McAuley is considered to be one of the best of the new breed of British writers (although a few Australian writers could be fit in under this heading as well) who are producing that brand of rigorous hard science fiction with updated modern and stylistic sensibilities that is sometimes referred to as “radical hard science fiction,” but he also writes Dystopian sociological speculations about the very near future. He also is one of the major young writers who is producing that revamped and retooled widescreen Space Opera that has sometimes been called the New Baroque Space Opera, reminiscent of the Superscience stories of the 1930s taken to an even higher level of intensity and scale. His first novel, Four Hundred Billion Stars, won the Philip K. Dick Award, and his acclaimed novel Fairyland won both the Arthur C. Clarke Award and the John W. Campbell Award in 1996. His other books include the novels Of The Fall, Eternal Light, and Pasquale’s Angel, Confluence- a major trilogy of ambitious scope and scale set ten million years in the future, comprised of the novels Child of the River, Ancient of Days, and Shrine of Stars-and Life on Mars. His short fiction has been collected in The King of the Hill and Other Stories and The Invisible Country, and he is the coeditor, with Kim Newman, of an original anthology, In Dreams. His stories have appeared in our Fifth, Ninth, Thirteenth, and Fifteenth through Nineteenth Annual Collections. His most recent books are two new novels, The Secret of Life and Whole Wide World.
Here he takes us along with a crew salvaging spaceships in the aftermath of an interplanetary war who run into some life-or-death problems of a kind that they never expected to face…
The sky was full of ships.
Sturdy little scows that were mostly motor; lumpy intrasystem shuttles, the workhorses of space; the truncated cones of surface-to-orbit gigs; freighters that, stripped of their cargo pods, looked like the unclad skeletons of skyscrapers; even an elegant clipper, a golden arc like the crescent moon of a fairy-tale illustration. More than a hundred ships spread in a rough sphere a thousand kilometers in diameter, in the Lagrangian point sixty degrees of arc ahead of Dione. All of them hulks. Combat wreckage. Spoils of war waiting to be rendered into useful components, rare metals, and scrap.
From the viewports of the battered hab-modules of the wrecking gangs, hung in the midst of this junkyard Sargasso, four or five ships were always visible, framed at various angles against starry space. Only a few showed obvious signs of damage. There was a passenger shuttle whose cylindrical lifesystem had been unseamed by carefully placed bomblets, a kamikaze act of sabotage that had killed the fleeing government of Baghdad, Enceladus. There was a freighter wrecked by a missile strike, its frame peeled back and half-melted, like a Daliesque flower. A dozen tugs, converted into singleship fighters, had been drilled by X-ray lasers or holed by smart rocks. But most were simply brain dead, their cybernetic nervous systems zapped by neutron lasers, microwave bursts or emp mines during the investment of the Saturn system. Salvage robots had attached themselves to these hulks and pushed them into low-energy orbits that had eventually intersected that of Dione. Their cargo pods had been dismounted, the antihydrogen and antilithium had been removed from their motors, and now, two hundred days after the end of the Quiet War, they awaited the attention of the wrecking gangs.
The men and women of the gangs were all outers recruited by Symbiosis, the Earth-based transnat that had won the auction for salvaging and rendering these casualties of the Quiet War. They were engineers, General Labor Pool grunts, and freefall construction mechanics on thirty-days-on/thirty-days-off shifts under minimum wage contracts, and pleased to get the work; the Quiet War had wrecked the economy of the Outer System colonies, and seventy percent of the population depended upon the charity of the victorious Three Powers Alliance.