First, my thanks to Graham for recommending Neal Stephenson's Quicksilver!
In the Acknowledgements, Stephenson writes about some of the books which he used as sources for
Quicksilver. 'Of particular note', he writes, 'is Sir Winston Spencer Churchill's six-volume biography of Marlborough, which people who are
really interested in this period of history should
read, and people who think that
I am too long-winded should
weigh. [p. x; italics original].' Running over
nine hundred pages,
Quicksilver is
big. (So was
Cryptonomicon.) Stephenson, it would appear, is in full agreement with Treebeard the Ent's remark to the effect that anything worth saying is worth taking a long time to say.
My early impression of Quicksilver is that Stephenson appears to be using fiction as a vehicle for celebrating the achievements of the modern: he is, it seems to me and in other words, an apologist, if not an apostle, of modernism. (Some confirmation for this impression can be found in the early goings of Cryptonomicon, in which Stephenson, describing Randy Waterhouse's life with his ex-girlfriend and her academic chums, pillories post-modern thinking and behaviour.)
Another impression of the work, reached much further in (if you'll pardon the double entendre), is that it depicts sex in a fashion more cynical than that which was expressed in Cryptonomicon. Whatever your view of the sexual goings-on of the characters in Cryptonomicon, all but one of their sexual interactions possessed a certain kind of innocence: namely, they were innocent of motives other than the mutual consummation of a relationship, however quirky. (The one exception was Laurence Waterhouse bedding a young woman who was a presumed spy for the Germans, but by the time they got around to getting around, it is a foregone conclusion that he won't be giving up any secrets to her.)
By contrast, several of the notable sexual escapades in Quicksilver signify more than just the consummation of a relationship (although they also do that), and their additional significance is never better than morally compromising, even if the results further the plot and lead to good things, overall, happening.
So, my approach to Quicksilver will focus on two aspects; first, Stephenson's apparent apostolate (as it were) with respect to modernity, and, second, how sex is used to control and corrupt - to put it baldly. Whence the label 'sex' on this post, because I'll be quoting passages in which it is somehow a feature. So, with respect to the latter, you have been warned.