Ilium – Dan Simmons

Earth has changed dramatically since the Lost Age. The few remaining “old style” humans live in communities or estates that are connected by faxnodes and protected from the roaming dinosaurs by the omnipresent, but ultimately mysterious voynix. Surrounding earth are the fabled cities of the Post-Humans, who exist not unlike gods to the old styles who remains. Aside from distractions like parties and fornication (learning to read is a preoccupation of a single person), old styles lose themselves in the spectacle of the “turin-shroud”—a visual device with exactly one show: the Greeks and Trojans slaughtering one another on the plains of Ilium.

At the foot of Mons Olympus on Mars the Trojan War is nearing a climax. Events so far have unfolded basically as described in the Iliad. Achilles has raged at the injustices heaped upon him by Agamemnon and the gods have continued to scheme against each other while using Trojans and Greeks as their playthings. Amidst the carnage and camaraderie flits Thomas Hockenberry, one among many scholics—revivified Homeric scholars who have been equipped with technology that allows them to possess the bodies of Trojans and Greeks as they study the events. The gods wield enormous power, but they are not omniscient; in contrast, the scholics know the future, at least in theory. Then Hockenberry gets entangled in one of the many divine schemes.

Meanwhile, Orphus and Mahnmut, two moravecs (self-replicating, intelligent robots from the region outside the asteroid belt) have joined a mission to Mars, where spiking levels of quantum activity are threatening the stability of the solar system. Lovers of Shakespeare and Proust, neither is prepared to be attacked by what appear to be Greek gods on chariots. The deities destroy their ship, kill the other members of the expedition, and leave them to complete the mission alone.

Ilium uses three plot lines to resolve two loosely-connected narrative threads, one on Earth, one on Mars.

On Mars, Hockenberry is tasked by Aphrodite to kill Athena, but takes the tools she gives to go on the lam, afraid of the consequences of his action. A scholar rather than a fighter, he nonetheless finds himself embroiled in further schemes with both the Trojans and the Greeks as he tries, desperately, to survive. This quest therefore aligns him with the moravecs, as all three of them are doing their best to topple the gods on Olympus.

On Earth, a small group of old-style humans are likewise on a quest, in equal parts to steal knowledge from the gods and to learn what it even means to be human anymore. Although they had begun to rediscover long lost skills such as casting bronze, the humans are aided in their quest by Savi, an ancient Jew who missed “the final fax” and exceeded her allotted century many times over, and by a primitive warrior calling himself Odysseus and looking like the character of the same name in the Turin drama. The old-styles seek to enter a city of the Post Humans that orbits earth, but are unprepared for either the demons or the truths that they will find there.

Much like Simmons’ other novels, particularly Hyperion, Ilium is an incomplete story—this time, at least, he is a working from a template. The book answers, or begins to answer, many of the key questions is raises, exploring questions about the intersection of the past and the future, relationship to the divine, and humans and technology, but never reaches a final conclusion. It works well here, offering a deeply immersive setting where unknowable questions are part of the experience.

As for the Trojan War, I largely like the approach taken. Simmons literally embodies Hockenberry and the other scholics around the critical scenes, and even makes at several points the meta-observation that this would be a dream come true for many Classics scholars. After all, who would not want to have sex with Helen? The person whose body is occupied disappears, so the main characters from the Iliad largely appear in their own skin and many men are killed after becoming disoriented when the scholic leaves. In this way and others Simmons weaves together the incongruities and accidents of the Iliad, the prestige of some of the classic translations, and a human perspective. Some of the leaps he makes such that, for instance, cafe scenes in Troy may as well be a cafe scene set in 1920s Paris, struck me as a little bit hokey, but taking this section of the larger picture and fitting it into a story of evolution, technology, and civilization that emphasizes the way in which all of the above are dependent on constructed mythologies served as a nice counterpoint to the other narratives.

I have a long history with Ilium in that I picked it up probably in 2005, not long after it was originally published. It has remained in my collection every since, surviving several purges despite just one spectacularly failed attempt at reading it. I am glad that I decided to keep it around.


I have one more in the overly-delayed backlog of posts on things I read, for Brandon Sanderson’s Oathbringer, with my post being an unholy mess of a draft. My first book of the new year was Ta-Nehisi Coates’ Between the World and Me and am currently reading Margaret Atwood’s Oryx and Crake.