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Artemis by Andy Weir review – follow-up to The Martian. A ndy Weir’s first novel, The Martian , enjoyed a measure of success liable to make other writers slump slack-jawed and drooling, like Homer Simpson before a doughnut. Initially self-published, it became a word-of-mouth hit, got picked up by a regular publisher, sold 5m copies and was made into a blockbuster film by Ridley Scott. Straight out of the gates with a global hit. Indeed, the book was such a blockbuster you probably know its story: an astronaut, stranded on Mars, has to use his scientific expertise to stay alive for two years until rescue can reach him. This simple narrative tug – will he survive or not? – gives Weir a line on which to hang a large number of interesting facts and little lectures. The reader learns a lot about the Martian environment, how to grow potatoes, how to get into orbit and so on. That’s the sweet spot The Martian hit: a likable protagonist in peril, saved by his own resourcefulness in a tale that leaves readers better informed about science than they were before they read it. Weir, clearly, adheres to the principle that if it ain’t broke, don’t fix it (and, presumably, if it is broke, patch it up with duct tape). His second novel concerns a likable protagonist in peril, saved by her own resourcefulness, in a tale that leaves readers better informed about science than they were before they read it. The setting is lunar rather than Martian, but otherwise it’s basically the same pitch. “Artemis” itself is a five-dome moonbase, servicing a little heavy industry and rather more tourism. Jazz, our heroine, is a sparky young woman who (while her observant Muslim father tut-tuts) gets drunk, has sex and generally tries to have a good time. It’s a struggle, though: good times are expensive on the moon, and despite supplementing her job – she is a porter – with some judicious smuggling, Jazz is always short of money. She lives in a coffin-sized apartment, shares communal washing facilities and eats the cheapest algae-grown gunk. Poverty persuades her to take on a criminal commission: a little light sabotage on the lunar surface. Naturally, things don’t go smoothly: she botches the sabotage, her employer gets murdered, and an assassin is coming after her. The moon has become a battleground for organised crime over a MacGuffin, in this case a new tech that could revolutionise Earth’s entire communication system. As in The Martian , Weir’s is a prose entirely without aesthetic ambition, flat and cheerful and a bit sweary. Nabokov it ain’t. Take the novel’s opening paragraph: “I bounded over the gray, dusty terrain toward the huge dome of Conrad Bubble. Its airlock ringed with red lights stood distressingly far away.” A creative writing teacher might look at that, count the six adjectives/adverbs in its line-and-a-half and suggest cutting a few of them. But then again, said creative writing teacher certainly won’t have sold 5m copies of their debut novel, or they wouldn’t be supplementing their income teaching creative writing. If Weir wants to describe an explosion by saying: “the harvester exploded like … exploded ”, then no one is going to stop him. Discovering a sentence as awkward as “life’s a pain in the ass when you have a cop constantly on your ass” in their first draft, another writer would wince and reach for the revising pencil. Not Weir. He is perfectly happy to wave the line through to the final product. This time, though, authorial inexperience results in a markedly lumpier read than was the case in The Martian. Orchestrating a rather more complicated plot and many more characters tests Weir’s ability both to pace his story and to hold things together. The text is so laden with information and facts, it feels heavy even in one-sixth lunar gravity. Scrupulously, indeed pedantically, everything is explained. Weir can never let a passing detail pass without stopping it and pinning a label to it. Early on, this makes the book merely slow, but as the story picks up speed towards its climax it becomes actively annoying – jamming the narrative momentum with little lectures on why the spaces between the inner and outer hull of Artemis’s domes are pressurised at 20.4 kPa, 10% less than the pressure inside the dome itself, or laboriously listing all the MacGuffin’s technical specifications (“I checked the core’s index of refraction: it’s 1.458, a little higher than fibre optics usually are, but only by a tiny bit … a typical attenuation for a high-end cable is around 0.4 decibels per kilometre … the precision of my OLTS is 0.001 decibels per kilometre …”). The urge to yell GET ON WITH IT swells in the readerly chest. SF fans with long enough memories will find Artemis a curiously old-fashioned sort of book, something like a Heinlein juvenile with added F- words. That’s not necessarily a bad thing, mind. It’s a quick read that will teach you about the moon, a story with enough explosions and chase scenes and fistfights to leaven the mini-lectures. Plus the narrator-protagonist has real charm. There’s no question that, commercially speaking, this novel is going to be a hit. But as a work of fiction it’s a crescent rather than a whole moon. Artemis. Nowa powieść autora bestsellerowego MARSJANINA! Prawa filmowe kupione na pniu przez producentów hitu MARSJANIN z Mattem Damonem w roli głównej. Dwudziestokilkuletnia Jazz marzy o życiu pełnym przygód i dostatków, ale musi pogodzić się z rzeczywistością małego prowincjonalnego miasteczka. Nawet bardzo prowincjonalnego, bo na Księżycu. Dobrze żyje się tam właściwie tylko turystom i ekscentrycznym miliarderom, a tak się składa, że Jazz nie należy do żadnej z tych kategorii. Ma nudną, nisko płatną pracę i sporo długów do spłacenia, nic więc dziwnego, że dorabia drobnym przemytem. Nic dziwnego, że kiedy pojawia się okazja zarobienia naprawdę wielkich pieniędzy, nie waha się ani chwili. Tym, że misterny plan oznacza konieczność wejścia na ścieżkę przestępstwa, nie przejmuje się ani przez chwilę. Prawdziwe problemy pojawiają się wtedy, kiedy okazuje się, że plan ma drugie i trzecie dno oraz że Jazz dała się wplątać w gigantyczną aferę o potencjalnie katastrofalnych konsekwencjach. Porównaj ceny. Polecane księgarnie. Pozostałe księgarnie.

The one thing I really disliked about this book was some of the language choices. Firstly there was an ongoing theme of boobs and nipples throughout and comments about it. Not enough to be obsessive and it probably would have been fine if it hadn’t been for the commentary as if a female character couldn’t make a boob comment without making an immature masculine comment. It reminded me every time that it was written by a male author. Then there were the comments made to and by the gay male character who already fit into one gay stereotype, which for spoiler reasons I can’t mention. The bartender called him their favourite “a** bandit” and moments later the gay character asks the bartender for two beers; “one for the gay and one for the goy”. If you’re not aware “goy” has a complicated history and baggage of being used as a slur for a non- Jewish person in the past and its use is still highly debated now (read more about it here). I think the idea is meant to be that humans have gotten to the point in the future where these words are no longer offensive or people don’t get so offended, otherwise I don’t know what the author was thinking. The novel is set at least 60 years in the future ( Star Trek and Star Wars are referred to as being 100 years old at one point), but personally I don’t see such a thing happening in 50 years or even 100. I think it’s more likely that as we’ve seen in our lifetime these words will be removed from our language not used more often so the choice to use them made me feel a bit uncomfortable. Join Scribd. You can read many great books on Scribd the world’s original online reading subscription service right now! You can sign up using my referral code and get 2 months of free reading. Andy Weir. Andrew Taylor Weir is the author The Martian and Artemis. He was born on 16th June, 1972. He is an American novelist and software engineer known internationally for his debut novel, The Martian , which was later adapted into a film of the same name directed by Ridley Scott and starring Matt Damon, Jessica Chastain and other well-known actors, which was released October 2, 2015. He received the John W. Campbell Award for Best New Writer in 2016. The Martian Font. Weir began writing science fiction in his 20s and published work on his website for years. His first work to gain significant attention was "The Egg" , a short story that has been adapted into a number of YouTube videos and a one-act play. Weir is best known for his first published novel, The Martian. He wrote the book to be as scientifically accurate as possible and his writing included extensive research into orbital mechanics, conditions on Mars, the history of manned spaceflight, and botany. He even wrote his own program in order to predict the best launch dates and the orbit distances between Earth and Mars. He was a computer programmer but given his recent success has quit his day job in order to focus more on writing as that had always been his dream. Contents. His Writing. Originally published as a free serial on his website, some readers requested he made it available on Kindle. First sold for 99 cents, the novel made it to the Kindle bestsellers list. Weir was then approached by a literary agent and sold the rights of the book to Crown Publishing Group. The print version (slightly edited from the original) of the novel debuted at #12 on The New York Times bestseller list. The Wall Street Journal called the novel "the best pure sci-fi novel in years". A fan-fiction story written by Weir, ' Lacero' was published in the 2016 edition of ' Ready Player One' , making it canonical to the book's fictional universe. The work functions as a prequel to the main novel. In 2016, Weir released ' The Principles of Uncertainty' a collection of short stories on the TAPAS app platform for short fiction. In 2017 CBS picked up a pilot written by Weir titled 'Mission Control' , following a group of young NASA astronauts and scientists. In May of the same year, Weir collaborated with webcomic artist Sarah Andersen to remake 'Cheshire Crossing' for the website Tapastic, which was released in July 2019 as a graphic novel. Originally, his second novel was supposed to be "a more traditional sci-fi novel" called ' Zhek '. It was supposed to have "aliens, telepathy, faster- than-light travel, etc." but he put it on hold to instead work on 'Artemis' , a more science based sci-fi novel about a woman called Jazz Bashara, who lives in a civilisation on the moon and is also a criminal, set in the 2080s-2090s which was released 20th November 2017. The film rights were bought by Fox and the directors Lord and Miller were attached to the project as well as producer Simon Kinberg and his company Kinberg Genre. His third novel (or fourth if you include Graphic novels), ' The Hail Mary' , about a lone man in space who has to save the world is set to be released soon and the main character to be played by Ryan Gosling in the film purchased by MGM. Biography. Weir was born and raised in California. He is an only child. His father is an accelerator physicist and his mother an electrical-engineer who divorced when he was 8. Weir grew up reading classic science fiction such as the works of Arthur C. Clarke and Isaac Asimov. At the age of 15, he began working as a computer programmer for Sandia National Laboratories. He studied computer science at UC San Diego,

although he did not graduate. He worked as a programmer for several software companies, including AOL, Palm, MobileIron and Blizzard, where he worked on the video game ' Warcraft II: Tides of Darkness'. Weir began writing science fiction in his 20's and published work on his website for years. He also authored a humour web comic called ' Casey and Andy' featuring fictionalised "mad scientist" versions of himself and his friends (such as writer Jennifer Brozek) from 2002 to 2008; he also briefly worked on another comic called ' Chesire Crossing' bridging Alice in Wonderland, Peter Pan and The Wizard of Oz. The attention these gained him has been attributed as later helping launch his writing career, following the failure to publish his first novel attempt called ' Theft of Pride'

. His first work to gain significant attention was ' The Egg' , a short story that has been adapted into a number of YouTube videos and a one-act play. He currently lives in Mountain View, California, in a rented two-bedroom maisonette. Since he has a deep fear of flying, he never visited the set of the film adaptation of The Martian in Budapest, where most of the scenes set on Mars were shot at Korda Studios. In 2015, with the help of therapy and medication, he was able to fly to Houston to visit the Johnson Space Center, and to San Diego to attend Comic-Con. Weir has stated that he is agnostic. He considers himself to be a fiscally conservative, social liberal, and tries to keep his political views out of his writing.