A Classical and Posthuman reading of Red Rising

Note: this isn’t really a review of Book 6, more a collection of thoughts that didn’t fit into my standard Goodreads review.

Red Rising fan-art via Chris Alston

I started reading this series when I was still a BA Classics student. Despite its genre being dystopian science-fiction (space opera?) it leans heavily into Classical-era Greece and Rome for its world-building in the stars. That was my justification back then for this procrastination. Now that I am enrolled in a Critical Theory MA, I can make a good case for this having a strong posthuman reading and thus I had a good reason to lay Walter Benjamin to one side while I blitzed through this.

The “Red Rising” series by Pierce Brown is a gripping (i.e. heart in mouth, edge of your seat) sci-fi saga that digs deep into themes of societal stratification, revolution, and the pursuit of power. The tale begins on Mars, where society is divided into a color-coded caste system, with Golds at the top and Reds at the bottom. Unsurprisingly, given the inequality, there is a series of revolutions and revolts against those in power. Actually, now I come to think of it, there’s a solid post colonial/Marxist reading of this series too!

A ‘Classical’ reading of the “Red Rising” series

The series neatly incorporates elements of classical mythology into its science fiction narrative, creating a universe that is both futuristic and deeply rooted in ancient history and myth.

1. The Institute Houses: At the Institute, where Golds are trained, each house is named after a Roman god, such as Mars, Jupiter or Apollo. This not only gives a mythical grandeur to the factions but also signifies the traits and values that each house represents, similar to the domains of the gods they’re named after. The Golds are observed by the house proctors who float majestically above the vast Institute arena in a structure known as Olympus thus emulating the Greek gods.
2. Character Names and Titles: References to mythological figures can be found in names and titles throughout the series. “Ares”, for instance, is the alias for the leader of the rebellion, borrowing from the Greek god of war. This suggests not only martial prowess but also the chaos and disruption that war brings.
3. Setting on Mars: Mars, named after the Roman god of war, is the primary setting for the initial stages of the series. The very environment underscores the constant conflict and martial themes of the narrative.
4. The Phoenix Motif: The symbol of Darrow’s rebellion, the phoenix, is significant in classical mythology. Representing rebirth and rejuvenation, it parallels Darrow’s transformation and the societal upheaval he champions. Just as the phoenix rises from its ashes, Darrow seeks a new societal order from the ruins of the old.
5. Archetypal Characters: Brown employs archetypes reminiscent of classical myths. Characters mirror archetypal roles like the tragic hero, the wise mentor, or the treacherous antagonist (bloody Lysander!). These archetypes, familiar from ancient tales, give depth to the characters and make their motivations and actions more universally relatable.
6. Themes and Morality Plays: Just as classical myths often delve into human nature, morality, and the interplay of gods and mortals, the “Red Rising” series uses its mythological references to explore the nature of power, the cyclical patterns of history, and the timeless challenges of human existence. I would argue this is as much a didactic work of art as any Greek tragedy.

A posthuman reading of the “Red Rising” series

The story explores the implications of technological and biological enhancements on human identity, societal structures, and morality. Pierce Brown’s narrative, while steeped in a futuristic setting with advanced technologies, becomes a lens through which we can examine posthuman concerns.

1. Redefining Human Identity: Darrow’s transformation from a Red to a Gold through ‘carving’ — a surgical and genetic modification procedure — isn’t just a physical change; it’s a complete alteration of identity. This transformation poses questions about the nature of identity. Is identity bound by birth, genetics, or societal role? Can it be manufactured and altered?
2. Engineered Hierarchies: The very existence of the Colour’s caste system, with each caste designed for specific roles, illustrates humanity’s propensity to engineer not just biological traits but societal hierarchies. Obsidians, for instance, are crafted to be warriors: physically formidable but also conditioned with myths to ensure obedience. This genetic and sociocultural engineering prompts us to ask: to what extent are these roles authentic expressions of self, and how much is preordained by design?
3. Extended Lifespans and Morality: The Golds’ extended lifespans through technology (a mixture of surgery, enhancement with technology and genetic engineering) emphasize the posthuman dream of transcending biological limitations. However, this longevity also raises ethical concerns. When life can be extended significantly, what becomes of societal structures, power dynamics, and the value of an individual life? These enhancements will inevitably end up in the hands of the ultra rich which just projects further and deeper into the future the deep inequality we already have in healthcare along socio-economic lines.
4. Nature vs. Nurture Revisited: The series repeatedly explores the theme of inherent nature versus imposed nurture. Characters like Sevro, who straddle different societal roles, or even Darrow, who shifts from one caste to another, exemplify the tension between biological determinism and societal conditioning. Don’t even get me started on bloody Lysander!
5. Technological Power and Ethical Responsibility: The capacity to terraform entire planets or genetically modify humans signifies unparalleled technological prowess. The series grapples with the consequences of such power. While technology can reshape worlds and beings, it also brings forth ethical dilemmas. Who gets to decide the direction of evolution? What are the moral implications of creating subservient races or genetically determined castes? The advancement in the book is not for humanity, it is to make the rich richer. This is repeatedly justified by those at the top of the hierarchy as they provide “safety and stability” (except they don’t, clearly, now or in this imagined future).
6. Posthuman Bodies and Warfare: The series presents warfare that’s heavily augmented with technology. Soldiers are more than just humans; they’re biotechnologically-enhanced entities. This reimagining of the body as a site of technological intervention redefines the very nature of conflict and sacrifice.

Through a posthuman lens, the “Red Rising” series becomes a cautionary tale about the perils and promises of transcending human limitations. While it showcases the allure of transcending biological boundaries, it also underscores the ethical, social, and moral complexities that such transcendence brings forth. The series, in essence, becomes a reflection on the age-old quest for power and perfection, reframed in the context of posthuman ambitions.

Roll on, book seven: Red God