and credible. The writing is sharp; occasional sentences and phrases are quite clever. The characters aren't particularly deep but that's the norm in plot-driven sf. Holden and Miller nonetheless work well as archetypes that play against each other: idealist vs. cynic (although neither character is so limited as to become a stereotype). Miller's dependence on his mental construct of Julie -- throughout the novel, he imagines this woman he never met as a trusted friend, a moral touchstone -- is an effective device that humanizes Miller.
If I have a complaint, it's that having characters melt into goo is sufficiently horrific without introducing the concept of "vomit zombies" (don't ask); the latter made it difficult to take the story seriously. Fortunately, vomit zombies are a relatively minor aspect of the plot.
Leviathan Wakes is the first book in a series that will collectively be known as The Expanse. Given the quality of this novel, I'll be sure to read the next one. I would give Leviathan Wakes 4 1/2 stars if I could.
86 of 102 people found the following review helpful.
Fantastic Space Opera
By Andrew Liptak
If you like Space Opera, this will be the book for you: Leviathan Wakes, by author James A. Corey (a collaboration between Daniel Abraham and Ty Franck). Spanning much of our solar system, it's an epic story in a reasonably near future, with an excellently conceived of environment and a fun story that is both action packed and thoughtful. Leviathan Wakes is the embodiment of what good space opera should be: there's a bit of a scientific background that helps to inform the plot, but the focus of this story is on the characters and major events that blast the story forward.
As such, Leviathan Wakes works on a number of levels. Throughout the story, the influence of two authors who have been identified strongly with the fantasy genre is clear in the text: there is a wide, sweeping and epic sense to the world that's been constructed here, and the fingerprints feel very much like there's experience with fantasy here. This ranges from the somewhat tired: some of the characters feel almost a little too forced with the world-weary or tough guy things that some modern fantasy novels seem to be saddled with, to the good: the world building and scale of the storyline, which seems to grow and grow.
In a large sense, a space opera story has far more in common with a fantasy novel, as opposed to a straight up science fiction novel, although Leviathan Wakes feels at times like it's caught between the two, for better and worse: for most of the story, it's evenly balanced between the two, and it works very well from that standpoint: the science helps to inform the rules of The Expanse, while the fantastic elements get taken over by the story and its own momentum. In a recent blog post somewhere, someone made the comment that Orbit was betting that a recent offer of a free ebook copy of Leviathan Wakes paired with a copy of Abraham's book The Dragon's Path would pull in a crossover audience from the fantasy fans, and after reading through this, I can easily believe it.
Leviathan Wakes stands out amongst a lot of books for the world-building efforts that have been put together for this story. In this far future, humanity hasn't quite made it out to the stars, but they've made it out into the neighborhood: Earth's Moon, Mars, (Venus had abortive attempts), the asteroid belt, the moons of Jupiter and Saturn, and as far out as some of the moons of Neptune, all have some element of human habitation, with a wonderfully rich human society living and working within our solar system. Self-sustaining governments have grown up with their own cultures, and the book really shines by adding in an enormous depth to the environment in which the story is placed: it helps turn what would be a fairly average novel into something that really stuck in my head, and makes me biting at the bit for the next installments in the projected three book series.
The story that's settled in the world is one that works well: the destruction of a ship travelling through the solar system on a transit run, when they come across an abandoned ship, The Scopuli. When their ship is destroyed, a wave of outrage runs across the solar system, angering two sides of a brewing conflict, and pitting the Belters, Earthers and Martians against one another. At the same time, a cop is tasked with tracking down a girl for a family, bringing him on another track towards The Scopuli, and soon, the main characters are caught between revolution and corporate interests. The story really surprised me at points as the authors angled things in unexpected ways, and they manage to pack quite a bit into the pages. The book falls roughly into three parts (and I thought that it could have transitioned a bit better between each of the acts), that bring the story higher and higher to the end, and the entire thing is really a rush from beginning to end.
If there's any fault with the book, it's in the execution, where it felt like some of the book could have been trimmed down from its lengthily page count (almost 600 pages in my copy), and at some points, it feels as if there's parts that are just far too wordy, with excess exposition and explanation that didn't necessarily need to be present.
This book is one that I'll predict will divide audiences along a science fiction / space opera divide. The science here exists mainly in the background: there's some plausible elements here, as well as the usual grain of salt, as ships careen back and forth between the Belt and various planets, with some token explanations, but it's not the central focus of the story. People will fall on either side, either advocating for a stronger or more realistic setting for the stories, and people who might argue that it's not necessarily all that important to the story and that it should be enjoyed on its own merits. Coming to the end, I think that the latter argument holds up a bit better, but I'm happy to see that the authors have given a bit to support it in some measure of reality.
At the end of the day, Leviathan Wakes was a book that I really enjoyed: there wasn't a moment that I found myself really bored, and few occasions wondering why the book was drifting aimlessly: we've got a fun space opera story that's created one hell of a world to play in, with this story thundering out the gates, all guns ablaze, while touching on everything from military science fiction to romantic entanglements, and I'm already awaiting to see what happens next in The Expanse.
Originally posted to my blog.
45 of 52 people found the following review helpful.
strong 4, can't wait for the next one
By B. Capossere
Leviathan Wakes, though it lists only a single author (James Corey) is actually a collaborative effort by Daniel Abraham and Ty Franck. Since Abraham, author of the Long Price Quartet and more recently The Dragon's Path, is one of my favorite fantasy authors, I had high expectations for this science fiction effort and I have to say they were pretty much met. Leviathan Wakes was a fun ride throughout, an excellent mix of character and action.
The setting is a mid-range future where humanity has colonized much of the solar system with vibrant if hardscrabble habitats on Mars, the Moon, various asteroids, and many of the planetary moons. As the outer colonies grow, they strain more and more under their dependence on the inner planets and tensions between the groups are rising. What sets a match to the tinderbox of politics is the discovery of a derelict spacecraft harboring a secret that will shake the foundations of the solar system and set planets and colonies one against the other.
Central to the events are Jim Holden, second officer aboard the ice-towing ship that finds the derelict, and Miller, a detective on Ceres assigned a seemingly trivial job that will eventually connect with the derelict ship. While Holden is surrounded by a small, tight-knit group, Miller is mostly a loner, save for his fish-out-of-water new partner who grew up in the inner system. We swing back and forth between Holden and Miller's stories for a big chunk of the book, the two plot lines eventually converge and the men come together.
Leviathan really reminded me quite a bit of old-fashioned sci-fi, the kind of stuff I grew up on--Asimov, Heinlein, and the like (though much better crafted). It's a relatively restrained future--we haven't gotten to the stars yet (though a generational starship is being built), no faster-than-light travel, no consciousness dumping into new bodies, no technologies we wouldn't recognize today really. There's a gritty sort of feel to it as well, the future isn't all bright and shiny and aerodynamic. Instead it's carved into rocks via tunnels that measure their standard width via the old coal-car mining tunnels on Earth, the rocket ships are ugly and boxy rather than sleek, people live in domes or "holes"--no terraforming here. And the outer colonies have a definite Old West/Wrong Side of the Tracks feel. As Miller says, "There is no law; there are cops." "Justice" is a bit more gray than it is back on Earth, and may just mean someone gets "spaced" rather than brought in for trial. The science behind all this is plausible enough without going into much detail and I'm sure those wiser than I in the ways of physics or chemistry could rip lots of holes in it. There's some definite handwaving going on--how do they get around? Epstein Drive. What's an Epstein Drive? It drives spaceships. (OK, they give us a little more than that, but not a lot). I'm perfectly happy with that level of scientific foundation for my science fiction--preferring the balance to be on the "fiction" side. Others who prefer rock hard science may find some items to complain about.
If the scientific foundation is perhaps a bit thin, the social foundation is much less so. Though here again, I'm sure one could complain about the plausibility or logistics about how these societies arose. But what we have here feels utterly real, whether it is the tension between mother planet--early colony--later colonies; or the increasing prejudice based not on color or religion but on geography (inner vs. outer); or the way people live, or the variations between say Ceres and Eros, or the Navy spaceships and the mining spaceships (or even, apparently, the Martian spaceships and the Earth spaceships).
The book is fast-paced for its 500+ pages and moves along mostly smoothly throughout. I don't mind slow much, so as with the science, I was happy throughout, reading it in one sitting, but I can see how some might say it lags in a few places. Part of the action is a mystery--what was in the derelict, who is driving events, is the solar system being manipulated into war and by whom and for what purpose, what happened to the missing girl Miller is tracking, and so on. Part of the action is a long chase scene with several smaller chase scenes and mostly involve Holden trying to keep his people alive. Saying more would spoil too many plot points, suffice to say at one point Holden expresses relief that for the first time in a long while, he exited someplace that wasn't blowing up behind him.
The mystery and chase scenes end up creating a book that is at times a classic sort of noir TV or film--the sad sack rumpled detective defying his superiors to doggedly chase a little case--and at times a sweeping space opera involving space battles, space marines, and the like. Both forms work separately and together.
The story is intelligent, exciting, and compelling. There are also nice bits of humor throughout; I laughed aloud a few times and chuckled many more. But what really made this a standout book to me is the characterization, which comes as no surprise as that has also been Abraham's strength in his fantasy novels. Both main characters are sharply defined throughout, both when we meet them and as they change (or not) due to the events they're caught up in. Even better, they stand as near-polar opposites of each other in many ways--Holden the idealist and Miller the cynic. Watching them separately is fun; watching them together is a ball. It is also moving when they are in conflict, which is testament to how well the characters are drawn and how attached one gets to them as a reader. What adds to the impact is that though they stand at such extremes, the authors place them in situations so that the reader can't easily say one is right while the other is wrong. Another way the story is enhanced is via structure, because once the storylines converge, we get to see each main character from his opposite's viewpoint, offering us insight into both.
Beyond the two major characters, the side characters are also fully fleshed out. This mostly involves Holden's small crew, who really feel like a family by not too far in (an easy if somewhat cheap comparison is the Firefly crew), but also includes Miller's partner and even Julie, whom we mostly learn about through Miller's efforts.
Leviathan Wakes ends with just about everything resolved, but the authors have plans for several more novels and novellas in this world setting and personally, I can't wait for the next one. Highly recommended.
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