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![Xenocide: Volume Three of the Ender Saga (Ender Quintet Book 3) by [Orson Scott Card]](https://m.media-amazon.com/images/I/419rvun6SbS._SY346_.jpg)
Xenocide: Volume Three of the Ender Saga (Ender Quintet Book 3) Kindle Edition
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The war for survival of the planet Lusitania will be fought in the heart of a child named Gloriously Bright.
On Lusitania, Ender found a world where humans and pequininos and the Hive Queen could all live together; where three very different intelligent species could find common ground at last. Or so he thought.
Lusitania also harbors the descolada, a virus that kills all humans it infects, but which the pequininos require in order to become adults. The Starways Congress so fears the effects of the descolada, should it escape from Lusitania, that they have ordered the destruction of the entire planet, and all who live there. The Fleet is on its way, a second xenocide seems inevitable.
Xenocide is the third novel in Orson Scott Card's The Ender Saga.
THE ENDER UNIVERSE
Ender series
Ender’s Game / Ender in Exile / Speaker for the Dead / Xenocide / Children of the Mind
Ender’s Shadow series
Ender’s Shadow / Shadow of the Hegemon / Shadow Puppets / Shadow of the Giant / Shadows in Flight
Children of the Fleet
The First Formic War (with Aaron Johnston)
Earth Unaware / Earth Afire / Earth Awakens
The Second Formic War (with Aaron Johnston)
The Swarm /The Hive
Ender novellas
A War of Gifts /First Meetings
At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
- LanguageEnglish
- PublisherTor Books
- Publication dateNovember 30, 2009
- File size6837 KB
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Editorial Reviews
Review
"The best writer science fiction has to offer.' --The Houston Post
"As a storyteller, Card excels in portraying the quiet drama of wars fought not on battlefields but in the hearts and minds of his characters....This meaty, graceful, and provoking sequel to Ender's Game and Speaker for the Dead stands as a brilliant testimony to his thoughtfulness." --Library Journal
"Hugo and Nebula-award winner Orson Scott Card demonstrates again that he belongs in the company of such older masters of science fiction as Isaac Asimov, Frank Herbert and Ursula K. Le Guin." --Magill Book Reviews
"The best science fiction novel of the year." --Nashville Banner
Amazon.com Review
A Reading Guide for Ender's Game.
THE ENDER UNIVERSE
Ender's Series: Ender Wiggin: The finest general the world could hope to find or breed.
The following Ender's Series titles are listed in order: Ender's Game, Ender In Exile, Speaker for the Dead, Xenocide, Children of the Mind.
Ender's Shadow Series: Parallel storylines to Ender’s Game from Bean: Ender’s right hand, his strategist, and his friend.
The following Ender's Shadow Series titles are listed in order: Ender's Shadow, Shadow of the Hegemon, Shadow Puppets, Shadow of the Giant, Shadows in Flight.
The First Formic War Series: One hundred years before Ender's Game, the aliens arrived on Earth with fire and death. These are the stories of the First Formic War.
A War of Gifts, First Meetings.
The Authorized Ender Companion: A complete and in-depth encyclopedia of all the persons, places, things, and events in Orson Scott Card’s Ender Universe.
--This text refers to an out of print or unavailable edition of this title.Amazon.com Review
From Kirkus Reviews
About the Author
Scott Brick first began narrating audiobooks in 2000, and after recording almost 400 titles in five years, AudioFile magazine named Brick a Golden Voice and “one of the fastest-rising stars in the audiobook galaxy.” He has read a number of titles in Frank Herbert’s bestselling Dune series, and he won the 2003 Science Fiction Audie Award for Dune: The Butlerian Jihad. Brick has narrated for many popular authors, including Michael Pollan, Joseph Finder, Tom Clancy, and Ayn Rand. He has also won over 40 AudioFile Earphones Awards and the AudioFile award for Best Voice in Mystery and Suspense 2011. In 2007, Brick was named Publishers Weekly’s Narrator of the Year.
Gabrielle de Cuir is a Grammy-nominated and Audie Award-winning producer whose narrating credits include the voice of Valentine in Orson Scott Card’s Ender novels, Ursula K. Le Guin’s The Tombs of Atuan, and Natalie Angier’s Woman, for which she was awarded AudioFile magazine’s Golden Earphones. She lives in Los Angeles where she also directs theatre and presently has several projects in various stages of development for film. Amanda Karr is an award-winning actress and director. In addition to television appearances on The Guardian and Days of Our Lives, Amanda has played Zelda Fitzgerald in the critically acclaimed musical Tender. On audio, she can be heard as the voice of Ender's cyber-friend, Jane, and as Pancho Lane in Ben Bova's Planet series. John Rubinstein, a successful actor, has been seen in the films Jekyll, Choose Conner, The Truth About Layla, and 21 Grams. He has been featured in the television shows The Young and the Restless, Greek, Desperate Housewives, Day Break, Criminal Minds, Cold Case, CSI and Law & Order. John has read a number of audiobooks by such authors as Jonathan Kellerman, Orson Scott Card, Tom Clancy, and Gabriel Brownstein. Stefan Rudnicki was born in Poland and now resides in Studio City, California. He has narrated more than 100 audiobooks, and has participated in more than a thousand as a narrator, writer, producer, or director. He is a recipient of multiple Audie Awards and AudioFile Earphones Awards as well as a Grammy Award as an audiobook producer. Along with casts of other narrators, Stefan has read a number of Orson Scott Card's best-selling science fiction novels, published by Macmillan Audio. In reviewing the 20th anniversary edition audiobook of Card’s Ender's Game, Publishers Weekly stated, "Card's phenomenal emotional depth comes through in the quiet, carefully paced speech of each performer...In particular, Rudnicki, with his lulling, sonorous voice, does a fine job articulating Ender's inner struggle between the kind, peaceful boy he wants to be and the savage, violent actions he is frequently forced to take. This is a wonderful way to experience Card's best-known and most celebrated work, both for longtime fans and for newcomers."
--This text refers to an out of print or unavailable edition of this title.Excerpt. © Reprinted by permission. All rights reserved.
<Today one of the brothers asked me: Is it a terrible prison, not to be able to move from the place where you’re standing?>
<You answered …>
<I told him that I am now more free than he is. The inability to move frees me from the obligation to act.>
<You who speak languages, you are such liars.>
Han Fei-tzu sat in lotus position on the bare wooden floor beside his wife’s sickbed. Until a moment ago he might have been sleeping; he wasn’t sure. But now he was aware of the slight change in her breathing, a change as subtle as the wind from a butterfly’s passing.
Jiang-qing, for her part, must also have detected some change in him, for she had not spoken before and now she did speak. Her voice was very soft. But Han Fei-tzu could hear her clearly, for the house was silent. He had asked his friends and servants for stillness during the dusk of Jiang-qing’s life. Time enough for careless noise during the long night that was to come, when there would be no hushed words from her lips.
“Still not dead,” she said. She had greeted him with these words each time she woke during the past few days. At first the words had seemed whimsical or ironic to him, but now he knew that she spoke with disappointment. She longed for death now, not because she hadn’t loved life, butbecause death was now unavoidable, and what cannot be shunned must be embraced. That was the Path. Jiang-qing had never taken a step away from the Path in her life.
“Then the gods are kind to me,” said Han Fei-tzu.
“To you,” she breathed. “What do we contemplate?”
It was her way of asking him to share his private thoughts with her. When others asked his private thoughts, he felt spied upon. But Jiang-qing asked only so that she could also think the same thought; it was part of their having become a single soul.
“We are contemplating the nature of desire,” said Han Fei-tzu.
“Whose desire?” she asked. “And for what?”
My desire for your bones to heal and become strong, so that they don’t snap at the slightest pressure. So that you could stand again, or even raise an arm without your own muscles tearing away chunks of bone or causing the bone to break under the tension. So that I wouldn’t have to watch you wither away until now you weigh only eighteen kilograms. I never knew how perfectly happy we were until I learned that we could not stay together.
“i“My desire,” he answered. “For you.”
“You only covet what you do not have.’ Who said that?”
“You did,” said Han Fei-tzu. “Some say, ‘what you i cannot have.’ Others say, ‘what you i should not have.’ I say, ‘You can truly covet only what you will always hunger for.’”
“You have me forever.”
“I will lose you tonight. Or tomorrow. Or next week.”
“Let us contemplate the nature of desire,” said Jiang-qing. As before, she was using philosophy to pull him out of his brooding melancholy.
He resisted her, but only playfully. “You are a harsh ruler,” said Han Fei-tzu. “Like your ancestor-of-the-heart, you make no allowance for other people’s frailty.” Jiang-qing was named for a revolutionary leader of the ancient past, who had tried to lead the people onto a new Path but was overthrown by weak-hearted cowards. It was not right, thought Han Fei-tzu, for his wife to die before him: her ancestor-of-the-heart had outlived her husband. Besides, wives i should live longer than husbands. Women were more complete inside themselves. They were also better at living in their children. They were never as solitary as a man alone.
Jiang-qing refused to let him return to brooding. “When a man’s wife is dead, what does he long for?”
Rebelliously, Han Fei-tzu gave her the most false answer to her question. “To lie with her,” he said.
“The desire of the body,” said Jiang-qing.
Since she was determined to have this conversation, Han Fei-tzu took up the catalogue for her. “The desire of the body is to act. It includes all touches, casual and intimate, and all customary movements. Thus he sees a movement out of the corner of his eye, and thinks he has seen his dead wifemoving across the doorway, and he cannot be content until he has walked to the door and seen that it was not his wife. Thus he wakes up from a dream in which he heard her voice, and finds himself speaking his answer aloud as if she could hear him.”
“What else?” asked Jiang-qing.
“I’m tired of philosophy,” said Han Fei-tzu. “Maybe the Greeks found comfort in it, but not me.”
“The desire of the spirit,” said Jiang-qing, insisting.
“Because the spirit is of the earth, it is that part which makes new things out of old ones. The husband longs for all the unfinished things that he and his wife were making when she died, and all the unstarted dreams of what they would have made if she had lived. Thus a man grows angry at his children for being too much like him and not enough like his dead wife. Thus a man hates the house they lived in together, because either he does not change it, so that it is as dead as his wife, or because he i does change it, so that it is no longer half of her making.”
“You don’t have to be angry at our little Qing-jao,” said Jiang-qing.
“Why?” asked Han Fei-tzu. “Will you stay, then, and help me teach her to be a woman? All I can teach her is to be what i I am—cold and hard, sharp and strong, like obsidian. If she grows like that, while she looks so much like you, how can I help but be angry?”
“Because you can teach her everything that I am, too,” said Jiang-qing.
“If I had any part of you in me,” said Han Fei-tzu, “I would not have needed to marry you to become a complete person.” Now he teased her by using philosophy to turn the conversation away from pain. “That is the desire of the soul. Because the soul is made of light and dwells in air, it is that part which conceives and keeps ideas, especially the idea of the self. The husband longs for his whole self, which was made of the husband and wife together. Thus he never believes any of his own thoughts, because there is always a question in his mind to which his wife’s thoughts were the only possible answer. Thus the whole world seems dead to him because he cannot trust anything to keep its meaning before the onslaught of this unanswerable question.”
“Very deep,” said Jiang-qing.
“If I were Japanese I would commit seppuku, spilling my bowel into the jar of your ashes.”
“Very wet and messy,” she said.
He smiled. “Then I should be an ancient Hindu, and burn myself on your pyre.”
But she was through with joking. “Qing-jao,” she whispered. She was reminding him he could do nothing so flamboyant as to die with her. There was little Qing-jao to care for.
So Han Fei-tzu answered her seriously. “How can I teach her to be what you are?”
“All that is good in me,” said Jiang-qing, “comes from the Path. If you teach her to obey the gods, honor the ancestors, love the people, and serve the rulers, I will be in her as much as you are.”
“I would teach her the Path as part of myself,” said Han Fei-tzu.
“Not so,” said Jiang-qing. “The Path is not a natural part of you, my husband. Even with the gods speaking to you every day, you insist on believing in a world where everything can be explained by natural causes.”
“I obey the gods.” He thought, bitterly, that he had no choice; that even to delay obedience was torture.
“But you don’t i know them. You don’t love their works.”
“The Path is to love the people. The gods we only obey.” How can I love gods who humiliate me and torment me at every opportunity?
“We love the people because they are creatures of the gods.”
“Don’t preach to me.”
She sighed.
Her sadness stung him like a spider. “I wish you would preach to me forever,” said Han Fei-tzu.
“You married me because you knew I loved the gods, and that love for them was completely missing from yourself. That was how I completed you.”
How could he argue with her, when he knew that even now he hated the gods for everything they had ever done to him, everything they had ever made him do, everything they had stolen from him in his life.
“Promise me,” said Jiang-qing.
He knew what these words meant. She felt death upon her; she was laying the burden of her life upon him. A burden he would gladly bear. It was losing her company on the Path that he had dreaded for so long.
“Promise that you will teach Qing-jao to love the gods and walk always on the Path. Promise that you will make her as much my daughter as yours.”
“Even if she never hears the voice of the gods?”
“The Path is for everyone, not just the godspoken.”
Perhaps, thought Han Fei-tzu, but it was much easier for the godspoken to follow the Path, because to them the price for straying from it was so terrible. The common people were free; they could leave the Path and not feel the pain of it for years. The godspoken couldn’t leave the Path for an hour.
“Promise me.”
I will. I promise.
But he couldn’t say the words out loud. He did not know why, but his reluctance was deep.
In the silence, as she waited for his vow, they heard the sound of running feet on the gravel outside the front door of the house. It could only be Qing-jao, home from the garden of Sun Cao-pi. Only Qing-jao was allowed torun and make noise during this time of hush. They waited, knowing that she would come straight to her mother’s room.
The door slid open almost noiselessly. Even Qing-jao had caught enough of the hush to walk softly when she was actually in the presence of her mother. Though she walked on tiptoe, she could hardly keep from dancing, almost galloping across the floor. But she did not fling her arms around her mother’s neck; she remembered that lesson even though the terrible bruise had faded from Jiang-qing’s face, where Qing-jao’s eager embrace had broken her jaw three months ago.
“I counted twenty-three white carp in the garden stream,” said Qing-jao.
“So many,” said Jiang-qing.
“I think they were showing themselves to me,” said Qing-jao. “So I could count them. None of them wanted to be left out.”
“Love you,” whispered Jiang-qing.
Han Fei-tzu heard a new sound in her breathy voice—a popping sound, like bubbles bursting with her words.
“Do you think that seeing so many carp means that I will be godspoken?” asked Qing-jao.
“I will ask the gods to speak to you,” said Jiang-qing.
Suddenly Jiang-qing’s breathing became quick and harsh. Han Fei-tzu immediately knelt and looked at his wife. Her eyes were wide and frightened. The moment had come.
Her lips moved. Promise me, she said, though her breath could make no sound but gasping.
“I promise,” said Han Fei-tzu.
Then her breathing stopped.
“What do the gods say when they talk to you?” asked Qing-jao.
“Your mother is very tired,” said Han Fei-tzu. “You should go out now.”
“But she didn’t answer me. What do the gods say?”
“They tell secrets,” said Han Fei-tzu. “No one who hears will repeat them.”
Qing-jao nodded wisely. She took a step back, as if to leave, but stopped. “May I kiss you, Mama?”
“Lightly on the cheek,” said Han Fei-tzu.
Qing-jao, being small for a four-year-old, did not have to bend very far at all to kiss her mother’s cheek. “I love you, Mama.”
“You’d better leave now, Qing-jao,” said Han Fei-tzu.
“But Mama didn’t say she loved me too.”
“She did. She said it before. Remember? But she’s very tired and weak. Go now.”
He put just enough sternness in his voice that Qing-jao left without further questions. Only when she was gone did Han Fei-tzu let himself feel anything but care for her. He knelt over Jiang-qing’s body and tried to imagine what was happening to her now. Her soul had flown and was nowalready in heaven. Her spirit would linger much longer; perhaps her spirit would dwell in this house, if it had truly been a place of happiness for her. Superstitious people believed that all spirits of the dead were dangerous, and put up signs and wards to fend them off. But those who followed the Path knew that the spirit of a good person was never harmful or destructive, for their goodness in life had come from the spirit’s love of making things. Jiang-qing’s spirit would be a blessing in the house for many years to come, if she chose to stay.
Yet even as he tried to imagine her soul and spirit, according to the teachings of the Path, there was a cold place in his heart that was certain that all that was left of Jiang-qing was this brittle, dried-up body. Tonight it would burn as quickly as paper, and then she would be gone except for the memories in his heart.
Jiang-qing was right. Without her to complete his soul, he was already doubting the gods. And the gods had noticed—they always did. At once he felt the unbearable pressure to do the ritual of cleansing, until he was rid of his unworthy thoughts. Even now they could not leave him unpunished. Even now, with his wife lying dead before him, the gods insisted that he do obeisance to them before he could shed a single tear of grief for her.
At first he meant to delay, to put off obedience. He had schooled himself to be able to postpone the ritual for as long as a whole day, while hiding all outward signs of his inner torment. He could do that now—but only by keeping his heart utterly cold. There was no point in that. Proper grief could come only when he had satisfied the gods. So, kneeling there, he began the ritual.
He was still twisting and gyrating with the ritual when a servant peered in. Though the servant said nothing, Han Fei-tzu heard the faint sliding of the door and knew what the servant would assume: Jiang-qing was dead, and Han Fei-tzu was so righteous that he was communing with the gods even before he announced her death to the household. No doubt some would even suppose that the gods had come to take Jiang-qing, since she was known for her extraordinary holiness. No one would guess that even as Han Fei-tzu worshiped, his heart was full of bitterness that the gods would dare demand this of him even now.
O Gods, he thought, if I knew that by cutting off an arm or cutting out my liver I could be rid of you forever, I would seize the knife and relish the pain and loss, all for the sake of freedom.
That thought, too, was unworthy, and required even more cleansing. It was hours before the gods at last released him, and by then he was too tired, too sick at heart to grieve. He got up and fetched the women to prepare Jiang-qing’s body for the burning.
At midnight he was the last to come to the pyre, carrying a sleepy Qing-jao in his arms. She clutched in her hands the three papers she had written for her mother in her childish scrawl. “Fish,” she had written, and “book”and “secrets.” These were the things that Qing-jao was giving to her mother to carry with her into heaven. Han Fei-tzu had tried to guess at the thoughts in Qing-jao’s mind as she wrote those words. i Fish because of the carp in the garden stream today, no doubt. And i book—that was easy enough to understand, because reading aloud was one of the last things Jiang-qing could do with her daughter. But why i secrets? What secrets did Qing-jao have for her mother? He could not ask. One did not discuss the paper offerings to the dead.
Han Fei-tzu set Qing-jao on her feet; she had not been deeply asleep, and so she woke at once and stood there, blinking slowly. Han Fei-tzu whispered to her and she rolled her papers and tucked them into her mother’s sleeve. She didn’t seem to mind touching her mother’s cold flesh—she was too young to have learned to shudder at the touch of death.
Nor did Han Fei-tzu mind the touch of his wife’s flesh as he tucked his own three papers into her other sleeve. What was there to fear from death now, when it had already done its worst?
No one knew what was written on his papers, or they would have been horrified, for he had written, “My body,” “My spirit,” and “My soul.” Thus it was that he burned himself on Jiang-qing’s funeral pyre, and sent himself with her wherever it was she was going.
Then Jiang-qing’s secret maid, Mu-pao, laid the torch onto the sacred wood and the pyre burst into flames. The heat of the fire was painful, and Qing-jao hid herself behind her father, only peeking around him now and then to watch her mother leave on her endless journey. Han Fei-tzu, though, welcomed the dry heat that seared his skin and made brittle the silk of his robe. Her body had not been as dry as it seemed; long after the papers had crisped into ash and blown upward into the smoke of the fire, her body still sizzled, and the heavy incense burning all around the fire could not conceal from him the smell of burning flesh. That is what we’re burning here: meat, fish, carrion, nothing. Not my Jiang-qing. Only the costume she wore into this life. That which made that body into the woman that I loved is still alive, i must still live. And for a moment he thought he could see, or hear, or somehow i feel the passage of Jiang-qing.
Into the air, into the earth, into the fire. I am with you.
XENOCIDE Copyright © 1991 by Orson Scott Card
--This text refers to an out of print or unavailable edition of this title.From School Library Journal
Copyright 1991 Reed Business Information, Inc. --This text refers to an alternate kindle_edition edition.
From Library Journal
Copyright 1991 Reed Business Information, Inc. --This text refers to an alternate kindle_edition edition.
From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
From AudioFile
Product details
- ASIN : B003H4I41S
- Publisher : Tor Books; Reissue edition (November 30, 2009)
- Publication date : November 30, 2009
- Language : English
- File size : 6837 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 418 pages
- Best Sellers Rank: #72,756 in Kindle Store (See Top 100 in Kindle Store)
- Customer Reviews:
About the author

Orson Scott Card is the author of the novels Ender's Game, Ender's Shadow, and Speaker for the Dead, which are widely read by adults and younger readers, and are increasingly used in schools. His most recent series, the young adult Pathfinder series (Pathfinder, Ruins, Visitors) and the fantasy Mithermages series (Lost Gate, Gate Thief, Gatefather) are taking readers in new directions.
Besides these and other science fiction novels, Card writes contemporary fantasy (Magic Street, Enchantment, Lost Boys), biblical novels (Stone Tables, Rachel and Leah), the American frontier fantasy series The Tales of Alvin Maker (beginning with Seventh Son), poetry (An Open Book), and many plays and scripts, including his "freshened" Shakespeare scripts for Romeo & Juliet, The Taming of the Shrew, and The Merchant of Venice.
Card was born in Washington and grew up in California, Arizona, and Utah. He served a mission for the LDS Church in Brazil in the early 1970s. Besides his writing, he teaches occasional classes and workshops and directs plays. He frequently teaches writing and literature courses at Southern Virginia University.
Card currently lives in Greensboro, North Carolina, with his wife, Kristine Allen Card, where his primary activities are writing a review column for the local Rhinoceros Times and feeding birds, squirrels, chipmunks, possums, and raccoons on the patio.
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I did not like SftD and the way Xenocide started it seemed that I would equally dislike it. By the end of Xenocide I marginally appreciated it more than SftD. Xenocide has more science fiction than SftD, which is good... until it wasn't. Orson went too deep with the science fiction. He started dabbling into concepts so far out there and so esoteric that it became cumbersome to read. Orson introduced us to the ansible (instantaneous communications) and relativistic speed (traveling near light speed) in Ender's Game. Both ideas were science fiction, but both concepts he sufficed with stating that not many knew how it worked, they just knew it worked. It was a perfectly acceptable explanation. Most of us don't know how our T.V. works, we just know it works. Well, in Xenocide he attempts to explain many science fiction theories and occurrences, some within the realm of possibility and some not so much so. It was some of those scientific and philosophical conversations that lost me. Maybe that's an indication of my own weak intellect, but I prefer to think not. I toiled to keep up with talk of philotes, philotic connections, InSpace, OutSpace, and other concepts.
All of the scientific talk was centered around rescuing Lusitania from it's dire situation. There was more drama and more conflict in Xenocide than there was in SftD which was a plus. But, again, there was too much. Ender and the Lusitanians were in an impossible situation. The Starways Fleet was coming with the M.D. Device which meant certain annihilation once it arrived. The Piggies wanted to leave the planet with the Descolada virus within them which meant certain annihilation for mankind. The scientists on Lusitania wanted to transform or kill the Descolada virus which would mean certain annihilation for the Piggies. Jane, the omnipresent computer program, was facing being discovered which meant certain annihilation for her. And, as a breather, there were some people on the planet Path that had a genetic defect that needed to be fixed.
Let's recap: annihilation, annihilation, annihilation, genetic defect. Do Piggies die, do humans die, or is Lusitania wiped out? What to choose? It was almost as bad as the movies in which the protagonist is hopelessly doomed. It was at this point that the science fiction became more mysticism.
Xenocide is a 600 page bridge from book two to book four. 600 pages of which at least 150 could have been deleted. Orson tied in another planet and another people that he clumsily connected to the plight of Lusitania. The converging stories, as they would be, eventually connected in the most curious fashion. I got the impression that he wanted to write a separate story but didn't think it could stand on its own so he added it to Xenocide. As boring as the parallel story began, it was somewhat interesting towards the end and far more believable than a lot of other events that were going on. Still, I saw it as largely unnecessary and adding too much undesirable content to a story which I was struggling to like as it was.
Xenocide ultimately brings forth many quandaries that can make for great discussions. The characters are very clearly defined and hold hard and fast positions on various sides of the myriad of issues. Sure, each of them tries too hard to sound wise and prophetic, which only causes me to dislike them more, but whatever opinion you hold about the political, scientific, social and religious conundrums the Lusitanians face there is a character that you will side with. I didn't particularly like any of the characters, Ender included, until the end. But the book isn't readable because of the likeability of characters or even a real deference to their peril. The book is readable because--even though the events take place on a remote planet with a small population of people and aliens, even though I didn't like any of the characters and some I wished would have been summarily executed, even though I didn't like the metaphysical route the book took--"Xenocide" will give you a lot to talk about.
The story is set 3000 years in the future after Ender, still haunted by his decision to destroy the Bugger race in a desperate gambit to avoid Humanity's destruction, has at last settled down upon the planet of, Lusitania, a primitive and strangely barren world. It is here that Ender attempts to atone for his sins by relocating the final surviving Bugger Hive Queen. He must also deal with the Piggies, the indigenous
people of Lusitania. The Piggies are sort of like Ewoks who can speak Human languages fluently and who have a very unusual method of reproduction. The planet is also home to the Descolada, an unbelievably deadly and adaptive mutagenic virus which may or may not be sentient. Unfortunately, because all worlds are linked together the the Ansible system, sort of an instantaneous interstellar Internet, Starways Congress, Humanity's governing body, also knows of the Descolada, and they send a fleet to destroy Lusitania before the Descolada can spread to other planets...In thirty years, the fleet will arrive with the dreaded Little Doctor superweapon and Lusitania will be obliterated...
First of all, let me say that Mr. Card's writing is seriously TIGHT. There are no holes in the plot whatsoever. He paints a fascinating picture of a world wherein people think and plan in terms of decades or even generations. The Ender Universe is kind of an anti-Star-Trek, a world where alien races are extremely rare, and where (initially, at least) interstellar travel is limited by the speed of light. There is little physical action in the story as everything is decided through lengthy intellectual and theological discussions...
The only problem that I have with the story --and it is a relatively minor quibble at best-- is the apparent belief which Mr. Card expresses that language and religion 3000 years from now will be essentially unchanged from what they are today, when most likely, both will be completely unrecognizable from their current forms. Also, every planet in the story has ONE religion and one religion only, not a dominant faith and many minority beliefs. Such a spiritually homogeneous system is somewhat hard to believe in a society where there is free interchange of information to and from worlds. Also, in the story one of the alien races converts to Roman Catholicism, easily and universally. In my opinion, while an alien race may find a lot to agree with among Human faiths, it is more than a bit of a stretch to picture an entire species wholeheartedly embracing a Human religious dogma.
Such matters aside, I cannot recommend this book strongly enough! I am looking forward most intensely to beginning Book Four in the series.
Top reviews from other countries

WHAT THE HELL HAPPENED!?
Around 70% of this story was taken up with pseudo-philosophical debates that went in circles before going NOWHERE (GAHHHHHHHHH!), arguments between Ender’s step family that went NOWHERE, and normal conversations that went on TOO LONG. e.g:
(Jane and Ender)
Ender: Do it
Jane: I’m not sure I should do it
Ender: Well [reason why you should do it]
Jane: I’m not sure
[See line 1, and repeat for several pages]
Now imaging this formula done with philosophy in EVERY chapter, mixed in with family-feuds in EVERY CHAPTER.
WHERE THE HELL WAS THE EDITOR!? GAHHHHHHHHHHHHHHHHHHHHHHHHHHH!!
This piece of crap was around 20% longer than the previous installations, and it had about a quarter of the story!!!! GRRRRRRR!! I am so annoyed!
Much like the second and third Matrix films, it seems as though the author has started believing his own press and tried to add too much philosophy and hidden meanings to the point where an “okay” story has become bloated and irritating.
A favourite quote of mine (after I’d put up with all of this **** for about 75% of the book):
“…my adoptive nephew, it is wild philosophy we need…”
GAHHHH!!! NO… MORE… PHILOSOPHY! STOP MAKING EVERYTHING LONG AND BAD!!!!
This has got to be the first time I have finished a book out of pure spite. I did it because there was a story buried in there, and unlike the second Robin Hobb book, good things did eventually happen, even if they did happen all at once at the very end (*fume*).
Ironically, I AM going to read the next book (having already bought it when I bought book 3). I can only hope that he manages to rescue the series after this monstrosity.
*spit*

If the book suffers from anything, it's a kind of 'sequel fatigue' - at the end of the third Ender's book, I was ready for the whole thing to be wrapped up. I was somewhat disappointed that it continues onto a fourth book since it seems that it could so easily have been an extremely good trilogy rather than a somewhat stretched out quadrology. A particular 'plot twist' at the end removes any real hope of a satisfactory conclusion and sends the series spiralling off into a direction that veers dangerously into the territory of its own posterior. The final chapter of Xenocide is as poignant as any I've read in science-fiction, and it would have been a fitting capstone for a tremendously well constructed body of work. Whether I still feel that way after Children of the Mind remains to be seen, but I can't say I've started that with anything approaching the enthusiasm with which I started Xenocide.

Set mostly on Lusitania, the strange near-failed human colony with two other sentient species (well, two at the start, anyway) it answers all the threads set up in the narrative arc but seems much more complex and confused. Where Ender's Game was a straightforward clear-as-glass sci-fi novel, Xenocide is a big-canvas. The Chinese-themed colony does have a reason to exist in the novel (two reasons actually - one to comment on the nature of religion, and secondly to throw Starways Congress into sharp relief) but they're not very big ones, and a huge chunk of the text is set on a world getting to know characters that don't really do much.
Where it shines is in continuing the sheer nastiness of Novinha and her children, although it's a bit over the top to think this deeply troubled set of siblings can get over their squabbles after a few chats from the Wigginses (Ender being known to them for over thirty years by this time.) However, the character of Jane gets given more space, becoming more essential than in "Speaker".
That said, OSC's writing remains absorbing and fast-flowing; he knows how to spin a yarn. Talking of yarns, though, the biggest flaw for me was a matter of personal taste: there's too much "magic" in the physics.
The philotics, the Outside, Jane herself: good sci-fi takes today's science as its starting point, and there's no evidence at all to suggest these concepts could ever be real. Any writer who ignores physics is writing Fantasy, not Sci-Fi. So this was the hardest thing for me to accept. After all, OSC had already proven his hard-sci smarts in a very rare manner: by not allowing his starships to use magic (hyperdrive) to get around. With that gone, the universe's solid feel went, too.

I liked the Chinese girl idea, but again the execution became wearysome. By the time we discover faster-than-light flight (by sitting in a cardboard box and rubbing the side of our noses) I've seen visions of Paul as a sandworm - a book I last read over 30 years ago - and remembered the frustration of a legendary saga that hit the ground running and then just started digging until it ran out of steam.
A shame, that...
