This novel is a version of the “Generation Ship Gone Haywire” variety, but with an interesting format. Most of the narrative involves the main character, Perdit, describing the events  of the story to the AI that runs the Ship. In most novels this would devolve into a mind-numbing info dump, but this author is above that level. We are drawn into Perdit’s problems, mainly through our sympathy with her struggle to get the gravity of the Ship’s plight through to the Ship’s Steward, which is a superb combination of bureaucrat and AI gatekeeper. So, while at one level we are learning about the imminent disaster about to befall the Ship, at a more personal level we are watching Perdit work her way into the attention of the Steward as it becomes a character in its own right.

At another level, Perdit flashes back to the inciting incident, which happened five years ago. These sections slide imperceptibly into more normal narrative style, allowing for dialogue and action as we meet the other characters in the story. And mixed in is also information about the rigid society she rebels against and a small amount about the technology that supports it all.

The first two-thirds of the book are taken up by Perdit’s conflict with her society and the solo adventure that results. At this point, the story widens in scope, with more characters and more focus on the rest of the Ship, leading to a need for more technical information.

Unfortunately, at a point where the conflict needs to start its run-up to the climax, the drive falters; Perdit achieves one of her main objectives, the conflict devolves into a “who’s going to do what” argument and the reader’s blurred image of the physical layout of the ship becomes a problem.

A small side note: the use of the Spivak pronoun set may be politically correct, but it doesn’t help the reader stay focused on the story. Generally speaking, inserting social propaganda into works of art reduces emotional impact and loses readers. It’s a price the author has to be willing to pay. The use is quite restricted, and if you’re not familiar with it, don’t let it bother you.

Then we return to the final conflict, which is based on present-day American politics, and will strike a note with modern readers.

And then the whole effect is spoiled by a completely unstructured ending, as if the writer got tired of the old book and was so anxious to start on the sequel that he just stopped writing in the middle of a conversation.

Flawed, but still well worth the read.

Four stars.