*Takes a deep breath*
Some of what I’m going to say here in this review may offend die-hard Orson Scott Card fans, and it may even cause some of you to think I don’t deserve the right to call myself an SF fan. However, I’m not going to sugar-coat my opinion. I know that ‘Ender’s Game’ evokes huge devotion among some of its readers, and that dissenters often face scorn, but heck – this is my blog, and I’ll say what I like.
I did not enjoy ‘Ender’s Game.’ I’m sorry, but there it is.
Note that I used the word ‘enjoy’. I didn’t enjoy the book, that’s true – but I do appreciate it for what it is, for what it’s trying to do, and for some of the things it anticipated about the world, particularly in terms of computing and the internet. I didn’t enjoy its brutality, its coldness, the writing style employed by its author and the – to my mind – disturbing lack of connection between the characters, and the lack of humanity in a book which takes the idea of ‘what is humanity?’ as a central concern.
‘Ender’s Game’ was a strange book, for me, insofar as I really thought the idea behind it was brilliant, and so much of what I was reading intrigued me. However, there was so much about it that I just couldn’t get on board with – no matter what the author himself says in his ‘Introduction’ to my edition (people who don’t ‘believe’ the way he’s written the children in this book simply have no idea how gifted children behave and act and think, apparently) – that it failed, for me, as a story.
Ender (Andrew) Wiggin lives with his parents and siblings – an older brother Peter and an older sister Valentine – and, as the story opens, we learn that he is being monitored via a machine in the back of his neck, and that – at six – it has been in place for a long time, longer than either of his siblings had theirs. His brother had his removed at five, and his sister at three. Ender, then, is special. For his brother, this is a cause for violent, jealous anger and for his sister it is a source of concern; Ender is a ‘Third’, a child who was born after his parents sought, and received, special permission to conceive and carry him. Thirds are not supposed to be gifted, or talented, or special. Yet Ender is.
The world in which they live exists in the aftermath of a massive invasion of alien enemies, the first of which happened some seventy years in the past, and the people of Ender’s world – a future version of Earth – are waiting for the next wave of attack from these aliens, called ‘buggers’. They are preparing to repel them, and have been working on ways to fight them for generations. Ender’s monitor – which all children have to wear, until the powers that be are satisfied that they have learned enough about the child and how he or she thinks, feels and acts – is designed to spot future battle commanders, children with the potential to be great fighters. Ender is taken from his family by a colonel from the International Fleet, or I.F., and brought to Battle School in order to learn how to kill the ‘buggers’.
So far, so good.
The book then begins to take us through Ender’s training, and I don’t think I’m alone when I say that I found a lot of it impossible to imagine. I haven’t yet seen the film of ‘Ender’s Game’, but I’d certainly like to, if for nothing else than to see how a film director imagined the battle room, and the simulations of warfare, and the ‘flash suits’ the boys have to wear (for, despite the fact that girls are technically ‘allowed’ to train at Battle School, very few of them make it in due to their naturally peaceful and conciliatory inclinations – imagine me rolling my eyes here, if you like.) I did enjoy reading about how Ender gets to grips with null gravity, and how he works out a better method of attack than was previously used, one which leaves the body of the fighter at less risk of being shot by enemy fire, but really I got tired of the repetitive training sequences after a while. I’ve read many books about interstellar warfare, and I have a good imagination, but Mr. Card’s descriptions were beyond me.
Alongside Ender’s amazing military and tactical ability – bear in mind, of course, that he is six years old, turning seven and eight as he progresses through the ranks – his sister and brother are, back on Earth, turning themselves into political orators in an effort to overthrow governmental control and establish themselves as powerful players in world politics. They take the screen names ‘Demosthenes’ (Valentine) and ‘Locke’ (Peter), and soon become widely known, and their writings avidly read. They are barely teenagers, something which Valentine keeps mentioning (even, weirdly, noting that she has not yet started menstruating, so how can she possibly write a weekly column for a major newsnet, which I found disturbing. Why would any twelve-year-old girl say such a thing?) I really enjoyed how Card anticipated things like blogging and anonymous internet users exercising huge power over thought processes and web culture, years before anything like it existed in reality, but again it all seemed so unreal, unbelievable and ridiculous to imagine two pre-teens doing all this that I couldn’t really lose myself in the story. Ender, Valentine and Peter’s parents are so unimportant in this book that I really don’t see what would have been lost by aging them all ten years – they’d still have been remarkably young to be so intelligent and accomplished, and it would have seemed a little more believable to the reader.
So, the story progresses in a rather predictable way – the ending didn’t take me by surprise at all, though that’s not to say it wouldn’t have been a shock ending to its original readers, back in the 1980s – and we follow Ender’s story and that of his siblings to their adulthood, and a spark of hope for the future is planted. Or, at least, the kick-off point for this book’s stack of sequels, if you’d rather be cynical about it. I thought the concept behind the ‘buggers’ was interesting, and I was sorry that more wasn’t said about it (though, of course, I haven’t read the sequels yet), and I worried a little about where this book stood on the question of ‘gung-ho’ humanity, destroying everything around it just because it can.
I’m not sorry I read ‘Ender’s Game.’ It’s a classic, a Hugo- and Nebula-award winning book, and I didn’t really feel I’d earned my stripes as a reader of SF without having had a crack at it. However, part of me wonders why it is so successful. The children – no matter how gifted or brilliant they are – act and speak and think like middle-aged men, and I just couldn’t buy that; there is no character development; everyone, even Ender, reads like a flat cardboard cut-out, despite the fact that Card’s book tackles huge questions like the morality of war, and the idea that ‘might is right’, and the philosophical struggles inherent in everyone’s maturation process. However, all this depth, all this thinking, all this layering, is done in huge paragraphs of exposition and explanation, instead of through dialogue between characters or something that could’ve helped a reader get a handle on the people in this novel, and that left me cold. I was completely indifferent to Ender’s fate, and even though I warmed to Valentine (who is shown as having a heart and who loves her brother deeply – the very ‘weakness’ that marked her out as unsuitable for Battle School), and I liked Ender’s friend Alai, a non-white character who is shown, through his (rather stereotypical) speech to be religious, I couldn’t have cared less about anyone else.
The book struck me as racist, and sexist, and strange (lots of scenes take place where the children, for no good reason, are naked); it was coldly intellectual and – in my opinion – not the sort of book I’d have read with enjoyment as a teenager. The concepts, the science, the military strategy, and the setting are all top-notch, but the writing just didn’t do it for me. I accept its place in the canon of SF masterworks, but I reserve the right to dislike it, and so it goes.
Read some Robert Heinlein or Philip K. Dick or even Ursula Le Guin instead, is my advice.