This “Final Odyssey” is the last and least of the three novels that Arthur C. Clarke wrote to extend the ideas introduced in 2001. The setup is clever enough: Frank Poole, a Discovery expedition member murdered by HAL 9000 back in 2001, is recovered in his excursion pod still exiting the Solar System, and he is restored to life by fourth-millennium super-science. Much of the book–the more interesting parts, really–concerns his difficulties and successes adapting to a “braincapped” posthuman society after a thousand years out of circulation.
At one point Poole’s birthdate is specifically given as 1996 (199), which would have made him only five years old when crewing the Discovery. This sort of retroactive discontinuity is common to the Odyssey Sequence, which Clarke called “variations on the same theme … not necessarily happening in the same universe” (261, quoting 2061).
The interactions with Poole’s previously monolith-integrated colleagues were a little disappointing. In particular, Heywood Floyd went missing altogether, while Dave Bowman and HAL were collapsed into a character called “Halman.” This element of the plot is focused on a threat posed by the monolith network, and defeated by human ingenuity. Clarke later rather sadly noted that his narrative resolution here was notably similar to that already used in the film Independence Day, which “contains every known science-fiction cliche since Melies’ Trip to the Moon (1903)” (253).
There is a certain irony in the book’s extensive criticisms of religion and metaphysical thought generally, while the Prologue and Epilogue construe the “Firstborn” creators of the monoliths as basically divine entities who may yet judge and sentence humanity. Perhaps inspired by the then-recent (in 1997) Aum Shinrikyo attacks, Clarke makes religiously-motivated terrorism responsible for biological and informational attacks that lead to greater global cooperation among governments in the early twenty-first century (216).
The book includes two pieces of interesting end matter. The Sources and Acknowledgements provide a chapter-by-chapter review of scientific justifications for the speculative technological elements of the novel and references to relevant current events. The Valediction is an author’s retrospective on the full Odyssey Sequence. In it, Clarke protests too much perhaps that “it’s all [his] own fiction” (262), disclaiming any co-authorship for the four books, but thus downplaying the significant contributions of Stanley Kubrick to the development of 2001 from “The Sentinel” and the features of the cinematic narrative later retrofitted to the not-sequels.