Salisbury Forth is a courier of contraband in the alleyways of inner Melbourne, a city of fuel rationing, rolling power outages and curfews.
It’s a stressful life, post-pandemic. A vaccine dispensed Australia-wide is causing mass-infertility, and the government has banned all remedies except prayer.
Vigilantes prowl for transgressors while the pious gather like moths under the streetlights at dusk. Then someone starts trading tainted hormones on the boss’s patch. Salisbury must find whoever is trying to destroy the business before everything goes belly up…
For a novel that made the Tiptree Honour List and won an Aurealis and a Ditmar Award, and that is cited in every discussion of queer science fiction, The Courier’s New Bicycle is hard to find in print; in the end, I resorted to asking Alisa Krasnostein to lay hands on a copy and bring it with her to LonCon 3 – which I am grateful to her for doing!
The Courier’s New Bicycle is not only cited in every discussion of queer speculative fiction out there, it deserves to be, and in any discussion of near-future or postapocalyptic science fiction too; the world posited by Westwood is terrifying, but also terrifyingly plausible. In the wake of environmental catastrophe and pandemic, fertility has dropped, green vehicles are not just the norm but the law, and a Christian fundamentalist government with very strict ideas of morality (cisgendered male and female are the only acceptable genders, hetero the only acceptable sexuality) rules Australia. Westwood paints this, and its consequences, vividly and in strong forceful strokes; the images of scooters and beetle-wing-quiet cars crawling the streets of Melbourne, bicycles whipping past them and ruling the road; fanatics gathered in prayer-shawls beating up “deviants” – these are described with an amazing vividness and immediacy.
The role of the fanatics is in part driven by the degree to which this is a book peopled by “deviants”. Salisbury Forth, Sal, is intersexed; various of Sal’s friends are homo- or bisexual, a number are trans, and her closest friend is also her boss, a producer and provider of fertility hormones. Every character has their own interests, voices, motivations, and characterisations; that The Courier’s New Bicycle manages to be sympathetic to some of the grimmer villains of the piece while still being absolutely clear that they are villains is impressive, and fantastically well done. Westwood’s ability to give each character interiority despite the book being wholly from Sal’s perspective is really a beautiful thing to see.
The Courier’s New Bicycle is a queer book through and through, treating queerness as the norm and repression/suppression of that as a deviation form it; but this is done subtly and neatly, worked in throughout the book as the various characters interact. It’s certainly subtler than the animal rights message Westwood wants to put across, which is very direct indeed, but also effective; it’s not a character giving a Goodland/Rand style diatribe, but descriptions of abuses of animals for economic purposes that drive this element.
Finally, the plot; The Courier’s New Bicycle could be accused of falling into tropes here, with elements of cyberpunk and the mafia novel both involved, but the way Westwood brings it off the page and into a kinetic, powerful life of its own puts it a cut above most novels of either type. The various threads which tie in, the refusal of Westwood to ignore the role of the personal in economic and political relationships and dealings, the fast pace and brilliantly done laying of clues, all combine to be a stunningly good plot; it doesn’t tread new ground per se, but once the layers of the queerness and the setting are noted, it stands above most books around it.
Westwood’s second novel is hard to find. But, with awards aplenty, accolades abounding, and absolutely wonderful writing, The Courier’s New Bicycle really rewards the hunt!