The unofficial tagline for Dave Hutchinson’s Europe in Autumn currently seems to be “the Brexit novel written before Brexit!”* Which, yes, you can see why that would be an apposite description, but it’s also one that plumps for the easy and over-egged narrative of “SF predicts the future!” as opposed to a more nuanced one in which Hutchinson’s picked up on a continental sociopolitical trend.
What’s more, Europe in Autumn isn’t even set in Britain. Or, actually, since a large chunk of the book does, in fact, take place in London, what I mean is: it doesn’t centre Britain, which is rare enough for a genre novel published in the UK to be worth commenting on. Our Protagonist is Rudi, an Estonian chef working in a restaurant in Krakow. The near-future Europe he lives in has become balkanised, fractured into hundreds of small nations and polities:
The Continent was alive with Romanov heirs and Habsburg heirs and Grimaldi heirs and Saxe-Coburg heirs and heirs of families nobody had ever heard of who had been dispossessed sometime back in the fifteenth century, all of them seeking to set up their own pocket nations. They found they had to compete with thousands of microethnic groups who suddenly wanted European homelands as well, and religious groups, and Communists, and Fascists, and U2 fans.
The EU has become an irrelevance, its main activity being (apparently) throwing tantrums in the UN. Instead, what unites the fractured continent – if “unites” is the right word – are the Coureurs: a shadowy organisation which transports contraband, secrets and people over unfriendly borders. Basically, the novel is the story of how Rudi gets drawn further and further into this organisation, finding out more and more about Europe’s secrets as he does so.
Formally, the novel’s really a thriller: there are some SFnal elements, and the ending suggests that the sequels, Europe in Winter and Europe at Midnight, are significantly more so, but the only speculative elements in Autumn are the near-future setting and some slightly more advanced technology. But, for a thriller, there’s also surprisingly little going on. There’s no particular mystery Rudi’s trying to solve. He’s in the dark about pretty much all of the odd (but not necessarily especially violent or threatening) things that are happening to him for most of the time. (To take an example from the beginning of the book: Rudi meets a man in a neighbouring polity, has a coded conversation which lasts about five minutes, and goes home the next day none the wiser as to what the encounter actually meant. “Nobody else approached him. Nobody tried to arrest him. Nobody tried to mug him.”)
In fact, Hutchinson seems most interested in the mundanities of life as a Coureur. He pays a lot of attention to the work of “stringers”: non-Coureurs, or sometimes junior Coureurs, who are occasionally paid to leave paper trails and other traces to back up a Coureur’s cover story, by taking a lease on an apartment in a certain name, for example, or complaining about bins to a specific person. Like Rudi, we’re mostly not given any idea of how these little actions will come to be important. We see the granular detail, not the wider picture.
So what’s the point of this novelistic myopia? (I realise none of this sounds terribly complimentary; perhaps I should point out here that I liked Europe in Autumn!) Perhaps counter-intuitively, I think Hutchinson is making a political point. Because the effect of this granularity is to evoke a kind of constant, low-grade paranoia; an ever-present sense that the mundane things that make up a life are concealing something more sinister, or perhaps simply more meaningful. And, crucially, that something, that meaning behind mundanity, is inaccessible to almost everyone – including the reader, who’s so used (by the conventions of Western narrative) to being in a privileged position in relation to fictional characters.
The Europe Hutchinson conjures up is a grey and often tedious one, filled with borders and barbed wire and concrete. It’s not a dystopia, exactly, but nor is it a particularly fun place to be. It is, in fact, a continent that has slipped backwards, into Cold War paranoia. The near-future tech – which includes paper TV screens and purses that read thieves’ DNA – only points up how this world hasn’t progressed in any meaningful sense.
Despite its apparent lack of traditional SFnal furniture, then, Europe in Autumn is doing that most SFnal of work: using speculative elements to ironise, and thus to cast light on, our own historical moment – which is one of growing paranoia and distrust and cultural (if not yet national) balkanisation. And the danger of that historical moment; which is that, as we assert our differences, protect our own particular identities and ideologies to the exclusion of all else, we also give up our ability to access a wider kind of significance, our access to a shared European culture.
*At least, that’s how the person on Solaris’ stall at Nine Worlds described it to me and everyone else who happened to be walking past at the time.