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Uncanny Southern Gothic: The Family Plot by Cherie Priest

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The Family Plot Cherie Priest

The Family Plot is the latest novel from Cherie Priest. It’s a Southern Gothic horror set in Chattanooga, and it marks Priest’s return to Southern Gothic sensibilities. Her first three novels (Four and Twenty Blackbirds, Wings to the Kingdom, Not Flesh Nor Feathers) bore some of the hallmarks of the genre, before she spread out to explore zombie steampunk (the acclaimed Boneshaker and its sequels), Lovecraft meets Lizzie Borden (Maplecroft, Chapelwood), and Young Adult (I Am Princess X). Priest has never entirely left horror behind, since most of her work stirs a frisson of uncanny dread, or plays with horror tropes. (Like, for example, zombies.) But The Family Plot wholly embraces the inexplicable and inimical uncanny.

Horror’s never really been my cup of tea, but this is a really good gothic haunted house story. Until the very end, but I’ll get to that.

Chuck Dutton owns a salvage company, specialising in furniture and fittings. When the aged Augusta Withrow offers him the rights to salvage her family home—soon to be torn down and the land sold—it seems like the deal is too good to be true. The house is a fancy old property, with a bunch of period fittings and a carriage house that’s been shut up for a century. Short on funds (this is a deal that will either make or break his business) Chuck sends a small team to start work: his daughter, Dahlia, who’s just finished her divorce; her cousin Bobby, an abrasive personality who likes to drink; Bobby’s son Gabe, a nice young man; and doctoral student Brad, for whom the job will be his introduction to the business and to significant manual labour.

The deal seems too good to be true because it is. The house has great stuff in it, stuff that may keep the Dutton family business financially solvent for years. It’s also haunted by various apparitions: a soldier, a child, a young woman in a yellow sundress. At first, none of the four admit to each other that they have seen any evidence of the supernatural. But slowly, things grow weirder and more unsettling. Brad finds a cemetery hidden in the trees, a morbid Hallowe’en mockup based on unclaimed headstones from a previous Withrow’s funerary business. There should be no graves to go with them, but Brad has seen a spectre of a soldier, and is driven by the increased malevolent and uncanny happenings to prove there is an actual corpse there.

There is. This is the first real proof that something went very wrong at the Withrow house earlier in its history, and that the murderous spirit inhabiting it is not just a figment of their collective imagination. A murderous spirit that’s taken a particular interest in Dahlia, who seems to be the focus of its most frightening and its most palpable aggression. All four of them want to leave. But they need to get the job done.

Unfortunately, things only get creepier and more dangerous.

Most of The Family Plot is told from Dahlia’s point of view. She’s a fascinating character, complex, prickly, with strong feelings about her family and about old houses. She’s not quite as over her recent divorce as she’d like to be, either, and that lasting… not exactly grief, but a combination of regret and resentment… is a palpable presence in the narrative, a subtle counterpoint to the unhealthy and obsessive resentment cherished by the Withrow house’s brooding and violent poltergeist. The other characters are drawn just as strongly, although the ghostly presences have at times more striking and well-developed personalities than the three living men who’re working with Dahlia. (The house itself is an incredible character. Place matters, here: matters deeply. One of the most notable things about The Family Plot, as a southern Gothic haunted house horror novel, is the sense of ever-increasing claustrophobia. It’s about interiors, both literal and metaphorical: the interior of the house, and the inside of a person’s mind and/or emotions. The inside of the home turned strange and threatening: the inside of the self exposed and forced into the light.)

Priest has a striking prose style—she’s immensely readable—and a chilling ability to write really unnerving scenes. One scene especially, where Dahlia is taking a shower in the Withrow house, and malevolent presence fills the bathroom along with the steam, is the kind of writing that leaves a physical sense of dread in its wake. It made me glad I was reading during daylight. The pace is tight the whole way through, with tension that rises peak on peak up to the climactic crisis.

I really enjoyed The Family Plot up until its final page. But on its final page… well.

[Editor’s note—in discussing the ending of the novel, this review does not go into specific details, but does comment on the way the novel ends in general terms which may constitute a spoiler for some readers.]

It’s a convention of screen horror—and I haven’t read much in the genre, but perhaps it is a convention of literary horror, too—to provide a sense of catharsis, relief, safety in a denouement and then, as its final act, take that away and leave the true fate of the main character(s), or the true outcome, both unresolved and—for the viewer—unresolvable. I’ve always felt, when it comes to narrative, that this final irresolution is a transparently manipulative device. It feels like cheating. And The Family Plot does exactly that.

That closing emotional trick means that in retrospect I don’t love the novel as much as, up to that point, I was expecting to. But it’s a really solid novel, and very entertaining: if haunted house novels are your thing, definitely check this one out.

The Family Plot is available now from Tor Books.
Read an excerpt from the novel here on Tor.com

Liz Bourke is a cranky person who reads books. She holds a Ph.D in Classics from Trinity College, Dublin. Find her at her blog. Or her Twitter.


This Week in Publishing: Worldcon 75 Guests of Honor and Discovering Your Patronus

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Pottermore Patronus quiz test J.K. Rowling

This week in science fiction/fantasy (and related subjects) publishing news… All the covers! We’re talking three Neil Gaiman book covers by Robert E. McGinnis, all in different styles; a special edition of Kushiel’s Dart; and John Scalzi’s The Dispatcher. Plus, you can finally find out what your Patronus is (and see if it matches J.K. Rowling’s) while reading up on Worldcon 75’s Guests of Honor and the MacArthur Foundation’s “genius grant” recipients.

The Dispatcher John Scalzi novella audiobook Zachary Quinto cover reveal

Kushiel's Dart special edition Subterranean Press

Anansi Boys retro cover by Robert E. McGinnis

Love is Love comic DC IDW Orlando Pulse shooting victims LGBTQ

Art by Rafael Albuquerque

We Want to Live In a World Where Studio Ghibli Makes a Legend of Zelda Movie

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Ghibli meets Zelda

Matt Vince is an artist and a visionary. In his series of concept posters, he created a world in which Studio Ghibli make a Legend of Zelda movie. Not satisfied with static images, however lovely, he has now created a fan trailer for said movie, and it’s gorgeous, and weirdly moving? Click through to behold the Great Ghibli-fied Deku Tree!

I can’t wait for the poignant story arc when Link is caught breaking pots for money, and a gruff-but-kind potter takes him and teaches him the ways of his craft.

[via AV Club!]

Jeffrey Alan Love Talks the Art and Words of Notes from the Shadowed City in His Reddit AMA

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Notes from the Shadowed City Jeffrey Alan Love

Despite being a self-described “late bloomer” in entering the art world, Jeffrey Alan Love has created some incredibly distinctive work—from painting J.R.R. Tolkien’s Beowulf for The New Yorker to illustrating Tor.com Originals and Tor.com Publishing novellas. You’ve likely noticed his work on Yoon Ha Lee’s “Combustion Hour” and Andy Remic’s Song for No Man’s Land trilogy (both of which he provides fascinating process posts for). Now, Love is releasing his first book: Notes from the Shadowed City, a fictional travelogue filled with the sketches made by the main character exploring a fantastical world. Here’s the elevator pitch:

An amnesiac finds himself in a strange city over which floats an ominous citadel. The only clue he has to his identity is a journal which leads him to believe he was traveling to research lesser-known magical swords. As the years pass in this strange land he writes and draws his experiences in the journal in the hopes of rediscovering himself and returning home. But then he falls in love.

Love took to Reddit’s r/fantasy to discuss the book, in particular how these strange and compelling drawings inspired the accompanying text.

Notes from the Shadowed City Jeffrey Alan Love art Reddit AMA

Love talks about how the art came first, with the story growing out of images with surprising links:

tonymcmillenauthor: I really loved Notes from the Shadowed City, it was lyrical and dark and really nailed what it feels like to move somewhere new. How did you develop the story? I know you have a lot of common mythic images in your work, horns, swords etc, did you create a story to work around these reoccurring images in your work or did the story come first?

JAL: The story started as individual paintings in my sketchbook. After I painted one a line or two of text would suggest themselves to me and I’d write it down. It was only after I had about 30 or so that I saw that I could use them as a framework to create a larger story (one that I had subconsciously been telling myself already). So the overall book came about by setting myself up with these moments and then trying to figure out how to give enough information/story between them to make the whole feel complete and not just a random series of paintings. It wasn’t until I was halfway through that I realized I was telling a story about myself (growing up I moved every three years or so, and always felt like an outsider searching for something magical in the world that will make me feel like I belong—a feeling that persists to this day.)


jjohansome: What was the inspiration behind Notes from the Shadowed City? What made you want to tell that specific story?

JAL: The honest answer is I broke my foot and had to spend a few weeks with my foot elevated and not moving around much. So I started doing these weird paintings in my sketchbook, and the story started to suggest itself. I think of it like Sergei Eisenstein’s uninflected images—the paintings were unrelated until they were put next to each other, and when I did that my brain couldn’t help but start to tell a story that linked them together. As the number of paintings grew, so did the story. It was only when the story was really formed and I could look back on it as a whole that I saw how it related to my own life and early childhood.


Phil_Tucker: You art is very striking and atmospheric—it evokes the best of Dave McKean and Barry Moser (I’m thinking his Divine Comedy work). Love it.

How did being able to add visual components change your approach to world building? Can you explain how you went about choosing what to depict so as to best convey your setting?

JAL: Thanks for the kind words. My approach to world building is the same as my approach to image-making—I ask myself “how much information is enough?” or “What can I get away with?” I try to just reach that edge and then quit. I’m not smart enough to construct an entire world beforehand so that it will have all the wonder and mystery and strangeness that I desire. I want it to hide parts of itself from me, to have shadows and blank spots on the maps marked with “here be dragons”. If I can give just enough so that the viewer/reader grabs onto it and takes it off into their own brain and makes it their own—that excites me. I guess it’s a bit like being a pantser or a plotter. Do you build the world beforehand that then builds the book, or does the book you write build the world? I think I tend towards the latter.

Notes from the Shadowed City Jeffrey Alan Love art Reddit AMA

An excellent question that should show up in more illustrator AMAs:

jdiddyesquire: If you could redo one fantasy or science fiction cover in your style, which would you choose? And how would you reimagine it?

JAL: This is a tough one, because I’d like the opportunity to redo ALL OF THEM. But if I had to choose one, I’d choose Gene Wolfe’s Shadow of the Torturer. In addition to being one of my favorite books, and the one that really showed me how wide and varied the world of “fantasy” can be, I have been trying to convince someone to let me paint a black square as a solution, and the fuligin cloak would give me a lot of ammo to try and convince someone that a cover that was 99% black paint was the right choice.

Notes from the Shadowed City Jeffrey Alan Love art Reddit AMA

Could the artist go all the way to the other end of the spectrum and just write?

PingerKing: Does either writing or image-making take precedence for your creative endeavors? Would you ever write a long-form novel with no pictures (‘cept maybe a cover I guess) or do you see your illustrations as essential to what you want to make?

JAL: So far image-making takes precedent, just in the fact that I’ve established myself as an illustrator and that is what pays the bills. I’m working towards doing both, but whereas in painting you can finish something in a day with a novel it takes a long time to get something ready for public consumption. Right now I’m writing every day, and the projects I’m working on for myself include an illustrated book and a graphic novel as well as a novel, but I have no idea which one of those horses will race out into the lead. Time will tell.

Grassteeth: Along the same lines as above: everyone says to focus on ONE thing and go for it. How did you decide it was ok to do both? I ask because I also want to do both (maybe combined, maybe separate) but I’m not sure if I can (or should). Also, I’m a late bloomer.

JAL: I could be the wrong person to turn to for advice on this, but I say why not? I could end up being like Michael Jordan giving up basketball (image-making) for baseball (writing) but I’ll never know until I try. And I bet Jordan had a lot of fun playing baseball while it lasted. With doubts about whether or not I should do something, or if I’m too old, I generally just assume that I have the talent/age/ability to do it – you’ll never plow a field by worrying over it in your mind. You have to just go out and do it. The worst that happens is you make something that isn’t good – but that’s the only way you learn to make something better. You can’t fix nothing.

Notes from the Shadowed City Jeffrey Alan Love art Reddit AMA

If there’s one thing we’ve learned from Love’s AMA, it’s that he’s always looking forward. He talks future projects, including another book of Norse mythology, this one illustrated:

Ketchersid: Love you work! Whats next?

JAL: Thanks! I’m doing over 100 paintings for an illustrated book of Norse Mythology right now, written by Kevin Crossley-Holland. I think it will be out next year from Walker Books. I’m also writing an illustrated book, a graphic novel or two, and a novel. Hopefully one of those will turn into my next personal project that is released.

 

Read the rest of the AMA for Love’s favorite artists and tips for illustrators looking to break in.

All art by Jeffrey Alan Love, via Muddy Colors

The Robots Are Cheaters!

Holy Rewatch Batman! “The Joker’s Last Laugh” / “The Joker’s Epitaph”

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Batman-LastLaugh08

“The Joker’s Last Laugh” / “The Joker’s Epitaph”
Written by Peter Rabe and Lorenzo Semple Jr.
Directed by Oscar Rudolph
Season 2, Episodes 47 and 48
Production code 9747
Original air dates: February 15 and 16, 1967

The Bat-signal: The Gotham City bank is providing counterfeit $100 bills for withdrawal, which results in law-abiding citizens passing fake money. The bills are perfect on one side, but blank on the other. Haunted by the insanity of the crime—and Joker’s laughter, which is echoing in Gordon’s office from an indeterminate source—Gordon and O’Hara call Batman, which interrupts Dick’s economics homework, to the boy’s delight and Bruce’s chagrin. (Bruce waxes rhapsodic about how awesome the subject of economics is, a diatribe that could only come from someone independently wealthy…)

The Joker’s laughter continues to echo in Gordon’s office, but Batman’s able to track the chortling to a speaker in Gordon’s cufflink, which is receiving from an antenna in Gordon’s trouser leg. Gordon insists that it must have gotten there from a weird person he bumped into on the subway, though how he got access to Gordon’s pants is a question best left unanswered on a network TV show in 1967…

Batman-LastLaugh01

At his headquarters in the former offices of Penthouse Publishing (really!), a publisher of comic books (really!!!), Joker tests two of his robots—really super-strong androids named Yock and Boff, whom Joker constructed in jail. A third robot, Glee, is working as a teller in the bank, and has been passing the counterfeit cash. Batman and Robin determine that he’s a robot (by telling what Robin describes as a “super-funny” joke (which is in fact, not even remotely funny (and even if it was, Batman and Robin told it so incredibly badly that no one would laugh at it anyhow)) and when Glee doesn’t respond, it “proves” that he’s a robot) and then they tweak his nose, which somehow makes his head explode. Sure.

They take Glee to the Batcave, though not before Batman makes some snippy remarks to the bank president on the subject of better vetting his tellers, a statement he feels that bank chair Bruce Wayne would echo. Indeed.

The Dynamic Duo toss Glee into the trunk and drive off, but Joker has a tracer on Glee, so he and his moll Josie hop into the Jokemobile and track him. However Batman knows there’s a tracker, so he deflects the signal to a decoy Batcave entrance, sending the Jokemobile there while he and Robin proceed to the real Batcave.

Batman-LastLaugh07

Batman and Robin analyze Glee, but find nothing useful. However, Alfred points out that the sleeves on Glee’s outfit were pressed unusually hard, and there are odd spots on them, which turn out to be printer’s ink, and in colors that would only be used in comic books. They discover that Penthouse was recently sold to W.C. Whiteface—a nom du plume for the Joker, though I mostly find myself wondering if the W.C. is supposed to refer to W.C. Fields or to the European abbreviation for a bathroom, a.k.a. a water closet.

They don’t have sufficient proof for an arrest, so Bruce Wayne shows up at Penthouse, pretending to be destitute, having played the stock market poorly. He noticed that Penthouse’s comics are printed using the same ink as the U.S. Treasury—and he offers “Mr. Whiteface” the position of vice chair of the board of the Gotham National Bank in exchange for providing Bruce with counterfeit currency to pay his newly acquired debts.

However, as Joker fires up the presses, Bruce signals Robin, who comes in the window. He “calls” Batman, saying he found Joker while on a routine crime patrol, and then fisticuffs ensue. Bruce tries to “help,” but his faux clumsiness just helps Robin do better in the fight (as planned), so Joker flicks the switch labelled “ROBOT SUPER STRENGTH LAST OUNCE OF ENERGY” to the “ON” side, and the robots are able to take Robin down. He’s tied to the comic book printing press, and to ensure no double cross, Joker has his robots force Bruce to pull the lever that will smush Robin.

Batman-LastLaugh02

However, Alfred has been in reserve, dressed in a Batman costume, and he Bat-climbs to the scene and tosses bat-gas, which drives Joker, Josie, Boff, and Yock off. (Bruce tries to follow in his role as Joker’s pretend accomplice, but is left behind.) Joker’s counterfeit operation is now a bust, but Bruce fears that he’ll wreak more havoc, as Joker made off with the document Bruce had prepared that made “W.C. Whiteface” the vice chair of the board of the bank.

Batman and Robin check on the bank, but while Boff and Yock are now tellers, there’s no odd activity. However, Joker announces that he’s going to visit Bruce Wayne on a business matter, so the Dynamnic Duo zip home and change back into their civvies.

Joker recorded Bruce “confessing” to speculating and soliciting illegal behavior from Joker. He tries to use the tape to get Bruce to kill Batman and Robin, but when he refuses, he goes for Plan B: forcing Bruce to marry Josie, with a three million dollar dowry. Joker even announces it on the society pages. Gordon and O’Hara are outraged; they try the bat-phone, but Batman’s public statement is that Bruce Wayne is an adult and can make his own decisions. Undaunted, Gordon gets the GCPD psychiatrist, Dr. Floyd, to declare Bruce mentally incompetent, suffering from second childhood syndrome (snorfle), which will enable them to negate his appointment of Joker to the bank board.

Batman-LastLaugh10

Meanwhile, Batman dopes out Glee’s controls and activates him in the name of justice. (Really!) He’s able to transmit instructions to Boff and Yock through Glee, but before he can implement the rest of his plan, O’Hara shows up with the lunatic squad and takes Bruce away in a straitjacket. Alfred is forced to once again don the bat-suit, and he and Robin head out in the Batmobile to track down the van that is taking Bruce to Happy Acres. They free Bruce—in total violation of a legitimate court order—and head to the bank, where Gordon is alerting Joker to the illegitimacy of his post as vice chair. Then Glee shows up and declares that Josie is his wife, just as Batman and Robin enter and accuse Joker of promoting bigamy.

Then Boff and Yock try to rob the customers, at which point Joker manages to take control of their programming once again. Fisticuffs ensue, and our heroes somehow manage to be triumphant despite the fact that three of the foes are super-strong. As he puts the Bat-cuffs on Josie, she asks him to apologize to Bruce, saying it might have been fun.

Floyd examines Bruce and declares him to be mentally competent once more. Floyd also expresses a desire to some day examine Die Fleidermaus Mensch.

Fetch the Bat-shark-repellant! Batman has a laugh-track detector, which must be handy to determine which sitcoms are filming before a studio audience and which has canned laughter. The Bat-deflector can deflect the signal of a tracer and lead it instead to a fake miniature Batcave entrance, complete with a sign under it that says, “LAUGH, CRIMINALS, LAUGH!” (Batman can be one nasty sumbitch when he puts his mind to it, can’t he?) He looks over Glee with the Integro-Differential Robot Analyzer (why it’s modified with the nonsense term “integro-differential” rather than the more traditional “bat” is left as an exercise for the viewer), which is later hooked up to the Robot Control Device. The Bat-spot analyzer can tell you what any spot is made of. The utility belt comes equipped not only with bat-gas, but also a bat-fan that will disperse it.

Batman-LastLaugh06

Holy #@!%$, Batman! Upon hearing Joker’s cackling on police HQ, Dick grabs his own elbow and says, “Holy funny bone, the Joker!” Upon realizing the lengths to which Joker went to plant a mini-loudspeaker and an antenna on Gordon’s person, Robin mutters, “Holy chutzpah!” thus injecting a much-appreciated dose of Yiddish to the proceedings. When he observes Glee counting money, he says, “Holy precision,” and when he discovers Glee has a tracker he says, “Holy hunting horn.” When they examine Glee, he enthuses, “Holy clockworks,” and when can’t find any useful clues on the robot, he grumbles, “Holy dead end.” When Bruce reveals that Joker is now the vice chair of the bank board, Robin aghasts, “Holy bankruptcy!” When the bank president says that Joker has the bank running at “apple pie order,” Robin’s response is “Holy stomachache.” When Bruce is forced to marry Josie, Robin envies, “Holy madness.” When Batman proposes taking control of Glee, Robin on-the-noses, “Holy remote controlled robot,” and then when Batman revives the artificial person, he just-as-on-the-noses, “Holy Frankenstein!” Upon the “revelation” that Glee is Josie’s “husband,” Robin jokes, “Holy wedding cake.”

Gotham City’s finest. Stymied by Batman’s unwillingness to help Gordon put Bruce Wayne away (for obvious reasons), Gordon is left to function on his own, which would seem to be dangerous, but dammit if he doesn’t actually take sensible action here, as declaring Bruce incompetent is a clever stratagem for getting Joker away from the bank.

No sex, please, we’re superheroes. Josie takes great pleasure in smooching Bruce, and promises to be faithful to him in her own way. (Cough.) Meanwhile, agreeing to marry a woman with a rap sheet is deemed sufficient to inter Bruce in a funny farm. Okay then.

Special Guest Villain. Back as the Joker is Cesar Romero, last seen in “The Penguin Declines.” He’ll be back in the season’s penultimate storyline, “Pop Goes the Joker” / “Flop Goes the Joker.”

Batman-LastLaugh04

Na-na na-na na-na na-na na.

“Once again, we take our poor cracked pitcher to the Caped Crusader’s well.”

–Truer words, Commissioner, truer words.

Trivial matters: This episode was discussed on The Batcave Podcast episode 41 by host John S. Drew with special guest chum, independent filmmaker and graphic designer Robert Long.

Two of Joker’s henchfolk have a Star Trek connection: Mr. Glee is played by Lawrence Montaigne, who played Decius in “Balance of Terror” and Stonn in “Amok Time” (he was also being groomed as a possible replacement for Leonard Nimoy as Spock if contract negotiations broke down between seasons one and two); and Josie is played by Phyllis Douglas, who played Yeoman Mears in “The Galileo Seven” and one of the space hippies in “The Way to Eden.”

Lorenzo Semple’s script is based on a story by crime novelist Peter Rabe. It’s Rabe’s only time writing for the screen—perhaps he was traumatized by Alan Napier doing a bat-climb. Rabe met Semple while the former was in Spain recovering from an illness.

Batman-LastLaugh09

The Jokemobile is a reuse of the “Mongrel T” roadster created for the Elvis Presley movie Easy Come, Easy Go.

The use of Penthouse as the name of the publisher Joker takes over is a bit jaw-dropping to modern eyes, but while the erotic magazine of the same name debuted in 1965, it didn’t start being published in the U.S. until 1969, so it’s probably a coincidence that it has the same name. Probably. (Having said that, there was a Penthouse Comix magazine in the 1990s…)

Pow! Biff! Zowie! “It’s sometimes difficult to think clearly when you’re strapped to a printing press.” So first Joker nails time travel, and now he’s mastered robotics, to the point where he’s created humanform androids (inaccurately referred to as “robots”). You gotta wonder, if he’s this kind of scientific genius, why he’s bothering to commit petty crimes, y’know, ever? I mean, it could just be that he’s nuts, though this iteration of the Joker is far saner than most of the other screen versions.

Batman-LastLaugh05

Also, how does the W.C. Whiteface identity hold up in any way? I mean, Gordon knows he’s really the Joker and it’s not a nom du plume, so why can’t he remove him as vice chair of the bank that way? Unless his real name is legally W.C. Whiteface. (Beats the heck out of “Jack Napier,” if you ask me…) And Bruce gets committed solely on the basis of getting engaged to a criminal? And he’s declared mentally sane because he has good reflexes? Buh?

Anyhow, this is all minor stuff that’s mostly just a fun hour. It’s not a top episode or anything, but it’s just fun to watch and doesn’t make you want to beat your head against the wall. I love the fact that Batman has a miniature Batcave entrance (labelled, of course, because this is Gotham) for the express purpose of trolling the bad guys. I love that Batman’s plan doesn’t entirely work (well, it mostly does—he does end the counterfeiting), and has the unintended consequence of putting Joker in charge of personnel at the bank. I love that Alfred has to pretend to be Batman, not once, but twice, and he gets to do a bat-climb! (Take that, Sean Pertwee!) I love the glee with which Phyllis Douglas plays Josie—not the best of the molls, but definitely in the upper echelon. I love watching Bruce pretend to be a klutz in order to “help” Joker by really helping Robin. I love that the GCPD, left to their own devices, actually approaches competence for once. (Though I was disappointed to see that Gordon didn’t participate in the bat-fight at the end, staying on the sidelines with Josie. He’s a trained cop for crying out loud!) And I love that Batman is a paragon of virtue and law-abiding-ness right up until the part where Bruce is put in a straitjacket and placed in an insane asylum, at which point he has no problem with Alfred and Robin violating a court order to illegally free Bruce from the paddy wagon.

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Basically, this is the perfect episode to toss into the DVD player if you want to watch a Batman ’66 episode that has all the usual craziness (including a most impressive selection of Bat-gadgets) without the plot howlers to drive you, er, batty. It’s even got a decent cliffhanger, and one that relates to the original format Batman debuted in!

Bat-rating: 6

Keith R.A. DeCandido reminds everyone that Book 2 of his “Tales of Asgard” trilogy, Marvel’s Sif: Even Dragons Have Their Endings, is available for preorder from the fine folks at Amazon. It’ll be released in mid-November. And you can still get Book 1, Marvel’s Thor: Dueling with Giants at finer bookstores and online dealers.

What If We Let Tim Burton Loose On All of Our Heroes?

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Tim Burton-style Captain America

We already know what it looks like when Tim Burton tackles Batman, but what if he wrapped his Cure-addled mind* around all the other superheroes? Artist Andrew Tarusov, who previously gave us Burton-fied Disney characters, has now unleashed an army of pensive, spindly heroes.

This God of Thunder seems a little unsure of his mightiness:

Tim Burton-style Thor

 

Naturally Burton would explore the conflict between nerdy Bruce Banner and The Other Guy:

Tim-Burton-style Hulk

 

Edward Wolverine-Hands!

Tim Burton-style Wolverine

 

And finally, I know Burton already did Batman, but for some reason the image of sad Batman, utterly dwarfed by that family portrait, make me laugh.

Tim Burton-style Batman

 

You can check out the rest over at Nerd Approved!

*Just to be clear, I love The Cure. I consider “Cure-addled” a feature, not a bug.

Story Time with Bats!

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Bats Reading

It’s officially autumn which means Halloween which means BATS! which means an adorable picture of a bat reading to baby bats! Plus some fireflies who have joined in for story time.

This picture has been brought to you by illustrator Sydney Hanson, and we want to hug it.

[via Bored Panda!]


Where to Start? Choosing Between the Original Story and the Screen Adaptation

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Arrival-AmyAdams

This is the trailer for Arrival.

It’s based on “Story of Your Life” by Ted Chiang. It’s directed by Denis Villeneuve whose last two movies, Prisoners and Sicario, have varied between ambitious and astonishing. It stars Amy Adams, consistently one of the most impressive and least well-utilized actresses of her generation. It’s a science fiction story that’s based entirely around language, the perils of not communicating clearly, and the personal costs of first contact.

It looks great. Advanced word is that it IS great. And it places me on the horns of a dilemma.

Do I read the story first or not?

Your first interaction with a story is the one that imprints on you, after all. There are advantages, and downsides, to both approaches.

Let’s take a look at coming to a story through the original text first. The advantage here is obvious: you hit the story in its original, purest, and most direct form. In the case of short stories or novels this is a big plus simply because it’s a chance to read a finite text in its original form. This is how the author intended it, so it makes sense that this is your first port of call.

That being said, the same doesn’t hold for long form stories. When faced with the choice between watching the two-and-a-half-hour movie version of Captain America: Civil War and reading the 98 issues of various comics, now years old, that contributed to the story line, it’s easy to see which is the most efficient approach, all other considerations aside. In cases like this, movie adaptations present as two different, equally interesting things; a second run at a story and the “CliffsNotes” version of the original. Civil War in particular did an excellent job of telling the same basic story without a lot of the elements that have dated very badly from the original. Likewise the movie version of Pride and Prejudice and Zombies, which managed to hit all the right notes and carefully avoid the novel’s less successful elements.

Pride-Prejudice-Zombies

But approaching a story—even a work of short fiction—through the original text first is no guarantee of success. If you do that, then you’ll find yourself going in to the movie version with a mental checklist of what you Have To See in the film. In most cases, you’re going to come away disappointed and, often, annoyed. As my teenaged 2000 AD-reading self—stumbling dazed and increasingly annoyed out of the Stallone Dredd movie and wondering what the HELL he’d just watched—can attest.

The thing he didn’t realize, and I now do, is that it was always going to be a disappointment. Not just because the film isn’t very good but because I went into it primed for disappointment. I wanted Dredd to keep his helmet on, I wanted Hershey to be more than window dressing. I wanted a sense of the chaotic, sprawling Mega City 1 that was in my head—not the often generic and entirely artificial environment we saw. I went in with preconceptions and I left with a headache.

So what about going straight to the adaptation?

Well, straight away you have the advantage of surprise. Going into a movie unspoiled is increasingly difficult these days but, if you don’t know the source material, it’s at least possible. Plus, just as reading the original first can set your expectations impossibly high, coming in with a clean slate means that those expectations are often at a sensible level.

Then there’s the issue of imprinting. The first version of a story you encounter is always the one you judge others by. Doctor Who is one of the best examples of this. Your Doctor is usually the one you first imprint on and it’s always difficult for others to live up to that. Likewise, if you watch the movie version of something, like it, and go back to read the book, there’s always a chance you’re going to find it lacking in some way. The best example of this is Lord of the Rings—I never made it through the original books for a whole variety of reasons and as a result, for me, Boromir will always be from Sheffield.

SeanBeanSheffieldFan

Be at peace, Son of Gondor…

I’m okay with that, not just because it’s always nice to see Yorkshire turn up in heroic fantasy, but because the LOTR movies did a very difficult job extremely well. For me they’ll always be the lens I view that story through and because I liked them, when I do read the books, their existence will be an asset rather than a problem.

So what do you do?

For me, the answer is “all of the above, depending.”

There’s so much wonderful work being done across every media that we have no hope of ever seeing, playing, listening to, reading, or watching all of it. So instead we have to work out what we like, be brave about what we’re not sure of, and try new things as much as possible. Read what you love, or what looks cool, or what has a good cover. Watch the adaptation first, if you think it will be an interesting experience—there are no hard and fast rules, beyond keeping an open mind.

As for Arrival, I’ve decided that I’m going to see the movie first. I love what I’ve read of Ted Chiang’s work. His story “Exhalation” remains an all-time favourite and I’m delighted to see his work starting to find its way into other media. So, for this one, I’m going to go in cold and, from everything I’ve heard, be very pleasantly surprised.

But I have just ordered Stories of Your Life and Others from my local bookshop. And once I see the movie, I’m going in.

Alasdair Stuart is a freelancer writer, RPG writer and podcaster. He owns Escape Artists, who publish the short fiction podcasts Escape PodPseudopodPodcastleCast of Wonders, and the magazine Mothership Zeta. He blogs enthusiastically about pop culture, cooking and exercise at Alasdairstuart.com, and tweets @AlasdairStuart.

Our Malazan Rereaders Look Back at Gardens of the Moon: Favorite Moments and Tips for New Readers

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Gardens of the Moon Steven Erikson Steve Stone cover

As part of the Tor.com eBook Club for September, we’ve asked Bill and Amanda, our intrepid Malazan Rereaders of the Fallen, to look back to the very beginning and discuss their favorite aspects of Book One, Gardens of the Moon, as well as offering some helpful advice to first-time readers…

Bill: So Amanda, here we are, six years and two months after our first post in the Malazan Reread on Tor.com, which has covered (so far!) 15 books, 4 novellas, roughly 400 posts and who knows how many thousands of pages. And now they want us to talk about Book One, Gardens of the Moon again? I confess it’s not only difficult but downright painful to cast my mind back to when I reread Gardens for this blog, picturing that boyish (emphasis on the “ish”) lad I was when we began there all those years ago: Look at those bright eyes! That spring in the step. All that hair! (Let’s not even bring up the even earlier first-time reader me; I may just break out in tears).

I suppose, though, that all that—the challenge of recollecting details, the painful acknowledgement of the inevitability of time’s passage, the constancy of change—is wholly appropriate for this task, since those are after all some of the major themes in this work. But maybe that’s a little deep for an entry point. Let’s start with something a bit lighter and simpler.

Since this is the internet, that must mean a list. So what are the three pieces of advice you’d give to those coming to Gardens for the first time? For me it would be:

  • Patience is your friend: You might have been told Gardens (and the series as a whole) can be frustratingly difficult and/or obscure. And sometimes it can be. But don’t stress over unexplained words/events/statements. Surprisingly often, if you wait just a few pages or maybe a few chapters, you’ll get the answers you felt you were missing.
  • Similarly, let the world come to you. You’re going to get tossed into things in the middle. Names are going to get dropped. Historical events will get referenced. Let it all unfold as background, get a sense of the sweep of things, the scope of time and geography, but mostly keep focused on the here and now (and don’t be afraid to use the glossary!)
  • Remember that Gardens is an early book by a relatively new author, one written about a decade before the rest of the series. It’ll have its rough moments, its flaws. It’s not a weak book, but it is the weakest of the series—even if it didn’t wholly grab you, read book two, Deadhouse Gates (then set aside a lot of time for the rest… )

How about you Amanda? What would you tell newcomers?

Amanda: Gosh, Bill, I remember that bright-eyed young thing! My reread of the Malazan novels has taken me through three house moves and two job moves, so it does feel like it has been a rather major part of my life! That young girl who agreed to sign up to the Malazan reread was a rather brash book blogger looking for more exposure, and with NO IDEA of what she was getting herself into…

So, now that I am a veteran *ahem*, I can look fondly on all those whippersnappers who are about to embark on their own read of the Malazan novels.

What would I tell them?

First, I would reiterate Bill’s comments and then say:

  • You will cover the weighty topics, as well as enjoying lighter moments. Philosophy, history, religion, mathematics, sociology, archaeology, matters of sacrifice, and human mortality, and ambition, and compassion—none are missed. Plus, you will see more jokes about genitalia than you ever expected! See? Weighty and light…
  • Be prepared to invest in these characters—my god, do you become invested! You end up living and breathing their lives, aching with their sorrows and actually exclaiming ‘yes!’ as you celebrate their victories. They get under your skin. And not one of them could be called good or bad. They are bad characters with a core of morality, or good characters, with a nasty little habit of revenge. They are men and women who feel as real as those who surround you in everyday life. You will have a favourite (or multiple favourites) and they become the yard stick by which characters in other novels are measured.
  • Recognise that you are reading one of the true examples of feminist writing in fantasy fiction. Women are represented in all their forms—maid, mother, crone; evil and badass or meek; soldiers, politicians, gods. Yes, women get raped and mutilated in this series—but it is dealt with respectfully, examining the different paths a person might follow after an event of that magnitude. Plus, men get raped and mutilated as well. Erikson understands and represents the fact that we are all born equal.

I could continue on with lavish praise, but it would also be good to hear from others who have tackled this series—what advice would you offer?

Bill: I’d also be curious what advice other rereaders would give. And you’re right about the mix of “weighty and light” themes/topics (or was that another genitalia joke?) Reading your list brings to mind another question—as that now-grizzled veteran, what do you most envy about people coming to GotM as new readers? Your response made me think of that because for me it would be getting to meet these characters for the first time, each a blank canvas to be (slowly, and not always fully) painted in. Who is this aeons-old guy with the big sword and flying mountain? What’s that mage planning now and why doesn’t he ever just tell us? Who’s the funny talking fat guy? Wait, did that character just die?

Just thinking about the journey these characters will take (some going farther than others), the emotional investment we as readers will have in them as you say, almost makes me want to pick up GotM and restart it for this book club (counts to twenty, knocks back a stiff drink, lets the moment pass… ). And while we’re on the topic of things to envy, how about a few actual (non-spoilery) moments/scenes? For me, I’d go with:

  • The entrance of Anomander Rake
  • The meeting of Quick Ben and Shadowthrone: sly vs. crazy (or is it crazy vs. sly?)
  • The scene inside the sword (yes, I did say “inside”)
  • That rooftop battle and that last battle
  • Kruppe’s monologue (pick one)

Yours?

Amanda: Haha, yes, I too am fighting a terrible urge to crack the pages on Gardens of the Moon. After all, I do have a rather snazzy Subterranean Press edition that needs road testing… Do you know something? I think I had such a wonderfully unique first read of this series that what I am jealous about probably won’t happen for other readers. I think about the camaraderie, the wise ass remarks, the thoughtful comments from the commenters on Tor.com—everything that made this joint read an utter delight. I would actually urge new readers to seek out others in the same boat for GotM, so that you can read and discuss as you go along. It opens up the experience into something incredibly special.

I think I am also jealous knowing that these new readers have such layers to descend through—the initial grasping at characters and places and events, until they become the backbone of each new book. It’s not an easy reward, but so damn rewarding.

Okay, scenes for me:

  • That prologue, where we meet Paran and Whiskeyjack (I mention this scene because it starts everything off so beautifully and mysteriously, and, as a reader coming back to the story, it carries such enormous weight. Reading it again actually made me cry, because of knowing what stems from it).
  • That first glimpse of Cotillion and Ammanas, before we know who they are and what they are planning (I love reading back what I said here in the Tor re-read: “What I am sure I won’t be able to figure out for a while is whether these two are good or evil, or some ambiguous version right in the middle.” That makes me giggle, because I’m damned if we were ever completely sure!)
  • The cataclysmic battle of Moon’s Spawn that essentially happens off-stage (mentioned because this first provided the knowledge that Erikson would take an event that another epic fantasist would have front and centre, and relegate it to a beautiful few paragraphs of description because it isn’t the focus).
  • Rake’s first entrance (the walls groaning, the lights dimming). Just Rake. Always Rake. Yeah, I never ever got over *that* character.

I am going to stop there, else I will merely list the book scene by scene and point out which part is my favourite: Erikson’s elegant use of language, or his foreshadowing of events in several books’ time, or his ability to write character duos that just spark to life… Yeah, let’s hold it there!

Bill: Yes, we’d both better stop or we’ll end up beginning another reread before we’ve finished the current one! Which is also a reminder to those joining the GotM book club that here on Tor.com you have 400 or so chapter by chapter responses by Amanda and me (plus hundreds upon hundreds of insightful comments by our readers) to help guide you through not just GotM but the entire series, including Ian Cameron Esslemont’s books set in the same world and involving many of the same characters. In fact, Esslemont’s first prequel novel (Dancer’s Lament), detailing how these characters first met serves as another potential entry into the series. But that’s a whole ‘nother post…

After training and working as an accountant for over a decade, Amanda Rutter became an editor with Angry Robot, helping to sign books and authors for the Strange Chemistry imprint. Since leaving Angry Robot, she has been a freelance editor—through her own company AR Editorial Solutions, BubbleCow and Wise Ink—and a literary agent for Red Sofa Literary Agency. In her free time, she is a yarn fiend, knitting and crocheting a storm.

Bill Capossere writes short stories, essays and plays; does reviews for the LA Review of Books and Fantasy Literature, as well as for Tor.com; and works as an adjunct English instructor. In his non-writing and reading time, he plays ultimate Frisbee (though less often and more slowly than he used to) and disc golf.

Five Books That Force Me To Buy Multiple Copies

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Frodo-reading

I love to read. I know, what a shocking statement to make on a guest blog about books. For Tor.com. From an author. I might as well have said, I breathe air or I like Doritos. But I do love to read and I have always loved to read and that was the sole reason the only thing I ever wanted to be in life was an author. And along that journey of reading so many countless books, some have just stood out amongst the others.

I should also say that I like to buy books. There is nothing in this world that I enjoy more than holding a brand new book, flipping through its pages, shoving my nose in there and smelling whatever the hell that smell is that’s inside a book. My kids make fun of me all the time. “Dad, why are you smelling that book? Again?”

Combine all of this and you have a guy who has willingly thrown his money at poor cashier clerks within many different bookstores—often to buy a book of which I already own more than one copy. Yes, publishers are evil this way. “Ooh!” they say. “Let’s hire a new artist and do a new cover for this oldie but goodie and everyone will have to buy it all over again!” Yes, these are the actions of an evil empire, and I’m so glad they do it.

Every once in a while, like when a butterfly flaps its wings and stirs the air and causes domino effects across the world until there’s a hurricane at your door, when all the stars and planets line up just right, something magical comes across your path—a book that stands out among the many. Something that you will never forget. It’ll happen when you’re a kid. When you’re a teenager. When you’re in college. Middle-age. On your death bed. But these are books that transcend the words on their pages or the story or the characters or any of it. It becomes a part of you.

It’s happened a few times to me. And I think it’s fun to have several copies of these special tomes. They stand on the shelf like trophies, or family photos, or little knickknacks your parents brought home for you from exotic, far-flung places. And even if I never literally re-read them, I often pull them down and spend a few minutes with an old friend.

Here are a few examples of such special books:

 

Dune by Frank Herbert

Herbert-duneThis is one of the very few times in my life that I have to admit I saw the movie before reading the book. Director David Lynch made an epic, sweeping, insane version of this in the eighties, when I was just a kid, and my dad had been eagerly anticipating it for months and months. My dad was a scifi nerd like none other before him, and the Dune series had always been his favorite. We saw the movie together, and I was completely and totally transfixed by this strange, eerie, captivating world. I immediately read the book.

I can’t say that I love the sequels. But that one book, the first one, with all of its depth and political machinations and archaic machines and dynastic houses (way before Game of Thrones) and the Fremen and the worms… I could go on forever. But it truly took me to another place and it’s one of the few books in life that I’ve read several times. And yes, every time they come out with a new edition, I’m the first sucker to buy it.

 

Lord of the Rings by J.R.R. Tolkien

lord-of-the-rings-book-coverI won’t bore you with the details, because you’d have to be a hermit crab on a deserted island to not know everything there is to know about this world-changing series of books. I loved the movies just as much as the books. I listen to those soundtracks often when I write. These books also took me to another place, and it was so awesome to experience that same feeling all over again when the films came out.

My favorite thing about LOTR is the vast amount of artwork that has been done to celebrate that world and its characters and beasts. I just can’t get enough. Maybe that’s why I own so many variations of this series.

 

A Wrinkle in Time by Madeleine L’Engle

A Wrinkle in Time by Madeleine L'Engle

There’s only really one word I need to say about this series: “Tesseract.” To this day, that word still gives me chills and reminds me of what it’s like to feel a pure sense of wonder. As a child, I absolutely, positively had to know what a tesseract was from the moment it was first uttered on the page. I’ve been chasing that feeling in my reading and writing ever since.

 

Les Miserables by Victor Hugo

Les-MisThis book represents a very important chunk of my life—the college years. I saw the musical of Les Mis, then read the full unabridged version over a Christmas holiday. Both the musical and the book combined to affect me on a deep level. It’s just an amazing story, so full of meaning it needs to be read a hundred times to catch it all (although one time is tough enough!). Family, love, sacrifice, bravery, good vs. evil, you name it, it’s all in this story. And it just happens to be one of those books that are in the public domain so everybody under the sun does cool versions of it. Cue in the sucker, me.

 

The Stand by Stephen King

King-StandMy favorite book by my favorite author of all time. What else is there to say? Stephen King defined my high school years, and he’s only gotten better since. He may be the only author out there for whom I buy his new book on the day it comes out, without exception, ever. And they tend to do lots of versions of this one.

 

Yeah, you guessed it. I own them all.

Top image: The Fellowship of the Ring (2001)

James Dashner is the author of the #1 New York Times bestselling Maze Runner series: The Maze Runner, The Scorch Trials, The Death Cure, The Kill Order, and The Fever Code, and the New York Times bestselling Mortality Doctrine series: The Eye of Minds, The Rule of Thoughts, and The Game of Lives. Follow him @jamesdashner on Twitter, and find dashnerjames on Instagram.

The Final Luke Cage Trailer is Here to Raise the Stakes

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LukeCage-trailer-final

The first trailers for Luke Cage have given us a vague peek into what’s coming, but the final look is here to set the board. Ready to play some chess?

It’s nice to see Luke talking to Claire Temple a little more. And now we’re getting a better idea of where everyone is situated in the story, including Cornell Stokes and Misty Knight.

Best. Clothing swap. Ever.

Luke Cage is coming to Netflix this Friday, September 30th.

Announcing the 2016 British Fantasy Award Winners

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British Fantasy Award winners 2016

The British Fantasy Society has announced the winners of the 2016 British Fantasy Award. Winners were announced on Sunday, September 25, at the awards banquet at Fantasycon by the Sea 2016 in Scarborough, North Yorkshire.

You can read the full list below, with winners in bold.

Best Anthology

  • The Doll Collection, ed. Ellen Datlow (Tor Books)
  • African Monsters, ed. Margrét Helgadóttir and Jo Thomas (Fox Spirit Books)
  • Aickman’s Heirs, ed. Simon Strantzas (Undertow Publications)
  • Best British Horror 2015, ed. Johnny Mains (Salt Publishing)
  • The 2nd Spectral Book of Horror Stories, ed. Mark Morris (Spectral Press)

Best Artist

  • Julie Dillon
  • Ben Baldwin
  • Vincent Chong
  • Evelinn Enoksen
  • Sarah Anne Langton
  • Jeffrey Alan Love

Best Collection

  • Ghost Summer: Stories, Tananarive Due (Prime Books)
  • Monsters, Paul Kane (The Alchemy Press)
  • Probably Monsters, Ray Cluley (ChiZine Publications)
  • Scar City, Joel Lane (Eibonvale Press)
  • Skein and Bone, V.H. Leslie (Undertow Publications)
  • The Stars Seem So Far Away, Margrét Helgadóttir (Fox Spirit Books)

Best Comic/Graphic Novel

  • Bitch Planet, Kelly Sue DeConnick, Valentine De Landro, Robert Wilson IV and Cris Peter (Image Comics) (#2–5)
  • Ms. Marvel, Vol. 2: Generation Why, G. Willow Wilson, Jacob Wyatt and Adrian Alphona (Marvel)
  • Nimona, Noelle Stevenson (HarperTeen)
  • Red Sonja, Gail Simone and Walter Geovani (Dynamite Entertainment) (#14–18)
  • Saga, Brian K. Vaughan and Fiona Staples (Image Comics) (#25–32)
  • The Sandman: Overture, Neil Gaiman, J.H. Williams III and Dave Stewart (Vertigo)

Best Fantasy Novel (Robert Holdstock Award)

  • Uprooted, Naomi Novik (Macmillan)
  • Guns of the Dawn, Adrian Tchaikovsky (Tor)
  • Half a War, Joe Abercrombie (HarperVoyager)
  • The Iron Ghost, Jen Williams (Headline)
  • Signal to Noise, Silvia Moreno-Garcia (Solaris)
  • Sorcerer to the Crown, Zen Cho (Macmillan)

Best Film/Television Production

  • Jonathan Strange & Mr Norrell, Peter Harness (BBC One)
  • Inside No. 9: The Trial of Elizabeth Gadge, Reece Shearsmith and Steve Pemberton (BBC Two)
  • Jessica Jones: “AKA WWJD?”, Scott Reynolds (Netflix)
  • Mad Max: Fury Road, George Miller, Brendan McCarthy and Nico Lathouris (Warner Bros. Pictures et al.)
  • Midwinter of the Spirit, Stephen Volk (ITV Studios)
  • Star Wars: The Force Awakens, Lawrence Kasdan, J.J. Abrams and Michael Arndt (Lucasfilm et al.)

Best Horror Novel (August Derleth Award)

  • Rawblood, Catriona Ward (Weidenfeld & Nicolson)
  • A Cold Silence, Alison Littlewood (Jo Fletcher Books)
  • The Death House, Sarah Pinborough (Gollancz)
  • Lost Girl, Adam Nevill (Pan Books)
  • The Silence, Tim Lebbon (Titan Books)
  • Welcome to Night Vale, Joseph Fink and Jeffrey Cranor (Orbit)

Best Independent Press

  • Angry Robot (Marc Gascoigne)
  • The Alchemy Press (Peter Coleborn and Jan Edwards)
  • Fox Spirit Books (Adele Wearing)
  • Newcon Press (Ian Whates)

Best Magazine/Periodical

  • Beneath Ceaseless Skies, ed. Scott H. Andrews (Firkin Press)
  • Black Static, ed. Andy Cox (TTA Press)
  • Holdfast Magazine, ed. Laurel Sills and Lucy Smee (Laurel Sills and Lucy Smee)
  • Interzone, ed. Andy Cox (TTA Press)
  • Strange Horizons, ed. Niall Harrison (Strange Horizons)

Best Newcomer (Sydney J. Bounds Award)

  • Zen Cho, for Sorcerer to the Crown (Macmillan)
  • Becky Chambers, for The Long Way to a Small Angry Planet (Hodder & Stoughton)
  • Peter Newman, for The Vagrant (HarperVoyager)
  • Steven Poore, for The Heir to the North (Kristell Ink)
  • Marc Turner, for When the Heavens Fall (Titan Books)

Best Nonfiction

  • Letters to Tiptree, ed. Alexandra Pierce and Alisa Krasnostein (Twelfth Planet Press)
  • The Art of Horror: An Illustrated History, ed. Stephen Jones (Applause Theatre & Cinema Books)
  • Fantasy-Faction, ed. Marc Aplin and Jennie Ivins (Fantasy-Faction)
  • Ginger Nuts of Horror, ed. Jim Mcleod (Jim McLeod)
  • King for a Year, ed. Mark West (Mark West)
  • Matrilines, Kari Sperring (Strange Horizons)

Best Novella

  • The Pauper Prince and the Eucalyptus Jinn,” Usman T. Malik (Tor.com)
  • Albion Fay, Mark Morris (Spectral Press*)
  • Binti, Nnedi Okorafor (Tor.com Publishing)
  • The Bureau of Them, Cate Gardner (Spectral Press*)
  • Witches of Lytchford, Paul Cornell (Tor.com Publishing)

Best Short Fiction

  • Fabulous Beasts,” Priya Sharma (Tor.com)
  • “The Blue Room,” V.H. Leslie (Skein and Bone)
  • “Dirt Land,” Ralph Robert Moore (Black Static #49)
  • “Hippocampus,” Adam Nevill (Terror Tales of the Ocean)
  • “Strange Creation,” Frances Kay (Tenebris Nyxies)
  • “When The Moon Man Knocks,” Cate Gardner (Black Static #48)

* now published by Snowbooks

Several of the winners shared their reactions on social media. Usman T. Malik posted a heartfelt response to the win on his Facebook page:

I didn’t get a chance to note here that some of the best writers in the world were on the BFA ballot. Mark Morris (I read his novel “Toadie” in one electricty-less night in Wadee Neelam when I was 13 years old and loved it) was my peer and competitor in my category. That is so surreal. So were Cate Gardner, brilliant writer and wonderful person whom I’m thrilled to call a friend; Nnedi Okorafor whose novel “Who Fears Death” is an enchanting and fearsome beast I consumed in 2 weeks of commuting between Gainesville and Orlando; and Paul Cornell, another spellbinding storyteller. I would have been honored to lose to any of them and you should buy their books and devour them as quickly as you can.

Congrats again to the winners and finalists. Thanks, Ellen [Datlow], for taking this story and making me polish it to a shine. Thank you again, Vince [Haig], for agreeing to accept the award on my behalf and for sending me this lovely picture. And thanks, all, for continuing to supports writers and artists. We need your eyes and your love.

The Twitter account for Gollancz Fest Writers snapped this photo of Best Newcomer Zen Cho accepting her award…

Zen Cho British Fantasy Award Best Newcomer Sorcerer to the Crown

…with Cho offering her own context on Twitter:

And Ellen Datlow responded to the win both by tweeting

…and by posting this rather appropriate photo to Facebook, with the caption “My dolls approve!”

Ellen Datlow The Doll Collection British Fantasy Awards winner best anthology 2016

The Rains

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the-rains

In one terrifying night, the peaceful community of Creek’s Cause turns into a war zone. No one under the age of eighteen is safe. Chance Rain and his older brother, Patrick, have already fended off multiple attacks from infected adults by the time they arrive at the school where other young survivors are hiding.

Most of the kids they know have been dragged away by once-trusted adults who are now ferocious, inhuman beings. The parasite that transformed them takes hold after people turn eighteen—and Patrick’s birthday is only a few days away.

Determined to save Patrick’s life and the lives of the remaining kids, the brothers embark on a mission to uncover the truth about the parasites—and what they find is horrifying. Battling an enemy not of this earth, Chance and Patrick become humanity’s only hope for salvation.

The Rains is the first young adult page-turner from New York Times bestselling author Gregg Hurwitz—available October 18th from Tor Teen.

 

 

Entry 1

It was past midnight. I was still working in the barn when I heard the rolling door lurch open. I started and lost my grip on a block of hay. It tumbled off the baling hooks.

It was creepy out here with the wind whipping across the roof, fluttering loose shingles. Bits of hay strobed through the shafts of light from the dangling overheads, and the old beams groaned beneath the load of the loft. I was plenty tough, sure, but I was also a high-school sophomore and still got spooked more often than I’d want to admit.

I turned to the door, my fists clenched around the wooden handles of the baling hooks. Each hook is a wicked metal curve that protrudes about a foot from between the knuckles of my hand. The barn door, now open, looked out onto darkness. The wind lashed in, cutting through my jeans and flannel shirt, carrying a reek that overpowered the scent of hay. It smelled as if someone were cooking rotten flesh.

I clutched those baling hooks like a second-rate Wolverine, cleared my throat, and stepped toward the door, doing my best to deepen my voice. “Who’s there?”

Patrick swung into sight, his pump-action shotgun pointed at the floor. “Chance,” he said, “thank God you’re okay.”

My older brother’s broad chest rose and fell, his black cowboy hat seated back on his head. He’d been running, or he was scared.

But Patrick didn’t get scared.

“Of course I’m okay,” I said. “What are you talking about?” I let the baling hooks drop so they dangled around my wrists from the nylon loops on the handles. Covering my nose with a sleeve, I stepped outside. “What’s that smell?”

The wind was blowing west from McCafferty’s place or maybe even the Franklins’ beyond.

“I don’t know,” Patrick said. “But that’s the least of it. Come with me. Now.”

I turned to set down my gear on the pallet jack, but Patrick grabbed my shoulder.

“You might want to bring the hooks,” he said.

 

Entry 2

I should probably introduce myself at this point. My name is Chance Rain, and I’m fifteen. Fifteen in Creek’s Cause isn’t like fifteen in a lot of other places. We work hard here and start young. I can till a field and deliver a calf and drive a truck. I can work a bulldozer, break a mustang, and if you put me behind a hunting rifle, odds are I’ll bring home dinner.

I’m also really good at training dogs.

That’s what my aunt and uncle put me in charge of when they saw I was neither as strong nor as tough as my older brother.

No one was.

In the place where you’re from, Patrick would be the star quarterback or the homecoming king. Here we don’t have homecoming, but we do have the Harvest King, which Patrick won by a landslide. And of course his girlfriend, Alexandra, won Harvest Queen.

Alex with her hair the color of wheat and her wide smile and eyes like sea glass.

Patrick is seventeen, so Alex is between us in age, though I’m on the wrong end of that seesaw. Besides, to look at Patrick you wouldn’t think he was just two years older than me. Don’t get me wrong—years of field work have built me up pretty good, but at six-two, Patrick stands half a head taller than me and has grown-man strength. He wanted to stop wrestling me years ago, because there was never any question about the outcome, but I still wanted to try now and then.

Sometimes trying’s all you got.

It’s hard to remember now before the Dusting, but things were normal here once. Our town of three thousand had dances and graduations and weddings and funerals. Every summer a fair swept through, the carnies taking over the baseball diamond with their twirly-whirly rides and rigged games. When someone’s house got blown away in a tornado, people pitched in to help rebuild it. There were disputes and affairs, and every few years someone got shot hunting and had to get rushed to Stark Peak, the closest thing to a city around here, an hour and a half by car when the weather cooperated. We had a hospital in town, better than you’d think—we had to, what with the arms caught in threshers and ranch hands thrown from horses—but Stark Peak’s where you’d head if you needed brain surgery or your face put back together. Two years ago the three Braaten brothers took their mean streaks and a juiced-up Camaro on a joyride, and only one crawled out of the wreckage alive. You can bet Ben Braaten and his broken skull got hauled to Stark Peak in a hurry.

Our tiny town was behind on a lot. The whole valley didn’t get any cell-phone coverage. There was a rumor that AT&T was gonna come put in a tower, but what with our measly population they didn’t seem in a big hurry. Our parents said that made it peaceful here. I thought that made it boring, especially when compared to all the stuff we saw on TV. The hardest part was knowing there was a whole, vast world out there, far from us. Some kids left and went off to New York or La. to pursue big dreams, and I was always a bit envious, but I shook their hands and wished them well and meant it.

Patrick and I didn’t have the same choices as a lot of other kids.

When I was six and Patrick eight, our parents went to Stark Peak for their anniversary. From what we learned later, there was steak and red wine and maybe a few martinis, too. On their way to the theater, Dad ran an intersection and his trusty Chrysler got T-boned by a muni bus.

At the funeral the caskets had to stay closed, and I could only imagine what Mom and Dad looked like beneath those shiny maple lids. When Stark Peak PD released their personals, I waited until late at night, snuck downstairs, and snooped through them. The face of Dad’s beloved Timex was cracked. I ran my thumb across the picture on his driver’s license. Mom’s fancy black clutch purse reeked of lilac from her cracked-open perfume bottle. It was the smell of her, but too strong, sickly sweet, and it hit on memories buried in my chest, making them ring like the struck bars of a xylophone. When I opened the purse, a stream of pebbled windshield glass spilled out. Some of it was red.

Breathing the lilac air, I remember staring at those bloody bits scattered on the floorboards around my bare feet, all those pieces that could never be put back together. I blanked out after that, but I must have been crying, because the next thing I remember was Patrick appearing from nowhere, my face pressed to his arm when he hugged me, and his voice quiet in my ear: “I got it from here, little brother.”

I always felt safe when Patrick was there. I never once saw him cry after my parents died. It was like he ran the math in his head, calm and steady as always, and decided that one of us had to hold it together for both of us, and since he was the big brother, that responsibility fell to him.

Sue-Anne and Jim, my aunt and uncle, took us in. They lived just four miles away, but it was the beginning of a new life. Even though I wanted time to stay frozen like it was on Dad’s shattered Timex, it couldn’t, and so Patrick and I and Jim and Sue-Anne started over.

They didn’t have any kids, but they did the best they could. They tried their hardest to figure out teacher conferences and the Tooth Fairy and buying the right kind of toys at Christmas. They weren’t cut out to be parents but they did their damnedest, and at the end of the day that’s all that really matters. Patrick and I loved them for it, and they loved us right back.

That doesn’t mean my brother and I didn’t have to grow up in a hurry. There was plenty of work to be done around the ranch and more bellies to fill. Jim had a couple hundred heads of cattle, and he bred Rhodesian ridgebacks and shipped them off across the country as guard dogs at two thousand a pop. Sue-Anne made sure to have hot food on the table three times a day, and she read to us every night. I vanished into those stories—the Odyssey, Huck Finn, The Arabian Nights. As we got older, Patrick grew tired of it all, but I kept on, raiding the bookshelf, reading myself to sleep with a flashlight under the covers. I think I hid inside those fictional worlds because they kept me from thinking about how much I’d lost in the real one.

By his early teens, Patrick was clearly a force to be reckoned with. He and I didn’t look much alike—strangers were usually surprised to find out we were brothers. Not that I was ugly or weak or anything, but Patrick… well, he was Patrick. He got my dad’s wide shoulders and good looks, and he could ride herd and rope cattle alongside the best ranch hand, chewing a piece of straw and never breaking a sweat. The girls lost their mind over who got to wear his cowboy hat during lunchtime.

Until Alex. Then it was only her.

I didn’t like math so much, but I loved English and science. I didn’t have Patrick’s skills as a cattleman, but I wasn’t afraid of hard work. I was pretty good behind a hunting rifle, almost as good as Uncle Jim himself, but the one thing I was better at than anyone was raising those puppies. Ridgebacks are lion hunters from Africa, the most fearless and loyal creatures you’ll ever meet. Whenever we had a new litter, I’d play with the pups, training them up from day one. By the time they hit two months, they’d follow me anywhere, and by the time they were half a year old, I could put them on a sit-stay and they wouldn’t move if you tried to drag them from their spot. It was hard fitting in all the work around school, but somehow I managed, and if there’s one thing Dad taught me, it’s that the Rains don’t complain.

When it came time to stack the hay, Patrick always finished his part early and offered to help me on my share, but I made sure I finished it myself. Even if it was at the end of a long day. Even if it meant I had to stay up past midnight, working alone in the barn.

Which was what I was doing after the Dusting, the first time I’d seen Patrick nervous for as far back as my memory could stretch.

Considering everything that had been going on lately, I couldn’t blame him.

But hang on. Let me start where it makes sense, one week ago. Not that any of it makes sense, but if I lay out some of what I learned later, maybe you’ll be able to keep up.

I do need you to keep up.

Your life depends on it.

 

Entry 3

It began with a hard, slanting rain. And soon there was fire, too, but it wasn’t fire. Not really. It was the pieces of Asteroid 9918 Darwinia breaking up above Earth, flaming as they entered the atmosphere.

It exploded twenty-four kilometers up, a bright flash that turned night into day. There was a boom above Creek’s Cause and a wave of heat that evaporated the drops right out of the air. Jack Kaner’s garret win dow blew out, and the rickety shed behind Grandpa Donovan’s house fell over. The surge of warmth dried the pastures and the irrigated soil.

Fist-size fragments kicked up the powdered dirt in the field lying fallow behind Hank McCafferty’s place, embedding themselves deep below the earth. A late winter had pushed back harvest, and so the fields were still full. McCafferty had been working sweet corn and barley through the fall, but this one empty plot, depleted by a recent planting, had been layered with manure to set up a double crop of alfalfa and oats for the next summer.

The soil was rich, primed for roots to take hold.

Or something else.

One of the meteorites struck Pollywog Lake at the base of the rocky ridge and burned off a foot of water. Another rocketed straight through Grandpa Donovan’s cow, leaving a Frisbee-width channel through the meat as clean as a drill. The cow staggered halfway across the marshy back meadow before realizing it was dead and falling over. The coyotes ate well that night.

We came out of our farmhouses and ranch homes, stared at the sky in puzzlement, then went back inside, finishing the dinner dishes, watching TV, getting ready for bed. Living in a land of tornadoes and deadly storms, we were used to Mother Earth’s moods.

We’d learn soon enough that Mother Earth had nothing to do with this.

Creek’s Cause was originally called Craik’s Cause, after James Craik, George Washington’s personal physician. Sometime in the early 1800s, someone screwed up transcribing a map, and the wrong name took hold. But to this day we shared a pride in the purpose for which our town was named. After all, Craik had kept Washington healthy through the Revolutionary War and the following years, remaining at the first president’s side until he finally died on that damp December night.

Standing there in the sudden heat of the night air, blinking against the afterimpressions of those bursts of flame in the sky, we couldn’t have known that more than two hundred years later the opening salvo of a new revolutionary war had been fired.

And that my brother and I would find ourselves on the front lines.

The rains continued through the night, pounding the earth, turning our roofs into waterfalls. At the edge of town, Hogan’s Creek overflowed its banks, drowning the Widow Latrell’s snow peas until minnows swam shimmering figure eights through the vines.

Since McCafferty’s farm was on higher ground, his crops weren’t deluged. Narrow, bright green shoots poked up from the moist soil of his fallow field, thickening into stalks by the third day. At the top of each was a small bud encased in a leafy sheath. McCafferty lifted his trucker’s cap to scratch his head at them, vowing to borrow Charles Franklin’s undercutter to tear those strange-looking weeds from his land, but Franklin was not a generous man, and besides, there was corn to harvest, and so it waited another day and then another.

The rains finally stopped, but the stalks kept growing. The townsfolk went to check out the crazy growths rising from the soil where the meteorites had blazed deep into the ground. Patrick and I even stopped by one day after school to join the gawkers. By the end of the workweek, the stalks were taller than Hank himself. On the seventh day they towered over ten feet.

And then they died.

Just like that, they turned brittle and brown. The pods, which had grown to the size of corncobs, seemed to wither.

Some of the neighbors stood around, spitting tobacco into the dirt and saying it was indeed the damnedest thing, but there was nothing to do until McCafferty finished his harvest and tamped down his pride enough to ask Franklin for the loan of that undercutter.

McCafferty was at the bottle that night again after dinner. I can picture the scene like I was there—him in his rickety rocker on his rickety porch, the cool night filled with the sweet-rot smell of old wood. He had put his true love in the ground three summers ago, and you could see the grief in the creases of his face. His newer, younger wife fought like hell with his two kids, turning his house into a battleground, and he hid in the fields by day and in the bars by night. On this night he was rocking and sipping, letting a sweet bourbon burn away memories of his dear departed Lucille, when over the sound of the nightly bedtime squabble upstairs he heard a faint popping noise.

At first he probably thought it was a clearing of his ears or the drink playing tricks on him. Then it came again, riding the breeze from the fields, a gentle popping like feather pillows ripping open.

A moment later he tasted a bitter dust coating his mouth. He spit a gob over the railing, reached through his screen door, grabbed his shotgun, and lumbered down the steps toward the fields. From an upstairs window, his son watched the powerful beam of a flashlight zigzag across the ground, carving up the darkness.

The bitter taste grew stronger in McCafferty’s mouth, as if a waft of pollen had thickened the air. He reached the brink of his fallow field, and what he saw brought him up short, his mouth gaping, his boots sinking in the soft mud.

A dried-out pod imploded, releasing a puff of tiny particles into the air. And then the seven-foot stalk beneath it collapsed, disintegrating into a heap of dust above the soil. He watched as the neighboring pod burst, its stalk crumbling into nothingness. And then the next. And the next. It was like a haunted-house trick—a ghost vanishing, leaving only a sheet fluttering to the ground. The weeds collapsed, row after row, sinking down into the earth they’d mysteriously appeared from.

At last the pollen grew too strong, and he coughed into a fist and headed back to his bottle, hoping the bourbon would clear his throat.

Early the next morning, McCafferty awoke and threw off the sheets. His belly was distended. Not ribs-and-coleslaw-ata-Fourth-of-July-party swollen, but bulging like a pregnant woman five months in. His wife stirred at his side, pulling the pillow over her head. Ignoring the cramps, he trudged to the closet and dressed as he did every morning. The overalls stretched across his bulging gut, but he managed to wiggle them up and snap the straps into place. He had work to do, and the hired hands weren’t gonna pay themselves.

As the sun climbed the sky, the pain in his stomach worsened. He sat on the motionless tractor, mopping his forehead. He could still taste that bitter pollen, feel it in the lining of his gut, even sense it creeping up the back of his throat into his head.

He knocked off early, a luxury he had not indulged in since his wedding day, and dragged himself upstairs and into a cold shower. His bloated stomach pushed out so far that his arms could barely encircle it. Streaks fissured the skin on his sides just like the stretch marks that had appeared at Lucille’s hips during her pregnancies. The cramping came constantly now, throbbing knots of pain.

The water beat at him, and he felt himself grow foggy. He leaned against the wall of the shower stall, his vision smearing the tiles, and he sensed that pollen in his skull, burrowing into his brain.

He remembered nothing else.

He did not remember stepping from the shower.

Or his wife calling up to him that dinner was on the table.

Or the screams of his children as he descended naked to the first floor, the added weight of his belly creaking each stair.

He couldn’t hear his wife shouting, asking what was wrong, was he in pain, that they had to get him to a doctor.

He was unaware as he stumbled out into the night and scanned the dusk-dimmed horizon, searching out the highest point.

The water tower at the edge of Franklin’s land.

Without thought or sensation, McCafferty ambled across the fields, walking straight over crops, husks cutting at his legs and arms, sticks stabbing his bare feet. By the time he reached the tower, his ribboned skin was leaving a trail of blood in his wake.

With nicked-up limbs, he pulled himself off the ground and onto the ladder. He made his painstaking ascent. From time to time, a blood-slick hand or a tattered foot slipped from a rung, but he kept on until he reached the top.

He crawled to the middle of the giant tank’s roof, his elbows and knees knocking the metal, sending out deep echoes. And then he rolled onto his back, pointing that giant belly at the moon. His eyes remained dark, unseeing.

His chest heaved and heaved and then was still.

For a long time, he lay there, motionless.

There came a churning sound from deep within his gut. It grew louder and louder.

And then his body split open.

The massive pod of his gut simply erupted, sending up a cloud of fine, red-tinted particles. They rose into the wind, scattering through the air, riding the current toward his house and the town beyond.

What happened to Hank McCafferty was terrible.

What was coming for us was far, far worse.

Excerpted from The Rains © Gregg Hurwitz, 2016

Neil Gaiman’s Stardust Heads to Radio!

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stardust-movie

After the success of the 2015 Good Omens radio play and 2013’s Neverwhere, BBC Radio is in the process of adapting Neil Gaiman’s Stardust… and another Neverwhere-ish special feature.

Dirk Maggs, who directed both of the previous Gaiman radio plays will be back for Stardust, following the adventures of young Tristran Thorne and Yvaine–a fallen star that Tristran intends to bring back to his beloved. Set for a holiday time slot in December, the play will star Matthew Beard as Tristran and Sophie Rundle as Yvaine. BBC Radio 4 recently Tweeted this photo of the whole crew:

BBC Radio 4 Stardust cast

But that’s not all! If you can’t wait until December, another play will be coming in November; fans of Neverwhere will be pleased to hear that an adaptation of “How the Marquis Got His Coat Back” is also in the works. This is particularly exciting as Paterson Joseph–who played the Marquis de Carabas in the very first production of Neverwhere back in 1996–will reprise the role. The production is said to include surprise cameos, and will also feature Bernard Cribbins (Doctor Who) resuming his role as Old Bailey, which he played in the 2013 radio production. Here is a picture of the cast:

BBC Radio 4 "How the Marquis Got His Coat Back" cast

You can take a peek at the official press release and cast breakdowns over on RadioTimes!


Rereading the Vorkosigan Saga: The Warrior’s Apprentice, Chapters 10-12

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This week, the re-read delves into chapters 10-12 of The Warrior’s Apprentice. The Dendarii go recruiting, and their new trainees have some very important questions. Miles does his best to distract them with an air of authority, a rigorous training schedule, and some fortuitous rumors about Betan rejuvenation treatments.

If you’d like to catch up on previous posts in the re-read, the index is here. At this time, the spoiler policy permits discussion of all books EXCEPT Gentlemen Jole and the Red Queen. Discussion of any and all revelations from or about that book should be whited out.

SUMMARY

Overwhelmed by the demands of keeping the Ariel’s crew prisoner, Miles introduces them to the Dendarii mercenaries and makes them recruits-trainees. The former-Oseran now-Dendarii crew has some questions about their compensation. When Miles’s tiny fleet arrives at Daum’s rendezvous point, a refinery, they discover that it has been captured. A combat force led by Bel Thorne re-captures it. Arde rams the RG freighter into the Oseran ship that counter-attacks, bending the Necklin rods.

COMMENTARY

Finally, Miles makes the connection between mercenaries and money. Really, he should have made it long before, but he’s only posing as a mercenary himself, and money has never before been an actual concern for him. The fact that they get paid is literally in the definition of the word mercenary. Of course they’re worried about their pensions—that’s their money. Miles’s visions of military service turn out to have very little to do with monetary compensation. If he’d gotten into the Academy straight away, he probably would have been shocked by the existence of his first paycheck. Miles has been heavily influenced by the stories of Vorthalia the Bold. Miles will discuss this further in Komarr when he admits that Vorthalia the Bold, Legendary Hero from the Time of Isolation was the subject of a holovid drama, and that he can still sing all nine verses of the theme song. Nine verses is a lot for a theme song; I infer that Barrayaran audiences are expected to have long attention spans. Miles gets a chuckle out of imagining Vorthalia the Bold demanding a whole life policy from the Emperor. That sounds completely realistic to me. The recruit-trainees’ entirely logical questions about their salary and benefits point out that distracting these prisoners is rapidly becoming very expensive. It’s a good thing Miles is in the Pelian system—he’s on the verge of making his delivery and getting paid.

I’m not really sure why the RG freighter is crawling so slowly towards the refinery. I know it is not fast, and there must be significant distance between the wormhole and the solar system, or there would not be a solar system, but this is still taking much longer than similar trips did in Falling Free. Long enough for a General Inspection of the captured Oseran ship, and a funeral for the dead pilot. Long enough for Miles to rewrite the Imperial Service Regulations and pass them off as Dendarii corporate material. Long enough for Elena to get a lot more experience as a hand-to-hand combat instructor. I believe that this is not so much a function of the limitations of the aging freighter’s in-system drive, but rather a concession to the needs of the plot. If the Ariel’s crew was within a day’s training of being an effective fighting force, Miles wouldn’t have been able to take down that drunk guy in the last section, or to take over the Ariel. I’m inclined to think that Bothari would still have had a pretty easy time of it, but I have a lot of faith in Bothari’s combat experience.

At this point, Miles, acting as the public face of the Dendarii Free Mercenaries, holds one freighter, one Illyrican cruiser, and the weapons in the hold of the freighter. His holdings, and the associated problems, are about to expand. The Pelian capture of the Felician refinery is a setback. Taking the refinery back with a small force is pretty impressive. Bel gets all the credit for the planning there—Miles made them do it. Bothari insisted that Miles remain on board the Ariel so he’s stuck waiting in the briefing room. His ingenuity and captured Oseran Captain Auson’s knowledge of Oseran codes will have a major influence on the battle anyway; Miles uses the time to interfere with enemy power suit controls. He is very impressed with his own cleverness. I am too. I especially like the suit he programs to perform every third command on a half second lag and fire ten degrees to the right of aim. I hope the Oserans are carrying a chiropractor for the soldier whose suit helmet was locked in the fully torqued position.

Bel’s plan to take the refinery is sound, but the Dendarii have not planned for backup. It’s fortunate that Arde was there, and that he is so deeply committed to feudal duty. Remember, just a few weeks ago, Arde was Betan. At the end of this battle, Miles has added a small dreadnought and a refinery to his holdings, and 46 former prisoners to his crew. He awards Bel command of the Ariel, and Auson command of the impaled dreadnought. This looks like winning. Unfortunately, it’s not compatible with Miles’s exit plan.

Arde’s decision to be a right-and-proper armsman has major consequences for his Necklin rods. These are not replaceable; They are no longer being manufactured. This renders Miles’s plan to dump his prisoners and head for the hills moot; the freighter can’t go. He’s going to have to take one of the Oseran ships, and he doesn’t have anyone in his inner circle who can fly one of those. The situation is so dire, Miles contemplates calling his dad for help.

But while she doesn’t want to stay in the Tau Verde system (or at least she doesn’t say she wants to stay), it’s starting to look like Elena Bothari might not want to go back to Barrayar either. She’s having a great time doing new things and seeing the galaxy. I’m sure it doesn’t hurt that Baz is falling in love with her. I imagine this experience has a permanent impact on Elena’s views on travel. I wonder what galactic family vacations will be like for the Bothari-Jesek clan.

Elli Quinn made her first appearance here, asking about benefits, and was burned in battle. She will require major reconstructive surgery. The Dendarii have captured Admiral Tung. We will be seeing more of both of them next week, when Miles proves that I was totally right about space-fighting.

Ellen Cheeseman-Meyer teaches history and reads a lot.

Sanctioned Sororicide: Three Dark Crowns by Kendare Blake

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Into every generation a slay— wait, let’s try that again. Into every generation triplet queens are born. Each sister specializes in one of three magics: Mirabelle is a fiery elemental with the ability to command earth, wind, fire, and water; Arsinoe a naturalist who communes with plants and animals; and Katharine a cunning poisoner able to consume toxins as if they were sugar pills. Or at least that’s how it’s supposed to be. Instead, Mirabelle is the one with all the power and her younger sisters more or less giftless.

For decades, the poisoner faction has defeated the naturalists and elementals and retained control of the throne, yet with the backing the Temple of the Goddess and her priestesses, this year the elemental is the favored champion. No one thinks Arsinoe, the plain country mouse of the trio, even stands a chance. Nevertheless, all three will square off at Beltane on their sixteenth birthday. Three queens enter, only one will survive. Years of training in their arts has brought them to this moment, yet none of them are prepared for the chaos that ensues. Hearts are broken, loyalties tested, schemes foiled, and friendships betrayed. The queens must decide if they want to play by the rules and murder the only family they have left or take matters into their own hands and defy the Goddess and their kingdom.

I’ve been a fan of Kendare Blake’s ever since Anna Dressed in Blood, a vicious bite of YA horror that begs to be devoured. When Three Dark Crowns arrived on my doorstep, I practically tore the box open to get to the excitement inside. The cover, of course, is gorgeous and absolutely perfect for the story it contains. The interior holds visual joys of its own. The map of the isle of Fennbirn is a gorgeous mass of intricate detailing. Even the fonts are striking. Whoever did the layout and technical production deserves a massive raise. I just wish the narrative appealed as much as the visual elements did.

Before you get your pitchforks out, lemme explain. I didn’t hate Three Dark Crowns, nor did I especially dislike it. There were an awful lot of bits to quibble over, and I suspect how much anyone falls for this book will depend entirely on how much weight they give them. For me, they overpowered the story, but for others they might be negligible. All I can do is tell you what I felt and why. In other words, this is a Your Mileage My Vary book.

Because I like you, I’ll start with the good stuff first. Katharine, Arsinoe, and Mirabelle are wildly compelling. The girls are so very different from each other and are likeable and unlikeable in equal measure. Arsinoe the naturalist is unrefined and nonchalant, personality traits that put her at odds with the other nature magicians. Katharine the poisoner begins as a frail, frightened girl and becomes a determined, defiant young woman. Elemental Mirabelle is all confidence until she falls in love and learns to fear others and fear for others.

The worldbuilding is also aces. Fennbirn has a believable history, complicated political machinations, and varied social groups. Think Westeros for the YA set, minus dragons. Blake is also great at setting tone and building tension. Once the action finally gets going she delights in twisting the knife deeper and deeper. The shockers in the final act will have grave ramifications for the queens and their courts, and I for one can’t wait to find out what happens next.

Now comes the grumbling, so if you don’t want to have your good opinion tainted, skip to the end.

The first issue is the pacing, a problem conflated by the fact that there are approximately 3 million characters in the book. Blake’s structure of giving each queen her own POV chapter helps once you settle into the pattern, but because the queens all have a dozen hangers-on, many of whom get POV sections within the queen’s chapter showing a scene from their non-royal perspective, it’s very easy to both lose the thread of all the plots and find it hard to care. Some of the courtiers are complex creatures with rich inner lives—Natalia the poisoner aunt, Elizabeth the secret naturalist priestess—but most either have so little impact on the narrative that it’s easy to forget they even exist—like Bree and Luke who do…stuff…I think?—or are one-note characters—Jules, Joseph, Madrigal, Billy, Luca, Pietyr, etc.

Thing is, if most of the extraneous characters were cut out the main story wouldn’t suffer from the losses and it would give more screentime to the more important yet just as underserved side characters. Given how the book turns out, Jules, Joseph, Billy, and Pietyr should be far more interesting people than they are, and that they aren’t is largely because when we do see them, they’re too busy obsessing over the queens. It’s as if whenever Mirabelle, Arsinoe, or Katherine walk away, the others cease to exist. Other characters disappear entirely despite Blake treating them as if they were super important to the storyline.

If you’re the kind of reader who really digs cishet love triangles and overwrought Romeo and Juliet-esque romances, you’ll probably have a good time with Blake’s newest series. Honestly, the overabundance of shoehorned romantic subplots was what really kicked me off Three Dark Crowns. Nearly every one of those 3 million characters have the hots for someone or are mad about who someone else has the hots for. And every one of those romances is heterosexual. (The lack of diversity is another big sticking point, but it’s also, sadly, a common one in YA.) Blake dabbles with critiquing some common YA and fantasy tropes, but instead of committing to the contradiction she veers back at the last minute and goes full trope.

Speaking of the end, Three Dark Crowns doesn’t. And this is probably my biggest issue with the arc structure, namely that there isn’t one. I actually had to pull up the page count online to make sure I didn’t have a faulty galley. There are cliffhangers and then there’s ending before the ending. The first two thirds of the novel move slow—too slow for my taste, but a lot of people really like glacially slow burns—and the final act rips through a dozen storylines in about a hundred pages, building up to the final moment only to have its knees knocked out from under it. I’d much prefer books in a series to be their own complete story. They don’t have to be episodic, but they should be able to stand on their own. Three Dark Crowns feels like the first section in a GRRM-style epic fantasy novel rather than the first book in series.

I know this review wasn’t what Blake fans were hoping for. Hell, it wasn’t what I was hoping for either. Despite the negativity of my review, I hope I haven’t completely put you off Blake or her books. There really is a lot to like in Three Dark Crowns. No matter how I felt about the experience of reading her latest book, Blake is a great writer with a strong, unique voice. I’ve loved her previous work in the past and I’ll love her future work. Just because this story didn’t work for me doesn’t mean it doesn’t work at all or won’t work for you. Again, YMMV here, and I’m certain my dissents will be in the minority. At least give it a chance to win you over.

Three Dark Crowns is available from HarperTeen.

Alex Brown is a teen librarian, writer, geeknerdloserweirdo, and all-around pop culture obsessive who watches entirely too much TV. Keep up with her every move on Twitter and Instagram, or get lost in the rabbit warren of ships and fandoms on her Tumblr.

Pathfinder Tales: Shy Knives Sweepstakes!

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Pathfinder Tales Shy Knives by Sam Sykes

We want to send you a galley copy of Sam Sykes’s Pathfinder Tales: Shy Knives, available October 18th from Tor Books!

Shaia “Shy” Ratani is a clever rogue who makes her living outside of strictly legal methods. While hiding out in the frontier city of Yanmass, she accepts a job solving a nobleman’s murder, only to find herself sucked into a plot involving an invading centaur army that could see the whole city burned to the ground. Shy could stop that from happening, but doing so would involve revealing herself to the former friends who now want her dead. Add in an aristocratic partner with the literal blood of angels in her veins, and Shy quickly remembers why she swore off doing good deeds in the first place.

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Rereading Katherine Kurtz: Saint Camber, Chapters 20-21

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SaintCamber

Welcome to the weekly reread of Saint Camber! Last time, Guaire revealed that he wants to join a new order, one that is dedicated to a new (and not yet canonized) saint—Camber.

This week features a lot of politics, a lot of synopsis, and a series of profound shocks to both Camber and Joram.

 

Saint Camber: Chapters 20-21

Here’s What Happens: Chapter 20 follows immediately upon the Shocking! Revelation! (which has been telegraphed for chapters and chapters) with Camber blown away by shock! And horror!

Guaire (and this reader) doesn’t see why he’s so shocked. And horrified. It’s been obvious for chapters and chapters. With all the pilgrims and the miracles.

Camber is shocked. Miracles?

Sure enough. The clever little trick Camber played on Guaire by “appearing” to him as an apparition has backfired spectacularly.

Camber’s mental wheels are spinning frantically. He can’t mind-whammy Guaire to make him forget—it’s gone too far and too many people know about it. Not to mention, Guaire has too many Deryni around him. It would blow Camber’s cover.

All he can think of to do is try to reason with Guaire. That works about as well as we might expect. Guaire is all spinny-eyed with religious fervor, and nothing makes a dent. All Camber’s attempt does is convince Guaire to resign from Cullen’s service and go off to help found the Servants of Saint Camber.

Camber tries desperately to talk him out of it, but has no luck. At all.

Guaire takes his leave, and Joram erupts. In synopsis. Historical Narrator is back. Their conversation goes telepathic, with more synopsis: Camber mindtalking as fast as he possibly can, ramping Joram down, and as always, convincing him to give up and do it Camber’s way. It’s just too important to keep Cinhil in line via his dear friend and mentor, Alister Cullen.

None of this is told direct. It’s all summary.

Camber is still spinning wheels over the Saint Camber problem. It just gets more complicated the more he thinks about it. And then Joram points out that there’s Dualta, whom Camber also whammied. Nobody knows where he is.

The synopsis goes on and on and on without breaking out into dialogue, and I confess my eyes glazed over. I skipped ahead to the part where Joram gives in again and does what Daddy tells him, and they go off to Mass with Anscom. Then they fill him in on the situation. And finally, we’re out of synopsis and into an actual scene.

Anscom has some bracing common sense to offer. He won’t let a shrine to Saint Camber be built in his cathedral, and he’ll see what he can do about preventing the petition for sainthood from being presented to the bishops’ council.

Camber is suitably grateful. Anscom is impressed by his appearance of calm. Camber allows as how he’s been plenty panicky, but he’s talked himself around and is all full of himself about how brilliantly he’s mentored Cinhil into brilliant military plans that he and Jeb helped with but it was mostly Cinhil.

That’s our Camber. Cinhil is a brilliant legal mind, too, he says. Why, Camber can hardly keep up!

Good, good, says Anscom. Now how is the family taking all this? he asks Joram. Joram wails a bit, then Anscom points out that there may be no stopping this thing. They’ll have to let not!Camber’s tomb become a shrine, pending the approval of the young earl’s regent, his mother Elinor. She isn’t in on the scam and will make her decision in ignorance of the truth. She won’t have Rhys and Evaine to tell her what to do, either—they’ll be at court thanks to Camber’s machinating and Queen Megan’s new pregnancy.

That’s news to Camber and Joram, but they dismiss it for the moment. There’s still the question of what Elinor will do. She was another Camber groupie. Should they tell her?

Nope nope, says Camber. She’s fixing to marry Jamie Drummond, and Jamie is “a bit of hothead.” Camber is not in favor of Jamie finding out the truth.

So that’s where that sits. And back to the synopsis mines we go. Camber goes to Grecotha, does bishop-ly things. Then back to Valoret, which is in a taking: Earl Sighere is coming, and nobody knows if it’s in war or in peace.

When he actually appears, it’s not clear which he intends. There is a lengthy, step-by-step description of the welcoming ceremony. Sighere is playing it for all he’s worth, but Camber congratulates himself on observing that it’s a show. Sighere is coming to offer alliance.

Sighere gives a speech full of rhetorical flourishes, which boils down to exactly what Camber figured. He swears fealty to Cinhil.

This changes the situation a fair bit. Cinhil consults Jeb, who opines that this is a great way to test the new army, and “Alister,” who puts in a good word for Sighere.

Cinhil then gives a short speech, saying there’s no need for Sighere to swear any oaths. Sighere respectfully begs to differ. He gives another speech, and there’s another ceremony, described in exacting detail. Cinhil formally knights him and confirms him in all his titles. Everybody is thrilled. Cheers and celebrations all around.

Chapter 21 returns us to the Dread Synopsis. Cinhil ends up heading east with Sighere, while Camber as chancellor stays in Valoret and does administrative things. Dread Synopsis gives us an exhaustive summary of political and military arrangements. Everything’s wonderful for Cinhil and company, and Sighere ends up with a promotion. He’s the first duke in Gwynedd, and his duchy is Claiborne.

And so on and on and dryly historically on. Amid the drone, we learn that Megan is blossoming in her pregnancy; she’s not droopy or drippy any longer. She and Evaine are pregnancy buddies, and they’re nesting happily together, with Rhys looking on with his proud male gaze (no female gaze here, nope).

Pregnant Evaine is wonderfully mellow. We know this because all the men notice it. We do not experience it through Evaine. As I said: no female gaze.

And of course it’s all about Camber being magnanimous and letting her gestate and bonding with her. Much father-daughter bonding. (As I pause in reading here, I start to find all these hearts and rainbows ominous. But we’ll see.)

Amid all the synopsis there’s some mention of the Camber cult—nothing resolved there and Camber is in denial again, hands clapped over ears, la la la—and something financially funky is going on with Queron and the Gabrilites. And Anscom is ill, which is not good news.

Camber stays with Anscom and sends Joram and Rhys to check out the Gabrilite oddness. And here it’s frustrating, because they’re disguised as merchants and investigating the purchase of a manor and some very rich, very secret renovations paid for by some shadowy person with gold to spare, and it’s a synopsis.

Then off to Caerrorie to check out Camber’s tomb and it’s another bloody synopsis. Elinor isn’t even there, and they don’t even bother to look at the tomb. They do find some small shrines elsewhere, but it’s all passive voice and summary and off skips the eye in search of a scene.

And all it gets is more synopsis. Anscom dies in Camber’s arms—synopsis. Camber celebrates his funeral mass—synopsis. Anscom’s succession is in question—synopsis. The upshot of that is that the new primate of Gwynedd is a Deryni but he’s not someone Camber can confide in. Camber has to go along with it, since Anscom chose him and there isn’t anyone better who is also ready to take the office.

And on the synopsis goes. Megan has a healthy son named Rhys. Joy. Celebrations. Megan isn’t as droopy as she used to be.

The new archbishop calls a consistory or major meeting of bishops and heads of religious orders. (No women. Not a single woman anywhere in the leadership of Gwynedd’s church. Which by the way is very un-medieval. The Church was constantly playing whack-a-mole with uppity women, causing many to end up in heretical sects, but there were plenty of strong female orders and leaders.)

Camber is very junior here. Joram gets to sit in with him. The summary is long and dry and adds up to very little until finally something happens. A new order is presenting a petition. Queron is part of it. So is Guaire, whom Camber completely! forgot! is very, very rich. He’s the secret backer of the renovations at Dolban. (Camber, as we’ve long since seen, is not nearly as smart as he thinks he is.)

And now there’s an actual scene. Everybody lines up and we get notes on dress and hairstyles, and Queron starts to read the petition for Camber’s sainthood. There’s an uproar, and Joram raises an objection, but Queron starts shouting and Joram has to back down. There’s fuss and bother and procedural backing and forthing, and Camber does his best to ramp down the tension and apologize for Joram. There’s no way they can afford to blow their cover in front of Queron.

The posturing and drama continue, until Camber throttles himself down and Queron goes into full spate with the petition. Camber interjects reactions here and there, mostly observing that Queron is talking about things Cinhil experienced. This is disturbing.

When Queron finally rolls to a close, Joram offers a brief rebuttal. Camber was not a saint and he’d be horrified if he knew, etc. (And of course, he’s right there and he is.)

The new arbishop, Jaffray, hems and haws and frets over Joram’s obvious opposition. Queron has a witness—Jaffray orders Joram, ever so politely, to sit down and shut up during the testimony. That’s Guaire, of course. While Camber mind-whammies Joram into a semblance of calm, Guaire is sworn in, identifies himself at length, and tells, lengthily, the story of the “miracle” after Camber’s supposed death.

It’s nothing we haven’t seen before, but it’s gone over inch by inch and minute by minute. The climax is Queron offering to put on a show of Deryni magic, which Camber suspects Jaffray was in on—he’s a Gabrilite, too, it should be noted. The chapter winds it leisurely way to a sort of casual cliffhanger: Queron setting up for his demonstration, and Jaffray ordering the doors to be barred.

 

And I’m Thinking: I start to remember why I gave up on Kurtz after this trilogy and The Bishop’s Heir. Holy synopsis, Batman. Kurtz’s true gift is for vivid characterization and breathless adventure. Apparently, in this book, she decided to be Serious and write it like historical tome, only occasionally breaking down and offering actual dramatic scenes. Or else the deadline was tight and the synopsis was detailed and that’s what made it into print. Any Kurtz superfans here, who’d like to weigh in on what happened to the storytelling? Why did Kurtz stop with the story and go all-in with the telling?

Because lordy me, this is dull. Big things happen but they’re buried in summary. The ceremonies are as lengthily and lovingly described as ever, but there’s no fun stuff to balance them. Rhys and Joram play daring duo and get a handful of paragraphs and a fast summary and that’s it.

We will not even talk about the barefoot-and-pregnant demographic. Though I had a thought about this, in connection with another much beloved entry in the Ballantine Adult Fantasy Series, Joy Chant’s beautifully and lyrically written Red Moon and Black Mountain. Gorgeous book, but the sexual politics are dire. Among the horse nomads, women are so crushed down and so suppressed that they’re essentially disappeared once they reach puberty. The Elf-analogues have queens and sorceresses, and there’s the truly terrifying earth goddess, but the main message is that women are massively inferior, their lives have minimal meaning, and all that’s important and noble and strong and significant is reserved for the males.

One can see where the feminist revolution came from, but also how thoroughly women writers of the post-World War II world internalized the view of female inferiority and insignificance. Even Evaine with her exceptional intelligence is a handmaiden, and once she’s pregnant, she turns into a puddle of baby drool.

It’s…interesting. More so than all the politics, to my mind. So little of it matters in any strong dramatic sense; it’s gone into in such loving detail, but there’s no blood in it. No breath or life. It feels like padding to stretch out the story into a trilogy: let us see all the worldbuilding and the historical notes and the background material, while we wait (and wait and wait) for the Camber cult to get going and the Deryni persecutions to start.

Per a comment last week: this apparently works for some readers. It doesn’t for me. There are so many potentially dramatic scenes here, so much character development that could have happened, and in their place we get thousands of words of marginally relevant politics and excruciatingly detailed rituals and ceremonies. Where are Rhys and Joram playing roving investigators? Evaine and Megan sharing experiences and building friendship? Camber dealing with the challenges of being Alister? Guaire finding his vocation and hooking up with Queron and building a new order? These are all things Kurtz could have written with verve and flair. But instead we got what we got. Synopsis.

A scene, a scene. My kingdom for a fully dramatized, vividly characterized, active and exciting scene. And No More Synopsis!

Judith Tarr’s first novel, The Isle of Glass, a medieval fantasy that owed a great deal to Katherine Kurtz’s Deryni books, appeared in 1985. Her new short novel, Dragons in the Earth, a contemporary fantasy set in Arizona, has just been published by Book View Cafe. In between, she’s written historicals and historical fantasies and epic fantasies and space operas, some of which have been published as ebooks from Book View Café. She has won the Crawford Award, and been a finalist for the World Fantasy Award and the Locus Award. She lives in Arizona with an assortment of cats, a blue-eyed spirit dog, and a herd of Lipizzan horses.

This Week: Tor.com NYC Meet-Up! Wednesday, Sept. 28 at 6 PM.

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Tor.com meet-up

It’s been a while, but we’re having a meet-up! This week! Wednesday, September 28th. 6 PM to 9 PM. Second floor of Professor Thom’s bar in NYC, 2nd Ave between 13th and 14th. No cover, obviously. You can get the full details and RSVP over on Facebook! See you there?

One other thing: We tend to leave lots and lots and lots of books laying around our meet-ups, free for the taking. Tote as you will.

(An other, other thing: We’ve had questions regarding bringing tabletop games. We are SUPER INTO THAT but there’s not really gonna be any room for it. Sorry!)

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