Book | E-book | Audiobook (affiliate links)

*Children of the Mind *is billed as the final book in the “Ender Quartet.” In my opinion, that quartet is really Ender’s Game standing on its own, and sequel trilogy that is in many ways tonally different and mostly disconnected in plot.

The trilogy of Speaker for the Dead, Xenocide, and Children of the Mind centers on the story of the planet Lusitania, thousands of years after Ender’s defeat of the buggers. The ticking clock of the series is the war fleet sent to destroy Lusitania. It has been delayed by the computer intelligence Jane, but now Starways Congress is aware of her presence in their computer systems, and has a plan to reset their communications network across the hundred worlds. This will not only prevent her from meddling, but effectively kill her as she’s reduced from millions of computer systems to only a handful.

The destruction of Lusitania would do more than kill the thousands of human colonists, because the planet is also home to the only other intelligent species known to humanity: the pig-like Pequeninos, whose life-cycle was heavily modified by an extra-terrestrial virus—the Descolada—and includes a worm-like larval stage and an eventual transformation into something like a psychic tree.

Ender has also brought the last of the Bugger hive-queens to Lusitania, where it is busy building enough industry to build starships and send out new queen larva to distant planets, ensuring the continuation of the species.

A final additional subplot is introduced, as if there weren’t enough. The dangerous Descolada virus has been neutralized on Lusitania, replaced with a harmless version that fills the needs of Pequenino physiology without the danger of infecting and modifying the genomes of other species. But it has become apparent that the virus is not natural. It was created, and the species that could and would send such a dangerous weapon into the universe is potentially the greatest threat humans, Pequeninos, and Buggers have ever seen.

Ender, once the titular character, has now been almost entirely sidelined in the story. As a reader, his perspective is barely present in the book, and he spends a good chunk of it effectively comatose. By the end, it’s apparent that the book is a send-off for him. His presence almost feels like an afterthought. Instead, the book focuses on Miro (his adopted son and Jane’s new favorite human), Si Wang-mu (genius emigrant from the planet of Path) and young Val and Peter, ghosts from Ender’s childhood that he made physically manifest on his brief trip outside the universe in Xenocide.

Tonal Shift

Analyzing the series as a writer, it’s interesting to see the transformation of Card’s style in the post-Ender’s Game trilogy. Ender’s Game was a relatively near-future hard SF story that focused on a single brilliant boy’s journey through military school, and the horrifying extremes the wartime government was willing to go to in order to defeat an existential threat to humanity. While there is a B-plot for Peter and Valentine, most of the story stays tight on Ender’s perspective.

The subsequent trilogy is much more scattered, and while it touches on plenty of interesting ideas, I think this lack of focus is somewhat to its detriment. The series becomes decidedly softer sci-fi, culminating in a deus ex machina mode of faster-than-light travel that also allows near-magical creation of a bespoke super-virus and several entirely new people.

My daughter and I both came to the same comparison independently—the Golden Compass series had the same seemingly tight beginning before spiraling off into odd and confusing tangents. Both feel like completely different series at the beginning and the end.

A fair amount of Ender’s Game is dedicated to his own internal angst as he undergoes indignities and abuses at the hands of the adults in positions of authority over him. The subsequent books include even more angst, spread across a large cast of characters. Long internal monologues are par for the course, and I would be hard-pressed to identify any character experiencing any kind of happiness before the final two or three chapters.

Where Ender’s frustration and eventual desperation felt appropriate to his situation, I couldn’t help but feel that this modus operandi became oppressive with so many more characters, and continuing for three books. It was unrelenting and a little exhausting.

A side-effect of this feeling was that the problems posed to the characters became so big and so multitudinous that their inevitable resolutions at the end of the series felt too trite and easy in comparison. It’s a tough balancing act to set up huge roadblocks for the characters and then resolve them in a way that feels earned.

Welcome to Ethnic Planet

I am keenly aware that I’m reading this series 30 years after its original publication. One of the strangest things about these books is the way Card has built his universe. His characters and their personalities run up against each other in a variety of interesting and well-thought-out ways, but his settings feel like cardboard cutouts in comparison.

The planet of Lusitania is the most fleshed-out setting in the series, but that’s a little deceptive because it has been engineered for simplicity. The Descolada has ravaged the ecosystem, and only a dozen species have managed to adapt. There is a single human colony city, and it is Portugese Catholic through-and-through.

The common sci-fi trope would be to construct “Star Wars” planets with a single distinguishing feature, usually an environmental biome. The ice planet. The forest planet. The desert planet. The lava planet.

Strangely, Card has managed to at least partly eschew this (though Lusitania is a uniform mix of forest and plain and Trondheim is icy). However, he has very plainly replaced these tropes with a different sequence: planets that are each a uniform human monoculture. Even more strange, in my opinion, is how these caricatures hew to a myopic 1990s American perspective. Say what you want about some of the performative multiculturalism in the still-not-very-broad-minded modern publishing industry, but I am honestly a little surprised that Card’s blatant stereotyping made it into a series that was not only mainstream, but award-worthy in its day.

*Speaker for the Dead *introduced Trondheim, the stoic Scandinavian planet. Xenocide introduced uniformly Chinese planet of Path, dominated by a kind of luddite, vaguely Taoist folk religion. Children of the Mind adds two more: Divine Wind and Pacifica. Divine Wind is the Japanese planet, industrious and technologically innovative much as the US saw Japan in the 70s and 80s. Pacifica is the Samoan planet, and everyone that Peter and Wang-mu encounter there seems to be built like a linebacker, living a simple tropical life, and deeply invested in ancient, polytheistic religion.

There is an argument to be made that the book explicitly says that these planets are more diverse, and there is more to them than regions depicted in the main plot. However, I think this is a weak argument. It’s textbook telling instead of showing, and it seems to admit that the cultural caricatures, which are all we’re actually shown, are shallow and problematic.

Besides, the problem is not the lack of wokeness, it’s the abject unbelievability of a universe where each planet is almost entirely populated by uniform groups of people defined by a handful of simple traits that apparently haven’t changed over thousands of years. This is as absurd as the idea of a modern Italy that has adapted to our current world, technology, and politics while remaining culturally almost identical to the early Roman empire.

Even weirder, the term “western” is explicitly used, which is nonsensical in a far-future multi-planetary society. Of course, the core power systems of the Starways Congress and the military seem to be fully controlled by these “western” cultures, because who could possibly envision a universe where the US and Europe aren’t dominant?

The Dangers of Rereading

I have to admit, part of me wishes I hadn’t revisited these books. They didn’t quite live up to my fuzzy teenage memories of them. Those memories told me that Ender’s Game was the best of the set, and I continue to feel that way. But the sequel trilogy might have been better served by being further divorced from that book and getting a little more breathing room to explore other ideas.

In the end, I found the “Ender Quartet” to be an interesting series, but ultimately flawed enough that I had a tough time enjoying all the good bits without being reminded of the things that annoyed me. My current views are certainly affected by my age, my experiences, and the many fantastic books I’ve read in the interceding decades.

On the other hand, I might have reason to worry if I felt the same way about these books today as I did in my teens. For writers, rereading our old favorites can be a fun and useful exercise, but it’s also a dangerous one. You may find that those books were more enjoyable through the lens of nostalgic memory than they are in the cold light of a fresh read.