The Golden Transcendence
Or, The Last of the Masquerade
Author: John C. Wright
Beginning with The Golden Age, continuing with The Phoenix Exultant and now concluding in The Golden Transcendence, John C. Wright's grand space opera is a SF adventure saga in the tradition of A. E. van Vogt and Roger Zelazny.
It is an astounding story of super-science, a thrilling wonder story that recaptures the excitements of SF's golden agewriters in the suspenseful and passionate tale of a lone rebel unhappy in utopia.
The end of the Millennium is imminent, when all minds, human, posthuman, cybernetic, sophotechnic, will be temporarily merged into one solar-system-spanning supermind called the Transcendence. This is not only the fulfillment of a thousand years of dreams, it is a day of doom, when the universal mind will pass judgment on all the races of humanity and transhumanity.
The mighty ship Phoenix Exultant is at last in the hands of her master; Phaethon the Exile is at her helm. But the terrible truth has been revealed: he is being hunted by the agents from a long-lost dead star, the eerie and deadly Lords of the Silent Oecumene, whose super-technology plumbs depths even the all-knowing Earthmind cannot fathom.
Humanity will be helpless during the Golden Transcendence. Phaethon's enemies plan to use the opportunity to destroy the population of the Inner System, man and machine alike. To do this, they must take control of Phaethon's beloved starship and turn her unparalleled power to warlike uses. Phaethon's memories are incomplete - but he knows a spy for the Silent Ones is already aboard. And when the all-encompassing Mind of the Golden Transcendence wakes - who will it condemn? Which future will it chose? Are Phaethon's dreams of star-flight about to revolutionize the Golden Age into an age even more glorious than gold, or will they kindle the first open war fought across the immensity of interstellar space?
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In The News
“A movie based on Wright's modernized space opera could easily appeal to fans of The Matrix.... Such a film would, however, lack the grand polysyllabism that sets the tone of this volume and its predecessors ... language both deeply literary and deeply essential.” —Publishers Weekly
“Set forth with such effortless intelligence and confident verisimilitude that the author might be a denizen of the remote future, reporting back to us in the distant past.” —Kirkus Reviews