Adrian Tchaikovsky, a prominent author, first entered the literary scene with his fantasy novel, Empire in Black and Gold, published in 2008. He later ventured into science fiction in 2015 with Children of Time. This groundbreaking work depicted the accelerated evolution of Portia labiate spiders on a distant, terraformed planet. This novel marked the beginning of a series that garnered Tchaikovsky significant acclaim, including prestigious awards like the Arthur C. Clarke Award and the British Science Fiction Association Award. Currently, Tchaikovsky balances his writing between science fiction and fantasy, with the fourth installment of the Children of Time series, Children of Strife, scheduled for release on March 26th. During a discussion with Alison Flood, head of books, Tchaikovsky elaborated on the protagonist of his latest work—a human-sized mantis shrimp—and the inspirations behind its formidable villain.
Academic Roots and Early Influences
Alison Flood inquired about Tchaikovsky’s university background in zoology, suggesting it would be a natural fit for his explorations of evolved animal life. Tchaikovsky admitted that his zoology degree did not provide the depth of knowledge he had hoped for, particularly concerning invertebrates. The curriculum featured minimal content on insects, with a singular lecture focusing solely on methods of eradication rather than their biology. Furthermore, the prevailing academic paradigm of the time, strongly influenced by B.F. Skinner, presented animal behavior in a reductionist manner, treating animals as automatons and discouraging speculation about their internal states. Tchaikovsky clarified that his compelling interest in creatures such as spiders and mantis shrimp predated his formal education. This personal fascination, rather than his university studies, ultimately fueled his narrative directions.
The Genesis of a Writing Career
Tchaikovsky’s writing journey began around the age of seventeen. For approximately fifteen years, he dedicated himself to writing and submitting manuscripts, experiencing little success until the publication of Empire in Black and Gold. His creative process found significant inspiration in role-playing games. The inherent world-building and character development elements central to these games translated effectively into his prose, aiding him in constructing fictional realms and inhabitants.
The Unforeseen Trajectory of the Children of Time Series
The Children of Time series, initiated over a decade ago, has now reached its fourth installment. Tchaikovsky revealed that Children of Time was originally conceived as a standalone novel. At that point, his primary focus was epic fantasy, evidenced by his Shadows of the Apt series. However, he harbored an idea for a science fiction narrative. His publishers, perhaps expecting him to return to his fantasy roots, were willing to indulge him in this singular speculative fiction project. The novel’s initial reception was modest, with little immediate fanfare. However, approximately a year after its release, and following a period of relative obscurity, the book gained significant traction after being shortlisted for the Arthur C. Clarke Award. This pivotal moment dramatically reshaped his career and public perception of his work. Regarding the series’ conclusion, Tchaikovsky described it as an open-ended narrative. The continuation of the series, he suggested, hinges on the emergence of a sufficiently compelling idea for a subsequent installment. He acknowledged having a nascent concept for a fifth book, but indicated it requires further development before it can solidify.
Navigating the Realms of Fantasy and Science Fiction
Tchaikovsky’s literary passions were initially rooted in fantasy. He reflected that fantasy offers a greater degree of creative latitude, as authors are not bound by the constraints of real-world science or established empirical frameworks. Provided the foundational premises are clearly defined, the imaginative scope is virtually limitless. Conversely, science fiction presents its own distinct rewards. When a scientific concept is seamlessly integrated with our current understanding of the universe, it generates a particular sense of satisfaction.
The Spark of Inspiration for Evolved Spiders
The genesis of the Children of Time series emerged during his work on fantasy novels. Tchaikovsky’s specific inspiration stemmed from reading a research paper by Fiona Cross, a New Zealand scientist studying a particular spider species. Cross’s findings highlighted the remarkable behavioral complexity of these spiders, despite their relatively small neural capacity. This observation prompted Tchaikovsky to consider a thought experiment: what if these creatures were given an unimpeded opportunity to develop into a dominant, sapient species? Children of Time served as the narrative vehicle for exploring this hypothetical scenario, with the added human plotline designed to provide readers with an accessible entry point into the story.
The Allure of Mantis Shrimp and Other Uplifted Species
Following his explorations of spiders and octopuses, Tchaikovsky turned his attention to mantis shrimp for his latest series installment. He cited their inherent fascination as a primary reason for his selection. His choice of a particular species typically hinges on its potential to evolve into a form of intelligence comparable to that which he generally explores in his narratives. This involves assessing the creature’s current characteristics and the evolutionary pressures it faces, which might predispose it to heightened intelligence. Tchaikovsky noted that intelligence is not always the most advantageous trait from an evolutionary standpoint; many species thrive without exceptional cognitive abilities. Mantis shrimp, while not inherently social, inhabit densely packed colonies and exhibit extreme aggression, even towards their own kind. This behavior necessitates the evolution of sophisticated social intelligence. From the perspective of a small crustacean, this intelligence manifests in a complex culture of conflict, display, and deception, enabling them to assess which confrontations are worthwhile and when to assert dominance or retreat—factors Tchaikovsky views as potent catalysts for increased intelligence.
Researching and Envisioning Exoskeletal Intelligence
The process of translating a species like the mantis shrimp into a sentient being presented its own set of challenges. Tchaikovsky typically seeks straightforward avenues for his research, often involving discussions with specialists in a given field. This approach facilitates a rapid acquisition of knowledge. For the octopuses in his series, he found a comprehensive and accessible resource in Peter Godfrey-Smith’s book, Other Minds, which effectively synthesized existing research on octopus cognition. In the case of mantis shrimp, Tchaikovsky encountered a hurdle: the world’s leading authority on the subject, Roy L. Caldwell, had recently retired and was unavailable for direct consultation. Consequently, Tchaikovsky had to immerse himself in Caldwell’s extensive body of work, comprising approximately 40 years of mantis shrimp studies. This involved a two-month period spent meticulously examining his past research to extract pertinent information for his narrative.
Comparing Evolved Invertebrates
Tchaikovsky suggested that depicting mantis shrimp may have been somewhat less intricate than portraying octopuses. He found the complex neurological structure of octopuses particularly challenging to translate into a narrative perspective. The mantis shrimp required a deeper dive into physics, primarily due to the unique visual capabilities of their eyes. They possess the ability to perceive a specific type of polarized light, invisible to other creatures, which Tchaikovsky sought to incorporate into his story. Lacking initial understanding of its implications, he embarked on a journey of scientific inquiry to grasp its significance. He highlighted Cato, the mantis shrimp protagonist, noting how expressive his body language was, particularly his posture of shame. This portrayal, Tchaikovsky clarified, is grounded in the observation of real mantis shrimp body language. When writing about uplifted species, authors typically build upon existing behaviors and extrapolate how they might evolve into more complex forms of communication. Undersea creatures like mantis shrimp, without the capacity for sophisticated vocalization beyond clicks, rely on elaborate full-body gestures to convey meaning. Moreover, their exceptional eyesight allows for extremely subtle distinctions in movement and posture, conveying detailed messages. The physical complexity of mantis shrimp was also a factor; Tchaikovsky mentioned that drawing them, with their numerous antennae, legs, and appendages, proved to be a formidable artistic task.
The Dark Evolution of Children of Strife
The Children of Time series is predicated on the premise of Earth’s impending doom and humanity’s quest for new, terraformed homes. Children of Strife, however, ventures into a darker territory, introducing a power-hungry terraformer who manipulates evolution on a distant planet. Tchaikovsky attributed this thematic shift to his observations of contemporary figures in positions of power, finding the origins of such characters mystifying.
Speculative Evolution and the Absence of a Linear Path
Evolution, particularly speculative evolution, is a recurring theme that deeply fascinates Tchaikovsky. He also expressed admiration for his book Alien Clay, which explores life evolving in a manner distinct from his other works. Speculative evolution, whether examining alternative evolutionary pathways on Earth or the potential development of extraterrestrial life, appears to him as an extraordinarily rich source of imaginative possibilities. A significant revelation for him was Stephen Jay Gould’s book Wonderful Life, which discusses life during the early Cambrian period and the fossils found in the Burgess Shale. Gould’s work suggests that in isolation, the direction of evolutionary development is not predetermined. Tchaikovsky uses this in works like Alien Clay to counter the common misconception that evolution possesses a linear trajectory, culminating in humans as its perfect endpoint. He emphasizes that this is not how evolution operates.
In The Doors of Eden, Tchaikovsky re-imagined Earth’s evolutionary history multiple times, resulting in different dominant species each instance. His novels Alien Clay and Shroud investigate entirely divergent evolutionary trajectories. This exploration he describes as an endlessly captivating exercise. He acknowledges Dougall Dixon as a foundational figure in speculative evolution, citing his book After Man as a personally impactful work encountered during his secondary school years. Dixon’s core concept involves a scenario where humanity has vanished, and the remaining life forms radiate outwards to fill all available evolutionary niches.
Authentic Alien Creations
Tchaikovsky’s alien creations consistently diverge from the trope of humanoids with minor alterations. He strives for them to possess wholly distinct identities. Even within his space opera series, The Final Architecture, he endeavors to craft unique alien species. He understands that budgetary constraints often lead to simplified alien designs in film and television, such as human actors with prosthetic additions. However, he posits that alien life, having evolved independently of Earth’s biosphere, would inherently be far more alien than any terrestrial counterpart, potentially possessing entirely different genetic codes.
The Immensity of Time and Narrative Structure
The vast expanse of time is a significant element within the Children of Time books. Tchaikovsky acknowledged the mental challenge this presents when writing. Initially, Children of Time was not conceived as a series, necessitating a re-evaluation of narrative implications and the conventional plot structures that rely on defined timescales and deadlines.
Threads of Empathy Across Species
A particularly resonant aspect of the Children of Time series is the empathy that develops between disparate species. Tchaikovsky confirmed that this is a deliberate creative choice, established from the outset of the series. He views empathy, especially for beings unlike ourselves, as an increasingly vital and endangered commodity in the world. He believes this capacity for empathy, whether directed towards fellow humans, spiders, or aliens, represents a hopeful future. He contrasted this with a concerning trend observed in recent years—a diminishing capacity for empathy across the board, characterized by a pervasive “cult of selfishness.” Through his narratives, Tchaikovsky aims, in his own modest way, to advocate for a more harmonious interspecies existence, envisioning a future where diverse civilizations coexist peacefully.