58 pages • 1 hour read
Adrian TchaikovskyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
An armed mutiny on The Gilgamesh brings Holsten out of cold storage and holds him hostage. The people chosen to found the lunar colony have resisted, arguing that they did not agree to be condemned to exist in a freezing wasteland. The mutineers have taken hostages, including Holsten and Lain, in order to bargain with Guyen and Karst for their freedom and their lives. Guyen is unwilling to negotiate and says that he doesn’t need either Holsten or Lain.
Another generation of Portia’s people prepares for massive battle with the evolved ant colony. This Portia is from The Great Nest, which is located near the Western Ocean, and she has come to the city of Seven Trees to defend against the advancing ant colony from which her ancestor stole the crystal. By now, the spiders have created an intricate society that is built in part around their growing understanding of mathematics, as conveyed by the crystal’s transmission of the radio signals coming from Kern’s satellite. The ants are threatening the spider’s territory, and the war is ongoing. Suddenly, a massive battle erupts, and although Portia and her companions do their best to protect Seven Trees, the advanced ant technology of metal, glass, and fire burns Seven Trees to the ground, and Portia only narrowly escapes.
Holsten and Lain are left alone with a woman named Nessel while the other armed colonists engage in firefights in the corridors. Nessel tells Holsten that the concept of trying to colonize a frozen moon while the rest of the ship pursues loftier goals is abhorrent. Nessel argues that the people designated as “Key Crew” (engineers, etc.) could colonize the moon rather than dooming generations to struggle against their will. When Scoles, one of the mutineers, returns, he tells Holsten that they’ll take Holsten and Lain in a shuttle back to Kern’s World if the mutiny fails. He explains that they need Holsten’s knowledge of the ancient Empire in order to land on the surface.
Portia arrives at Great Nest with a few survivors from Seven Trees. The spiders have no maternal instincts, so families are comprised of creche mates, who are referred to as “peers.” When Portia returns to her peer house, she watches one of her peers go into a cocoon to undergo molting. She tells another peer that she plans to go to the temple, where many of her kind conduct a ritual of worship that matches the pulse of signals sent out by the “Messenger” (Kern’s satellite). Portia, and her fellow Great Nest spiders are worried about the loss at Seven Trees and are concerned about the potential future that may result if the ants win the war. Even the communication with the “Messenger” is tainted with worry.
Karst intensifies his assault on the mutineers, and Scoles forces Lain and Holsten into the shuttle. Holsten tries to convince Scoles that he won’t be able to convince Kern (or rather, the AI with Kern’s personality) that they should be allowed to land on the planet. The mutineers plan to take their chances with whatever might await them in Kern’s World.
Lain convinces Scoles to let her dig into the shuttle’s systems to protect them. The Gilgamesh sends a shuttle after them, ordering them to surrender and release the prisoners, but Scoles pushes on. When they come into contact with Kern, Holsten attempts to convince her to allow them to observe the outcome of the experiment. When that overture fails, he shows Kern the footage from the drone, which displays the figure of the spider. Kern goes silent.
Portia visits Bianca in Bianca’s lab. Bianca has discovered a species of beetle that can pass undetected through ant colonies and can even eat the ants’ young. She has used this information to create a chemical that may allow the spiders to infiltrate deep into ant colonies. She tells Portia to gather a group of followers to test the chemical and a related weapon that may save the Great Nest. Portia spends what may be her last night in the Great Nest considering the oddities surrounding the message and the Messenger. She notes that there is more than one message coming from the sky now, and the second one doesn’t seem to be coming from the Messenger.
Holsten tries to rest while Scoles argues over the comms with Karst, who is in the pursuing shuttle. Kern suddenly reopens communication, loudly asserting that she doesn’t care about them or their footage. She then orders them to immediately leave the planet’s vicinity. Kern takes over Karst’s shuttle and the drone he’d deployed and draws them both off-course. She makes it clear that she’ll destroy them if she can’t re-route them. While Lain tries to adjust the systems to avoid destruction, Holsten attempts to create so much conflict between Eliza and Kern that the Kern’s pod cannot act before the shuttle lands on the planet. They almost succeed. Kern fires a laser, but it only takes off the back of the shuttle, and the cabin where Lain and Holsten are secured remains intact as the shuttle hurtles towards the planet’s surface.
Portia and her band of warriors prepare to advance into the invading ant column. Bianca and her workers fashion armor for the spider warriors. Each warrior has a package filled with a modified version of the scent that the beetles create to walk unseen among the ants. These packages are designed to dissolve simultaneously in various areas in the column. As the spiders struggle with between their fear of death and their desire to preserve their species, there is a sudden explosion of fire as the mutineers’ shuttle crashes to the planet’s surface. Bianca tells them that the Messenger has come to join them, and this declaration improves morale sufficiently for the advance to begin. Portia and her warriors infiltrate the column successfully, though a few spiders are discovered and killed. When the packages dissolve, the mass of invading ants becomes docile and confused.
After the shuttle crashes, the cabin crew sustains minor injuries. The crew debates the safety of the outside atmosphere, and one of the mutineers ventures out in a suit to test for pathogens. After a few minutes, they determine that the air is safe to breathe, and there don’t seem to be any viruses or bacteria that are dangerous to humans. However, the woman outside begins to scream and slaps at herself, begging to be let in. When the crew open the doors, they are assaulted by the ants. One of the ants starts a fire inside the shuttle, and the humans escape through the back hatch. Suddenly, the ants become docile and disappear. When a spider emerges from the woods, Scoles shoots it, though Holsten feels an odd sense of connection with it. Suddenly, Karst’s shuttle arrives, and he collects Holsten and Lain and kills Scoles and the other mutineers. Nessel escapes into the woods, and the remaining humans leave Kern’s World at Kern’s orders.
Portia examines Nessel’s sleeping form, thinking of all that has happened. Clearly the giants who fell from the sky weren’t the Messenger, but they are a mystery worth investigating rather than a threat to be neutralized.
The mutineers are all either dead or lost to the spiders, so Guyen wakes another 50 settlers to be dispatched to the lunar colony. He chooses a more malleable leader for this outpost of humanity and promises to return with old Empire technology to make survival easier. Holsten returns to cold storage while Lain stays awake to assist in the next leg of the journey, during which the crew of the Gilgamesh will search for a place for humanity to settle.
Nessel lives the remainder of her life as a prisoner and an object of study for the spiders. The spiders successfully convert most of the ant colonies, leaving the original colony that discovered fire, metal, and glass because those advances are useful and they hope for more. They strategically make it necessary for those ants to become their allies, and there is general peace on the planet. As their technology grows, the spiders discover a second message transmitted from the sky, but this one is chaotic and impossible to understand, unlike the math of the Messenger’s original message. The message becomes consistent and appears to be a distress signal that is coming from a moon far off in the sky. Then, the signal suddenly stops, and no one understands why.
As Portia’s people evolve into more and more sophisticated entities, the language that Tchaikovsky uses to describe their world also becomes more sophisticated, and the imagery becomes correspondingly more vivid and complex. The initial descriptions of the first instinct-driven Portia are focused only on the world around her, merely defining the physical structure of a spider because this particular Portia “has no thoughts” (21). The next depiction, which is set generations later, begins to inhabit a form of consciousness that employs a simple language made of discrete phrases and basic concepts such as “bridge across,” but in the later chapter titled “War,” an even more advanced Portia seeks refuge in prayer and religion, searching for “the reassurance of the numinous, the certainty that there is something more to the world than their senses can readily grasp; that there is a greater Understanding” (132). This is a classic example of “form follows function,” for Tchaikovsky ensures that the language describing the spiders’ experience increases in complexity and sophistication in tandem with the spiders’ own development. That formal choice echoes the plot and character arcs to illustrate the long-term effects of evolution upon the species.
Throughout the novel, Tchaikovsky uses an action-based approach for the chapters featuring humans, while the spiders’ civilization focuses on scientific investigation and slow development. Although both the humans and the spiders engage in various acts of war and violence, the different pacing of the chapters indicates an important distinction between the two species. When beset by external forces such as the ants, the spiders consistently search for an integrative solution rather than a destructive one, instinctively building their knowledge base and enhancing their innovations across time. By contrast, the humans are reactive, and their actions are largely destructive. In this section, both species are specifically focused on war, but while the humans’ plans are haphazard and rushed, the spiders remain methodical even in defeat, relying on their generational knowledge and their collective commitment to the entire civilization. Tchaikovsky makes this implicit comparison to critique the human tendency to use brute force in pursuit of wholesale conquest. This species-wide assumption is reflected in the action-oriented diction, rapid-fire dialogue, and tense action that characterizes the human-focused chapters.
The section of the novel titled “War” focuses not just on the minutiae of conflict, but also on the reasons and the risks that drive this turmoil. Notably, both the spiders and the humans are faced with new sources of conflict; the spiders are threatened by the ants, while the humans are threatened by their own despotic leaders. The human approach to war is to meet aggression with aggression, and thus, the mutineers attack violently and suffer similar violence at the hands of Guyen and Karst; at no time does either side seek to reach an accommodation with their perceived enemy. Likewise, when the human encounter the spiders and ants, they respond violently and destructively to both alien factions. However, even as the spiders endure violent attacks, they look for options that will minimize the destruction to their own kind, to the ants, and to the humans. This worldview becomes abundantly clear when they capture Nessel and study her over generations, providing her with enough food and shelter and keeping her reasonably comfortable. By contrast, whenever the humans encounter the spiders, they can only perceive the sentient arachnids as a dangerous “other,” and they respond with violence rather than curiosity. This dichotomy foreshadows the novel’s climactic conflict and the spiders’ peaceful yet clever solution at the end of the novel.