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Vernor Vinge - A Fire Upon the Deep

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Vernor Vinge A Fire Upon the Deep

A Fire Upon the Deep: summary, description and annotation

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A Fire Upon the Deep is the big, breakout book that fulfills the promise of Vinges career to date: a gripping tale of galactic war told on a cosmic scale.Thousands of years hence, many races inhabit a universe where a minds potential is determined by its location in space, from superintelligent entities in the Transcend, to the limited minds of the Unthinking Depths, where only simple creatures and technology can function. Nobody knows what strange force partitioned space into these regions of thought, but when the warring Straumli realm use an ancient Transcendent artifact as a weapon, they unwittingly unleash an awesome power that destroys thousands of worlds and enslaves all natural and artificial intelligence.Fleeing the threat, a family of scientists, including two children, are taken captive by the Tines, an alien race with a harsh medieval culture, and used as pawns in a ruthless power struggle. A rescue mission, not entirely composed of humans, must rescue the children-and a secret that may save the rest of interstellar civilization. A Fire Upon The Deep is the winner of the 1993 Hugo Award for Best Novel.

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A Fire Upon the Deep
Special Edition eBook
Vernor Vinge

Picture 1
A TOM DOHERTY ASSOCIATES BOOK
New York
www.ebookyes.com


This is a work of fiction. All the characters and events portrayed in this novel are either fictitious or are used fictitiously.

A FIRE UPON THE DEEP

Copyright 2002 by Vernor Vinge

All rights reserved, including the right to reproduce this book, or portions thereof, in any form.

Edited by James Frenkel

A Tor Book

Published by Tom Doherty Associates, Inc.

175 Fifth Avenue

New York, NY 10010

Tor Books on the World Wide Web:

http://www.tor.com

Tor is a registered trademark of Tom Doherty Associates, Inc.

eISBN 0-312-70369-4

ALSO BY VERNOR VINGE

Tatja

Grimms World

The

Witling

True

Names and Other Dangers (collection)

Threats

and Other Promises (collection)

Across

Realtime
comprising:
The Peace War
The Ungoverned
Marooned in Realtime

* A

Fire Upon the Deep

* A

Deepness in the Sky

* Collected

Stories of Vernor Vinge

* True

Names and the Opening of the Cyberspace Frontier

*denotes a Tor book

Acknowledgments

I am grateful for the advice and help of: Jeff Allen, Robert Cademy, John Carroll, Howard L. Davidson, Michael Gannis, Gordon Garb, Corky Hansen, Dianne L. Hansen, Sharon Jarvis, Judy Lazar, and Joan D. Vinge.

I am very grateful to James R. Frenkel for the wonderful job of editing he has done with this book.

Thanks to Poul Anderson for the quote that I use as the motto of the Qeng Ho.

During the summer of 1988, I visited Norway. Many things I saw there influenced the writing of this story. I am very grateful to: Johannes Berg and Heidi Lyshol and the Aniara Society for showing me Oslo and for wonderful hospitality; the organizers of the Arctic 88 distributed systems course at the University of Troms, in particular Dag Johansen. As for Tromsy and the surrounding lands: I had not dreamed that so pleasant and beautiful a place could exist in the arctic.

Science Fiction has imagined many alien creatures; this is one of the genres great charms. I dont know what in particular inspired me to make the Riders in this novel, but I do know that Robert Abernathy wrote about a similar race in his short story, Junior ( Galaxy , January 1956). Junior is a beautiful commentary on the spirit of life.

[Added in 2002: Im grateful to Brad Templeton for suggesting, way back in 1993, that the annotated version of the manuscript should be published. Thanks also to various members of the USENET science-fiction community for encouraging republication of the annotated version in 2002.

Thanks to Jeff Gomez of St. Martins Press for shepherding this republication, and to Ken Brooks of Publishing Dimensions for transforming my flat ascii into the forms used here.]

Dedication

To my father, Clarence L. Vinge, with love.

V. V.
Behind the Scenes of A Fire Upon the Deep

[This introduction was originally written in 1993, before the rise of the Web. I have edited the intro somewhat, but I dont think I have changed any technological prognostications.]

A Primitive Form of Story Documentation

Since 1979 Ive used the manuscript convention that lines beginning with ^ should not normally be printed. This makes it easy for me to comment my text. Over the years, as storage capacities increased, I found that even this extremely crude tactic could be very helpful in story development. About one fourth of my Fire Upon the Deep manuscript is such hidden commentary. These comments served a variety of purposes, and I used various tag words to discriminate between these purposes (see the table below). Besides formal tags, I had a large number of key words to identify different aspects of the story. I used several tools mainly grep to follow the key words around the manuscript. Note that this technique is not hypertext ( well, maybe it could be called a manual form of hypertext, with grep being used to dynamically compute links :-).

In 1993, Brad Templeton of Clarinet published a CDROM, Hugo and Nebula Anthology 1993 , that included a version of this annotated manuscript. (And this introduction is only slightly modified from the one in that CDROM.) I think the annotated manuscript was fun for people who wanted to look behind the scenes at a story as it is being constructed. Im happy that it will see the light of day again!

In preparing the manuscript notes for publication, I tried to extend and clean up the notes. However, I want to warn you that since these are mainly internal development notes, they are often cryptic, repetitive, and inconsistent. (The notes are also tentative in the sense that they may be contradicted by later-written sequels and prequels.) There are interesting things in these notes, but you can get lost in the tedium of minor issues or be led astray by discussion of problems that were later solved (leaving the discussion without referent!). Hopefully, this introduction will make it more convenient for people who do want to look at the notes.

A Zoology of Annotations

In the formatting of this 2002 edition, comments are easily identified by their graphical layout. In my own plain ascii files, I used very much cruder conventions. Those are mostly invisible in this edition, but I list them here for people who are curious to know what the raw (text editor friendly) version would look like:

I delimit italicized text with underscores. (I dont have any page-long italicized passages, so any such are probably due to loss of underscore-parity.)
Embedded comments have ^ as the first non-whitespace on the line. Commands to my formatter (inherited from Kernighan and Plaugers Software Tools , Addison-Wesley, 1976!) use a similar convention: ^bp page break ^ls n linespacing ^he s define page header ^fo s define page footer
My formatter prints the pair ampersand numbersign ( ) as a single numbersign ( # ). Thus, I use as a section break. When a numbersign ( # ) is not preceded by an ampersand, it is supposed to be a single space. (I use this character to force vertical whitespace and as part of the indent for paragraphs.)
Where the first alpha characters on a line are NOTE, you are normally seeing a note to the copyeditor. (I use this mostly to flag the beginning of monospace font (eg, Courier) for the Net messages.)

I use tags a lot. In a sense almost anything could become a tag (and a target for grep), but the most formalized tags and their meanings are as follows.

AWK

The referenced prose seems awkward. (Hopefully most of these are fixed.)

BKG

The comment is background.

CHAR

The comment is related to some character issue.

CHKd

Issue from CHK comment has been verified.

CHK

The comment involves something that I should verify.

CHRON

The comment requires a check of the consistency of the timing or sequence of the story

DEL

Delete

DONE

The action suggested in the comment has been done.

FIXED

I fixed the problem raised by the question.

FIX

Same as FIXED.

FRAG

The commented text is a fragment either something that is looking for a home in the manuscript, or perhaps the reverse, namely text that has been removed/replaced. In the latter case, the fragment may contradict the published story line.

iD

An idea that has either been incorporated or eleminated from consideration.

ID

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