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Fitting In

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For over 25 years, the Wild Cards universe has been entertaining readers with stories of superpowered people in an alternate history. “Fitting In” by Max Gladstone shows how everyday people can step up to become extraordinary.

Robin Ruttiger tries—he really does—but his lot in life falls way shorter than his expectations. A failed contestant of the superhero reality TV show, American Hero, he now works as a high school guidance counselor to reluctant students. Things change, however, when a favorite bakery in Jokertown becomes a target of vandalism, and Robin realizes he can play the hero after all.

 

 

Six weeks into the school year, Robin Ruttiger still didn’t feel like he belonged in Jokertown.

The commute was part of his problem, he knew. He’d rented a sterile flat up in East Harlem, and the 6 south from 116th Street was a mess. Robin’s elastic powers could have helped with the crush, in theory, but going into full Rubberband mode on public transit wasn’t as good an idea as it might sound. Yes, he could squeeze himself paper thin, stretch his arms to whips and wrap them around the bar overhead, but it made his neighbors nervous. Plus, the one time he’d tried, he’d tangled himself up, and his pants fell down.

Anyway, if he started stretching in public people might recognize him from TV. It had been five years since he competed on the second season of American Hero, trying to win the dubious honor of America’s favorite spandexed good-doer, but even though he’d never cared for the celebrity circuit he’d had a few more rounds on the tabloids and talk shows than his fellow contestants, between coming out, breaking up with Terrell, and leaving the spotlight to get his master’s in education. He’d slipped incognito through grad school, but the last thing he needed was some blurry cell phone video on BuzzFeed drawing another round of the same old questions.

So he woke up at four most days in his blank apartment, dressed and packed in the dark, rattled on the train with his backpack jammed between his legs and a paperback in hand, then walked again from Lafayette to Xavier Desmond High. He waved to the night custodian as she got off shift, and slunk down narrow waxy halls to the cramped office with GUIDANCE COUNSELOR on the door, ROBIN RUTTIGER on the desk, and the last occupant’s kitten poster still on the wall: hang in there.

The last counselor obviously hadn’t.

In just six weeks, a pile of paperwork had overwhelmed not only his inbox but the notion of pile, splaying and slipping and tumbling until it was more of a mound. He finished as much as he could before the starting bell, without making any visible progress.

In through the nose, and out through the mouth, was what the two-dollar mindfulness book he’d bought at the Strand advised. Life comes one breath at a time. His first-period meeting didn’t show. He breathed out, and wrote an absence slip.

Robin had better uses for the forty-five minutes, anyway. He still had to enter comments on kids he’d met into the student database. He’d turned off autocomplete on his laptop four times, but each time it turned itself back on. When he typed u it suggested unresponsive. S was for silent, sometimes sullen. He deleted that one every time it appeared. C, cautious.

At last, the bell rang, and the break before second period set him free.

The world might hold greater joys than the walk across Roosevelt Park to Zargoza Bakery in early autumn, but Robin couldn’t afford them these days. Clear sunlight through yellow-red leaves dappled the green. A tinkertoy contraption with a child’s face scuffed its many feet through a leaf pile; in the trees overhead, three small folks hunted squirrels with six-inch spears. Not exactly an Ohio autumn. He looked both ways before he crossed the street. A half-man, half-bus individual trundled to the curb and disgorged—no, make that released, the individual in question had a mouth, which gave the other term even more unfortunate implications than usual—a small parade of absolutely identical women in absolutely identical black hats. Sisters? Twins? One person split into many bodies, or experiencing the same moment many different ways in time?

Robin realized he was staring, and stopped, and walked faster. Zargoza’s was his daily indulgence—a fardelejo, coffee that hadn’t come from the break room’s foul pod machine, and a brief spot of warmth. Then back out into the world. The second-period break was short, but he’d timed his trip exactly. If he walked fast he’d make it back for the bell.

When he reached the Zargoza Bakery there was a line out the door, and the line was not moving.

A line wasn’t unusual in itself. There were often lines in front of Zargoza’s. There had been since before Jetboy back in ’46, before the plague, before the riots and the barricades and the aliens. Through all that Mama Zargoza kept the doors open and the pastries and coffee served and the gold leaf filigree window her papa’d bought in 1927 shining and clean. The lines had been longer than ever in the week before Mama Zargoza’s funeral, and there had been lines every day since her granddaughter Octavia took over.

But the line always moved.

Octavia kept it moving. Octavia, caked in flour, hair straining against its kerchief, deep-dimpled and smiling, her arms heavy from kneading dough, at the center of her swarms of little animated doughmen, could greet her customers, serve them in thirty seconds, and usher them out the door feeling like they’d had a half-hour conversation. Robin and Octavia had never met outside of work—they were both busy enough that “outside work” had little meaning—but she was an old Motown fan, and so was he, and she didn’t watch television, so he never had to worry that she might one day remember how he looked wearing red spandex and a stupid little cape.

But this line wasn’t just not moving—it was growing. An oak tree in a peacoat shifted from root to root and breathed into her hands. Robin joined behind a tall, thin, eyeless man in thick mittens and a coarse knit scarf who appeared to be reading the standard-print Wall Street Journal. Robin tried to wait. He glanced at his watch. It still wasn’t working. He kept meaning to change the battery, but by the time his after-school meetings were done all the shops were closed, and he had to get to the office before they opened. He checked his cell phone instead. Ten minutes until next period. He shouldered deeper into his threadbare coat. “What’s going on?”

“Eh, who knows.” The eyeless man had a thick Long Island accent.

“I heard shouting,” the oak tree offered.

The eyeless man shrugged and turned the page to the stock report. “Not our problem, is it?”

He looked to Robin for reassurance, but Robin was already weaving to the front of the line.

Robin grabbed his belt to keep his pants from slipping down around his ankles, made himself skinny, and slid past the oak tree and the animated mannequin in front of her. With a sigh, he corkscrewed between the legs of the conjoined triplets who blocked the door. Inside, the bakery was cramped even worse than the 6 at rush hour; here, though, he didn’t feel as awkward about stretching himself nine feet tall and ribbon-thin and squeaking past tight-packed bodies to the front of the crowd, and the raised voices.

“I’m not selling, Mikhail,” Octavia was telling a tall broad man in a black suit, with all her voice’s usual strength and none of its usual welcome. “Not to anyone, and certainly not to you.” It was hard to tell what of the cracked flour on her arms was just flour and what was the doughlike skin she’d gained when her card turned. Coils of hair had escaped from her kerchief. Octavia’s card let her shape little helper homunculi from dough, tiny half-cute, half-creepy helpers who communicated by purring and tended to anticipate her needs. Normally they swarmed through the kitchen, kneading and turning and minding the ovens, but now a pile of them gathered on the countertop to glare at Mikhail with their cinnamon drop eyes.

“Is good offer,” Mikhail said. “Honest, and generous.”

“You’ve come here every week for a month and every time I say no, and you don’t listen. You’re holding up my customers. Will you please just leave me alone?”

Mikhail adjusted his shoulders, which took a lot of adjusting, since there was a lot of shoulder. He set one knuckle to his chin, pondering, and did not leave.

Robin had been a hero for a while. He’d been bad at most of it except for the cats-out-of-trees part (cats liked him, probably because they knew he was allergic), but he’d stopped a few robberies and made it onto TV and toured the country and even dated Terrell who was a real true-blue hero, one of those rare guys who had the knack of saying the right thing and meaning it. But he was past all that now. He was a guidance counselor at Xavier Desmond High School, and while he had always believed that teachers were the real heroes, this sort of thing wasn’t in his job description anymore. He knew from his hero days how often well-intentioned intervention made things worse. Octavia could handle herself. She really could.

Still, he found himself tapping Mikhail on the arm and saying, “Um. Excuse me? Is there a problem?”

Mikhail turned around. Like the shoulder-adjusting, that took a while, and for the same reason. He looked down his nose at Robin, which was a nice trick since he was actually a couple inches shorter—but this guy had down-the-nose practice, not to mention a solid foot of breadth on Robin. The effect would have been intimidating if Robin hadn’t spent years dating a man who warmed up for his bench press by chaining a Buick to each end of the bar. “Is no problem. Civil discussion only.”

“Robin,” Octavia said, calm, measured. “It’s okay.”

He took the hint. God, he felt stupid. What did he mean to do, anyway? Start a fight with this guy, smash a few tables and the little pottery tchotchke cats Mama Zargoza’d spent her life collecting—maybe even that beautiful window? Make more trouble for Octavia? “Sure. Sorry. I don’t want any trouble.”

“Is no trouble at all,” Mikhail said, drawing closer, and Robin’s hero hindbrain started calculating exits and trajectories in case this got ugly. “Is all business. You should explain to lady friend. Is always good to do business.” Mikhail wasn’t about to punch Robin—was he? With all these people watching? Or was he trying to goad Robin into trying something? Robin felt so jumpy it just might work.

Robin opened his mouth without knowing what he was going to say. His throat was dry, and his voice croaked. Then there came a flash, and he was blinded.

Lightning, he thought first, and then, Camera. When he blinked the spots from his vision, he saw Mikhail had rounded on the photographer: an Asian woman a bit older than Robin, wearing a leather jacket and leather trousers, all buckles and studs, leather gloves, comically huge sunglasses. Electric blue lines webbed her skin, and she was grinning as she looked down at her camera. “Wow! Never got a snap of a reptoid agent in the wild before. Usually you’re more the shadows-and-secrecy type.”

“Give me that.” Mikhail grabbed for the camera, but the woman stepped back without looking as if she’d noticed.

“Or are you Illuminati? Bavarian or Alsatian? Then of course there’s the counter-Rosicrucians, considering the accent.” She raised the camera and snapped another picture, another blinding flash. Mikhail covered his face too late. He sputtered.

“Get back here. I am not—what is reptoid?”

“Precisely what a reptoid would say. Go tell your lizard masters to stay out of Jokertown!”

Mikhail lumbered toward her, swiping blindly, but Octavia caught his wrist. He swiveled toward her, slow and dangerous, but Octavia didn’t give. “Mikhail. I think you should leave.”

Mikhail glared at her. He tried to pull his arm out of her grip, but Octavia had kneading muscles. And in the pause that followed, Mikhail heard the murmurs.

Crowds, in Robin’s experience, were funny, changeable things. Groups of people played little games together without realizing it. When the whole group watched in silence, they were playing ‘audience’: the audience doesn’t speak up, doesn’t interfere. You could shout orders to a crowd in an emergency and they’d just blink. They weren’t part of the scene—they were supposed to watch. But if a few people left the audience and started doing something, well, the rest of the audience might start to ask themselves why they weren’t doing things too. They put aside the game of audience and started playing other games: work group, army, mob.

More people had crowded into the bakery. The oak tree cracked her knuckles. The triplets glared with six eyes between them. Even the eyeless gent had rolled his copy of the Wall Street Journal into something like a club.

Mikhail looked from the crowd, to the photographer, to Robin, to Octavia. He frowned with his forehead. “Very well. No business today.” She let him go. He tried to wipe away the flour she’d left on his sleeve, and mostly did. “But you will understand in time.” When he straightened his lapels, the flour on his palm dusted one of them white. He turned to go. The crowd parted grudgingly. Halfway to the door, he tripped. When he recovered his balance he glared at the crowd, but everyone looked innocent, especially the triplets. He squeezed past the oak tree and the eyeless man, and glowered off up the street.

“Here you go, Robin.” He turned to see a doughboy set a fresh fardelejo in wax paper on the counter beside a cup of deep black coffee in a cardboard sleeve. Octavia smiled. He’d never seen her smile as a mask before. “On the house.”

“Octavia, I’m sorry, I shouldn’t have butted in.” He reached for his wallet, and had it halfway open when she put her hand over his to ease it closed.

“I’m glad you did. I can handle myself, but you and Jan helped.” He looked around for Jan—the photographer, he assumed—but she’d vanished into the crowd. “Real estate guys get worse all the time. Even Jokertown’s Manhattan these days.” Her smile tightened. “How’s the guidance, counselor?”

He took the hint. “Another no-show this morning. Starting to wonder if they’ll ever trust me.”

“You’ll be all right.” This time the smile was close to real. “This is Jokertown. Trust takes time. The kids will open up.”

 

Ten minutes, a coffee scald, and a school bell later, Robin sat across his office desk from a big slab of a kid named Slade, with rock-hard skin and heavy opal eyes, as closed as a sarcophagus. Slade held his hands cupped in his lap, and made slight grinding sounds when he moved.

Robin glanced down at the file again, at circled words: underperforming, risk, attention issues, disengaged. Detentions for weeks. Arrested once for shoplifting, but the store owner didn’t press charges.

The books he liked said you weren’t supposed to tell the student about themselves. You might get it wrong, or worse, get it right in a way that hurt. He wasn’t here to read Slade’s profile back to him. Slade’s card turned young, and since then he’d always been the big dumb rock guy, a useful buddy to have in grade school—his friends didn’t expect anything more from him than backup. Teachers wrote him off, even joker teachers who should have known better. Even at Xavier Desmond, which had a football team the way some people have plantar’s warts, the coach followed him with the kind of attention usually reserved by hyenas for small wounded buffalo. The last thing Slade needed was one more person telling him who he was. But that left Robin sitting across the desk, waiting for him to talk.

He reached for his coffee. It was empty. He’d finished it in the first silent minutes of the session.

“What do you like to do outside of school?”

Slade raised his head with a sound like heavy tires crushing gravel. “Nothing. Hang out.”

Robin waited for him to elaborate. Slade waited for him to ask another question. Slade won.

“Ms. LaJolla enjoyed teaching you geometry.” He didn’t mention the incomplete portfolio note, or refuses to answer questions in class. “Do you like math?”

Slade’s eyes rolled up to Robin’s face, then down again. “I guess it’s okay.”

After forty more minutes of that, Robin saw Slade to his office door, drifted to the teachers’ lounge, and collapsed in an understuffed, coffee-stained chair, staring at the wall. Hang in there. He wondered why he’d thought of that, then realized he was staring at another cat poster. They were the same, but this cat looked closer to falling.

Ms. LaJolla marched into the room, checked her mailbox, flipped through the papers stacked there, shredded five of them, and tossed the rest into the trash. Robin heard the shredder growl. He needed sleep. He checked the clock. Five minutes to the next period. He checked the clock again. Still five.

Ms. LaJolla stopped at the door and turned back to face him. They’d traded maybe ten words since Robin started at Xavier Desmond, and he didn’t know much about her other than that other math teachers shivered when she drew near. Beatrice LaJolla ruled Geometry with an iron fist. Rumor had it that once, when some parents came in to protest their kid’s grade, she’d given the parents homework.

“You’ll toughen up,” she said. “My first six weeks, I cried myself to sleep every night.”

The door slammed behind her.

 

Robin left after sunset and eight more pointless all-but-silent meetings, and shouldered deep into his coat as he crossed the park. The sky dimmed starless overhead. He had too many thoughts about himself and his life choices, but he also had a personal rule about taking seriously any self-criticism that arose on his homeward commute. Even in his young career as a guidance counselor, though, he’d learned that just because you knew better than to do something, didn’t mean that you could stop. Streetlights and headlights cut the dark but did not relieve it.

Zargoza’s should still be open. Octavia made this thick drinking chocolate, what she said was European style, which bloomed on the tongue as rich as any wine. Robin could not afford two café visits in a day, but she’d given him the pastry and coffee free this morning, and it wasn’t like he could afford anything in this city on a teacher’s salary. Chocolate might not justify God’s ways to man in any lasting sense, but it did fine over short distances.

He’d just turned off Roosevelt when he saw the crowd, and the police lights.

His ever-unhelpful hero brain salted panic with analysis as he ran toward the crowd. No flames, that was a good start. No ambulance, either: probably also good. Unless it was so bad they’d told the ambulance not to hurry.

He stretched his legs fourteen feet high and lurched over the crowd’s heads with a single teetering stride. His legs sprang back to more-or-less normal with that trademark rubber-band snap, and sent him sprawling to the sidewalk in front of Zargoza’s, one hand on asphalt, the other in a pile of broken glass.

He sat up and shook the glass off. Most of it fell away, but one long triangular shard had actually pierced him, and when he pulled it from his palm the pale hydraulic fluid he had instead of blood these days leaked out and congealed into a translucent lump. It hurt, but he didn’t care at first. The shard of glass was covered in trailing gold leaf filigree, and printed with the lower corner of a Z.

The shop was dark. Slivers of the gleaming 1927 window hung from the frame like broken teeth. Most of the glass lay shattered on the ground.

“Sir! Sir, I’ll have to ask you to step back.”

He looked past the policewoman to Octavia, who stood, shaking, blanket around her shoulders, beside another cop. Doughboys huddled against her ankles, flaking in the chill. Jan, the photographer from before, was offering Octavia a cup of something hot, but Octavia hadn’t noticed—because she had seen Robin, and, in spite of the broken window, in spite of everything, she looked relieved.

“It’s okay,” he told the cop. “I’m a friend.”

 

Heroes tended to meet people on very bad days. Though Robin never told the magazines, that was one of the reasons he quit—he wanted to help people before things got so bad you needed powers to do it.

Octavia held herself together better than most. Robin and Jan talked her into a cab, doughboys clustered in her lap, and rode with her to her building, which would have been twenty minutes’ walk away. She made it up five flights of stairs and through her triple-locked door into a sidewalk rescue chair whose ragged upholstery she’d covered with a knit blanket, before she started crying. Robin touched her shoulder. She did not seem to notice. He shot Jan a what-should-we-do-now look, but she raised her hands, search me, and retreated to Octavia’s postage stamp kitchen to start a kettle boiling. Robin looked around the cramped apartment, every surface that wasn’t a counter covered in bright cloth, and after some doily-displacing scramble, found a box of Kleenex wearing what seemed to be a specially knit wool jumper. Octavia took a tissue, blew her nose, and said, “Thank you,” and, “I’m just so angry!”

He hadn’t expected the last word, so the reply he’d had ready, “It’s okay,” sounded wrong. The doughboys glared at him, confused. “I mean. It’s not.”

“No! It’s not. It is not okay.” She pronounced every word distinctly. “My great-grandfather bought that window. What is even happening to this city? Mama Z got robbed a couple times in the eighties when things were really bad, but they’re supposed to be better now, and the last two months—what’s wrong with people?”

He thought of Mikhail, and of the crowd. “Did you see who did it?”

“Some kids in tracksuits and masks. Not jokers that I could tell, but you can’t always.” Her hands were dry and their dough-skin was cracking. She reached without looking for a moisturizer jar among the plants on the side table, unscrewed the lid, and massaged the white cream into her palms. “I bet they’re the ones who spray painted my shop two weeks ago—all those horrible words, I was up all night cleaning them off. Maybe they blew out the tires on my delivery truck, too. Detective McTate—thank you, Jan—he said they’ve had reports of people lingering around. Loitering. The police always think people are loitering in Jokertown, but…” She sipped her tea instead of finishing her sentence. Robin looked from her to Jan, who’d crossed her arms and leaned back against the overstuffed sofa. She still wore her sunglasses.

“You know it’s not kids,” Jan said.

Octavia blew her nose long and loud, and handed the crumpled tissue to one of her doughboys. They tossed the ball of paper from one to the other to the trash can hidden under the spider plant. She laughed. “Maybe they just don’t like me. They liked Mama, but I’m not Mama.”

Seated mute across from her, Robin remembered the urgency with which Octavia had said, It takes time. Had she been talking to herself as much as to him? Absurd. People loved Octavia. Mrs. Blaine in the history department, who’d moved to Jokertown when she grew gills forty years ago, always said how happy she was Octavia was following in her grandmother’s footsteps. Though now it occurred to him to think more closely, Mrs. Blaine had sounded surprised. “It’s not you,” he said. “It’s them. And it’s not even them, probably. The attacks on your business, Mikhail trying to buy you out—it’s too close for coincidence.”

“Exactly,” Jan said. She stood up and started to pace, gesturing wildly. “There’s a dark truth at the bottom of this. Wheels within wheels. But we’ll drag the skeleton out of the closet.”

“Really?” Octavia looked shocked but relieved. Robin had seen that effect before. People didn’t like to think that the world might just hurt them for no reason, but the suggestion of conspiracy could coat disasters with an oil slick of order.

He stretched out his hand to take Octavia’s wrist. “I wouldn’t be surprised if Mikhail’s trying to push you away from your shop. Don’t worry, though. Whatever’s happening, we’ll find out, and stop it.” He glanced up to Jan, who shrugged, sure.

“I can’t ask you to do that for me,” Octavia said.

“You’re not asking.”

She put down the tea and hugged him. Doughboys rained from her lap at the sudden movement, and landed with a somersault on the rug. “Robin. Jan. Thank you. But it’s dangerous. It means so much that you’d offer, but really, I mean, shouldn’t you go to the police?”

“I already told them what I think,” Jan said. “They might listen, or not. Either way, they have their own idea, which is that a joker gang is running around picking on small business owners. Cops look for cop-sized solutions to cop-sized problems. If we push them on it, maybe they’ll run in a few XD students who just happen to be hanging around school at night. Robin, how many of your kids do you think could get arrested without being booked for resisting? How many of their families can afford bail?”

Robin hadn’t even thought of that part. Some guidance counselor he was.

“Besides,” Jan said. “Robin’s a hero. We’ll be fine.”

 

Jan walked fast. She was inches shorter than Robin, but he still had to stretch his legs and quicken his step to match her pace. “Look, Jan—”

“Jan Chang.” She turned, grabbed his hand, and squeezed without breaking stride. Her handshake gave him a tingling static feeling even through her gloves. “And you’re Robin Ruttiger. I watched your show before I blew up my television. Got halfway through. Did you win?”

“What? No.”

“Glad to have you on board anyway.” She stepped off the sidewalk, still walking backward, just as the light turned green. He shot out his arm into a long rubber rope to pull her back, but the oncoming cab squealed to a stop inches from her leg. Jan glanced at Robin’s arm over her glasses, intrigued, while the cabbie cursed. “That was nice of you.” She turned to face front and kept walking.

“I think we’re on the same page about what’s going on here, with Octavia’s shop and with the tracksuits and with Mikhail, but I want to be sure.”

“Yeah.” She walked through a cordon into a street festival that had closed off a block of Mulberry. Kids clustered around a fried dough stand; a cold but enthusiastic band of Brooklynesque young people with strange facial hair played polka music. Robin waved to a man he recognized selling arepas. “It’s reptoids,” Jan said. “Obviously.”

“What? What’s a reptoid?”

“Secret lizard inhabitants of the counter-Earth. Or possibly they occupy our own planet’s hollow core. I’m not sure yet. I’ve been tracking them for a while. They infiltrate surface society with their mind control and shape-shifting powers.”

“What? I’ve never heard of anything like that.”

“Of course not. Do you think ancient superintelligent shape-shifting mind-control lizard monsters would be so bad at this that you would know about them?”

He frowned. “Is this where you start talking about the Rothschilds? Because if so, I can solve this case on my own, thanks.”

“Ugh. I know we’ve just met, and trust me I understand where the question’s coming from, there’s a ton of anti-Semitism in the field of Secret-World-Men-Behind-the-Curtain Studies and it’s gross and evil and those of us who are really trying to save the world always need to be on watch against it. But please believe me, and do keep calling me on this if you think I’m screwing up: I’m not talking about racist scapegoat fantasies. I’m talking about real actual lizard people.”

He tried to follow her logic, and ended up feeling like a yoga victim. “I do think it’s Mikhail, though. He wants the shop. Real estate in Jokertown’s still cheaper than most other places in Manhattan, but not for long. He wants to get in while the getting’s good, but Octavia won’t sell. So he’s trying to force her out.”

“Because,” Jan said as if spelling things out for a child, “his reptoid masters want to expand their secret network of mind-control broadcast stations. They’ve had trouble in New York because the real estate prices are so high. But Zargoza’s is a good target, and it’s located on a nexus of the geomantic power their technology requires.”

Was she crazy? You weren’t supposed to call people crazy. But he was pretty sure none of the things she was saying were actually things. She seemed to be a friend of Octavia’s, and Jokertown was full of its own sort of people, but none of this seemed helpful. “Look, I’m not saying Mikhail’s a nice guy, but he really doesn’t seem the mind-control conspiracy type.”

“Which is—”

“—exactly why he’d make a perfect reptoid agent?” he suggested.

She stopped, wheeled on him, and shifted her glasses down her nose. Her eyes were bright blue without pupils, and glowed softly from within. The little veins around her irises were blue, too, and pulsed. He tried not to look away. On the show, he always looked guilty when he was being judged. Blame it on the Catholicism. “I like you, Ruttiger. Even if you are a bit naïve.”

She shouldered past two men selling watches onto Prince toward Bowery, then north. “All I’m saying is, we don’t need a more complicated explanation when we have a simpler one.”

He didn’t need to see her eyes to tell she was rolling them. “What are you, William of Occam?”

“No! I’m just trying to figure this thing out. If all the stuff you’re talking about was real, I mean, really really real, we’d have to plan for it. I don’t even know how you defend against, what were you saying, reptoid mind control.”

Right on Houston, across the park, then south on Forsyth past the school. “Nobody’s sure. That’s what makes it so dangerous. Some people go for gemstones. I think leather insulates you. Their technology’s designed to exploit thin mammalian skins.”

“But if it’s really just that Mikhail hired some thugs to intimidate Octavia into selling, then all we need to do is link Mikhail and the thugs.”

“And if we go in unprepared, the reptoids will eat us for dinner. They do that, you know. I mean, I bet they don’t call it dinner, lizards would have a whole different way of thinking about meals. Slower metabolisms. But you get the idea.”

She turned left onto Eldridge. Robin added up the turns in his head, frowned, and quickened his pace to walk beside her. “Couldn’t we have just crossed at Kenmare?”

Jan raised one eyebrow. “God, Ruttiger, haven’t you ever shaken a tail before?”

He hadn’t seen anyone, or at least, he didn’t think he had seen anyone. “Are we being followed?”

“Not that I can see. But if they were good at their jobs, I couldn’t. So it’s better to assume. Come on. We’re almost there.”

If not for the virus, this row of apartment buildings would have gone through at least two rounds of gentrification by now. The building on the corner was a broken-windowed mess; so was the next, though one of the tenants had tried to make it a bit more homey with the addition of a bright yellow welcome mat and fake plastic flowers. The tenant in question was wearing a Tommy Bahama shirt, and collecting his mail, and appeared to be a more or less ambulatory walrus. He waved. “Hi Jan!”

“Hey Jube!” She stopped two doors down, in front of the most broken building on the street—chunks of brick missing from the façade, rusted iron on the rails. Little stone lions flanked the front steps. At least, one of them was a lion. The other was missing its head.

“What we need,” Robin said, “is a—”

“Stakeout,” Jan said at the same time as he did. “Exactly. Whether this is a random attack or reptoids or a conspiracy, someone might come back tonight to follow up. Maybe they’ll hold off until Mikhail can approach Octavia again—but if we’re lucky they’ll come and we can trace them back to their hideout. So we need gear, in case they’re ready for us. Or in case they’ve mobilized a short-range mind-control device. I’ve developed a range of anti-reptoid paraphernalia in collaboration with key researchers on the internet. It should keep us safe. I’ll be right back.”

She vaulted over the railing, landed on the basement level, and forced the door open with her shoulder. A startled rooster—less startled than Robin felt seeing a rooster in Manhattan—ran outside, bucking protest. From within, Robin heard a curse, crashing paint cans, grinding glass, a heavy whuff of falling paper, a second curse, and two loud bangs he was reasonably certain weren’t gunshots. Jan Chang staggered out ten minutes later laden with duffel bags, slammed the door with her foot, and tossed one of the duffel bags to Robin. The weight started to bowl him over, but he shot one arm twenty feet up to wind around a lamppost and kept himself more or less afoot. Jan threw her own duffel over the rail onto the sidewalk, and vaulted after. “Great.”

“What is this dump?” Robin’s arm did not want to unwind from the lamppost at first, but when he tugged harder it slipped free with a snap. “Secret hideout?”

“More or less,” Jan said. “It’s my home. Come on. We have a stakeout.”

 

“What I don’t get,” Robin said later, in the car down the street and across from Zargoza’s Bakery, “is, if there really were lizard people with immense technological powers, why would they care about controlling our world? Why not just…do their own thing?”

“Maybe they’re afraid.” She unscrewed her tea thermos lid and drank. She’d offered Robin some, but it tasted smoky and weird, which she claimed it was supposed to. Robin’s experience of tea was limited to Lipton and Lemon Zinger, so maybe she was right. “Maybe they think we might go to war if we discover them, and they don’t want to kill us. What I think is, they use humanity as a research experiment and nature preserve. They control us to keep us from realizing that there really is alien life out there in the cosmos.”

“There is, though.”

She laughed, and screwed the thermos cap on again.

“No, seriously. Aliens made the wild card virus. Doctor Tachyon was an alien.”

“Whose word do you have for that? An alien who just happens to look like a human being in Ren Faire garb wearing a silly hat? Come on, Ruttiger, I thought you were smart. It’s obviously a psy-op. And look how effective! There are all these pictures of him standing right next to normal humans and you can’t tell the difference except for the hat, and you still think he was from Mars or whatever.”

“There was an alien invasion back in eighty-six. The Swarm…”

“That’s just what they want you to believe. Obviously the invasion was staged. They don’t even need rubber suits these days. They can do it all with computers, or with cards.”

“But—wait. Why? Say your reptoids exist and really did want to use us as a nature preserve or whatever. Say they did want to keep us all to themselves. Why would they fake first contact, and an alien invasion, and an alien scientist living among us for fifty years? Why would they make it all up?”

“To see how we’d react, of course. But I think they’ll change their experiment soon. Don’t be surprised if you start to forget the aliens.”

“Why?”

“It’s failed, you see. The reptoids didn’t learn what would really happen if we met whatever’s out there.” She pointed up with her thermos, past the windshield, past the streetlights, past the slate-gray sky. “Think about it. You believe everything they’ve told you. Tachyon, the virus, interstellar criminal syndicates, the whole line. You’ve been sitting here listening to me, convinced I’m crazy.”

“I don’t—”

“It’s okay. I get that a lot. But, just for a second, stop thinking about me, and consider what’s going on in your own head.”

“Okay.” He knew he sounded skeptical.

“You don’t actually believe we’ve met aliens.”

“I do, though.”

“You don’t. None of you do. I’ve seen you around the last few weeks, Ruttiger. You go to work every day, you get your coffee, you worry about your rent and your, I don’t know, do you call them students? You worry about whether that sweater vest goes with those shoes, and the size of your bank account. If you believed aliens were real, really really real—if you believed that up there beyond the sky there really were other beings from other worlds, vast and maybe incomprehensible but certainly different from us, and that all this horrible nonsense we have down here was just one tiny thread of a huge tapestry, how could you stay so small? How could any of us fight about taxes, about oil, about the price of credit default swaps or who our neighbor fucks or what words she says when she prays? How broken would someone have to be, to know all that and not to change her life?”

He leaned his head against the window and gazed aimless toward the shop, toward the last glinting shards of broken glass that still clung to the frame. Police tape crossed and crossed again. If there were cops watching, he hadn’t seen them. Then again, maybe they were better at this than he was. She was wrong. He knew the truth. He’d seen pictures, and anyway who could possibly manage that kind of cover-up? Who had the resources? Who would dare try? But she was right about the other thing. He didn’t act as if he knew. Nobody did.

“What are you doing here, Jan?”

“I want to solve this case. Octavia’s a decent person. I’d like to stop the world from fucking with her, if I can.”

“I don’t mean here, now.” But he almost did. “I mean, in Jokertown.”

“You think I could live anywhere else?” She clunked the thermos back in the cup holder. “They’d lock me up. They’d lock any of us up.”

“You could pretend.”

“Too much of that going around.” She gripped the steering wheel. He saw a road roll on before her, long, straight, endless, and unpeopled, a road where she could drive forever and ever and never crash. She uncurled her fingers one by one. “I came down here when my dad died and my card turned. I was messed up. It took me a long time to sort things out.”

He said “I’m sorry” by reflex and in the silence after he wished he hadn’t, because even if the reflex was right, there was a wrongness to just saying the words without taking time to find the heart behind them. He should have waited and thought about who Jan might have been, who her father was, what turning her card would have done to her life, about how she’d come down here and how she’d ended up in a hole beneath a crumbling building. But she nodded as if he’d said the right thing, and maybe he had.

“I like it down here. My family used to live here, like Octavia’s—they left while Octavia’s grandma stayed. We never knew each other, but that’s kind of a connection. Besides, she makes good coffee. And her family history in the area makes me reasonably confident she’s not a reptoid agent.”

The world weighed so many million pounds and most of them were pressing down on Robin’s head and shoulders. The window glass felt cool against his temple. Maybe he should have drunk more of that tea, even if it didn’t taste like Lemon Zinger. “Of course,” was the best he could do.

“What about you, Ruttiger? What brings you down down to Jokertown?”

The first instinct was to answer I don’t know, but he did know. Didn’t he? He’d given all those interviews, though he’d never mentioned Jokertown, because if he had the spotlight would have followed him, as no doubt it would find him again someday when some kid scraping along through her tabloid internship by stapling together a TaskRabbit gig and a rideshare gig and a side hustle drawing porny fan art asked herself whatever became of…and pitched the story to her boss. He had reasons. He thought he had. He had some vague notion of giving back to “the community,” less certainty than ever what “the community” might be, and in the years since American Hero he’d had a growing sense that his life looked less like heroism and more like celebrity with every column inch or TV interview. Not everyone felt that way—Terrell hadn’t—but what everyone felt and what everyone did wasn’t Robin’s responsibility. He only answered to Robin Ruttiger. Not even to Terrell, these days. And didn’t heroism always tend to celebrity over time? To be a hero was to be a face, a personality, a brand. People liked you because of what you did at first, and then they liked you because you were you. Which was where it all got complicated. Heroes didn’t change anything.

And what made you a hero, or a villain? You got sick, or in Robin’s case a mad scientist injected you with a mutated virus strain to see what would happen, and you got better or you got dead. Even if you got better, mostly you changed in some way that didn’t help. Your eyes disappeared, wheels replaced your feet, you grew chitin plates all over your body. Your flesh turned to stone. And for the rest of your life you were the stone guy, or the girl with the chitin face, or the woman who turned into a wolf when she heard a bell ring.

And if you were one of the vanishingly lucky, like Robin, who had some marginally useful gift and could pass undetected in a crowd, well, when people found out that you could stretch your body like a rubber band, or fly, or move things with your mind, or deadlift a train, or turn invisible, they stopped caring whether you wanted to play the violin or teach high school or be a pharmacist. If you wanted to turn invisible for the rest of your life, or be a professional move-things-with-your-mind person, you were in luck, best wishes, enjoy the run. But if you didn’t…

The world was really good at deciding who you were without consulting you.

To be fair, the card often turned in ways that echoed your own personal damage. Sometimes it was a sick joke and sometimes it was a gift, which was what made the whole thing feel so mean. But whatever you became when your card turned, it wasn’t all about you. It couldn’t be. People weren’t just one thing. Not even heroes.

Once the card and the world decided who you were, the world tried so hard to use you. It had been easy to hide his graduate school plans from the talk shows and the magazines, because they weren’t interested. They couldn’t imagine him wanting to be anything but the stretchy guy. If he’d never left, he would have lived well and never realized he wasn’t free. But what about Slade, whose eyes made sounds like marbles rolling when they moved? God forbid the kid ever step into a military recruiter’s office to ask for directions. And there was always the other side of it: say he goes for a walk uptown one afternoon, or worse, out with his family to some small town where they don’t see jokers hardly ever, and there’s a cop. And.

He tried to explain all this to Jan Chang in the car across the street from Octavia’s shop with its broken window, but he’d been awake since four and he felt so heavy, and all these thoughts he’d spent so much time chaining together in the privacy of his own head smeared when he tried to speak them. He couldn’t hear his own voice over Jan’s resounding and silent disdain—even if he was pretty sure that disdain was just him filling in the blanks. Words bunched up. Sentences tangled. His voice ran thick as mud, then dried and hardened and with a lurch he found himself awake and blinking in predawn blue, a taste in his mouth fouler than Jan Chang’s tea, to find Octavia Zargoza knocking on the car window, waving, and offering a cup of fresh coffee.

 

The day blurred past. He hadn’t met with his first two students yesterday, so they wouldn’t notice that he was still wearing yesterday’s clothes, or that his hair was wacky. Oh, who was he kidding? They would notice, kids always did, but they wouldn’t say anything about it to him. After those meetings he had two hours until next period, which he’d ordinarily spend in a vain attempt to summit Mount Paperwork, but instead he sprinted to the 6, and home, and the kind of ten-minute shower-shave-dress-pack-an-overnight-bag routine he’d got the knack of back on the show. His apartment was efficient, spare, modernist, all things he told himself he liked, but in cold daylight it just looked empty. He found himself wanting a beheaded lion, or a trace of broken filigree. Back to the 6, then, and, in spite of construction and thanks to a breakneck run that undid most of the benefits of his shower and change of clothes, he reached his office just before the next bell.

“Look, Slade, Ms. LaJolla says you’re good at math.” What she’d written had more of a sense of could be about it than Robin was letting on, but he was here to nurture potential. And to spend six hours a day corresponding with colleges and program administrators. And to attend five hours of meetings a week. But nurturing potential was what he wanted to do. “Now, the school has plenty of resources to help with that. We have books of puzzles, and there’s this Intracity Math Olympiad which you might like—it’s competitive, but you’d also get to meet kids from all over the city who share your interest.”

No answer but marbles rolling over granite.

“I’m not trying to trick you, Slade. We don’t want you to be bored. School is all about potential, and growth, and discovery. Maybe you feel you don’t fit in, but there’s more to this place than you might think. Your teachers care about you, and so do your fellow students. We want to help you build a place for yourself. I want to help. What do you need?”

Slade looked up. The colors in those opals shifted, unreadable. “Bathroom?”

So Robin made it through that, and the meeting after, and the rest of the day until sunset, when he crossed the park again to join the stakeout. He was looking forward to it now. Everything had gone fine the night before, except for the sleeping part. Now, he had fortified himself with adrenaline and anticipation. He’d do better. After all, he knew something about how to be a hero.

The car was gone.

He looked all along the street and around the corner at a loss, until he tried looking up. The car wasn’t there, but Jan was, waving to him from the roof of the boxy building across the way with the flower shop on its first floor.

“What happened to the car?” he asked after he climbed the fire escape. God, he needed to find time for the gym. This sort of thing didn’t used to wind him.

Jan sat cross-legged against her duffle bag. Her tea thermos steamed. “Wasn’t mine.”

“What? I thought—I mean, you said—”

“Relax, Ruttiger. It belonged to a friend. She needed it tonight. Here.” She unzipped her bag without looking, pulled out a thermos, and handed it to him.

“It’s okay, I don’t—”

“It’s Assam. It’s sort of like Lipton if Lipton was good.”

He unscrewed the lid, sniffed, uncertain. Tried a sip. Blinked. “Oh, I like this.”

She rolled her eyes behind the sunglasses, he was certain, though he couldn’t see. But he sat down, and together they sipped tea as the streetlights came on and the sun set and the sky grayed out. There were so few stars, but the city’s constellations changed as offices and shops winked out and home lights on, people coming home, making dinner or ordering, finding their sofas and cats where they left them. Robin needed a cat. Or a rooster, or something. He yawned. Jan hadn’t. And she hadn’t slept at all last night.

“Did you sleep during the day?”

“I don’t sleep. Dreams are easy targets for mental manipulation. For the last two months I’ve trained myself on distributed napping: sleeping for fifteen minutes every two hours. I’m trying to adjust the ratio by only half-sleeping for thirty minutes every two hours.”

“Does that work?”

“Da Vinci used it to increase his productivity.”

“That’s not really an answer.”

“It works perfectly, right up until you die.”

That deserved a stronger answer than “Um.”

“I don’t consider that a drawback,” she said.

“Wait.”

“I mean, if you think about it, it’s true for everything.”

“No, I mean, wait.” He held out his hand, palm down, and leaned over the building’s edge. “Someone’s coming.”

Masks and tracksuits. Robin had believed the story, but there was always that spot of difference between hearing a report and seeing for yourself. Someone said, Don’t go through that door, there’s a giant snake in there, and the image your mind coughed up for “giant snake” was so vivid and particular that when you went through the door after all (you always did), you couldn’t see the real snake because it didn’t look like the one in your head.

The first masks peered around the corner, big-horned costume-shop noh-theater affairs, with hoods pulled tight to hide the heads that wore them, and black tracksuits with thin white stripes up the sides. The scouts motioned behind them, and other identical masks and tracksuits slipped around the corner up the sidewalk toward Zargoza’s. One held a bottle with a rag in its mouth. The yellow police tape across the shattered window looked very thin.

“We should call the cops,” Robin said. “911.”

Jan shook her head. “We have to assume the cops are reptoid-compromised. We can do this ourselves.”

“There are eight of them, and two of us.”

“We have powers,” she pointed out.

“They might have powers too. Or guns. You’re going to get us killed.”

“I’ve arranged for backup.” The tracksuits had gathered across the street from Zargoza’s. A Zippo lighter glinted in the streetlight. “Some things we just have to do ourselves.”

He was still trying to think of a way to tell her no, and was in fact reaching for his cell phone to call the cops, when he realized she wasn’t there anymore, and heard a clang from the fire escape and a loud cry: “Freeze, reptoids!”

Some did freeze. That happened more often than you saw on television. Even people who didn’t freeze might slip, or fall, or hurt themselves trying to turn and draw and fire and run all at once. Snap reactions came with instinct but mostly with training—so the number of tracksuits who didn’t freeze was worrying. A spark bloomed to flame on the rag in the bottle’s mouth, and as the tracksuit threw, Robin, who had better instincts than he was comfortable with, poured himself over the building’s edge.

Stretching yourself flat was harder than people without stretchy powers tended to assume. Like with super strength and heavy lifting, the mind played a role: what your body could do and what you knew how to ask it to do were two different categories, especially if you added the important adjective safely. People thought, if you were stretchy, you could just make yourself ribbon-thin, flat and broad as a rubber sheet. Well, yes, technically. Except, by the age of three or so, most human beings are used to the notion of having a rib cage. Even if the card you drew transformed your body into, for example, a highly elastic skinlike membrane around a hydraulic fluid—don’t ask about the nervous system, the answer to that question’s even more unsettling—thereby allowing you to splay and morph yourself so as to, say, spread yourself flat and broad as a tarp, with your arms hooked over lampposts, and use your body to shield your friend’s bakery from an incoming Molotov cocktail, doing so still caused a fair amount of mammal panic as what passed for your hindbrain insisted you were crushing yourself to death.

Robin wore exceptionally stretchy trousers and shirts in case of just such an emergency, but his sweater vest tore at the seams. The bottle bounced off his belly and shattered, leaving a burning puddle on the asphalt. He let go of the lampposts and snapped back down to normal size, stumbling as his limbs sorted themselves out. The rags of his sweater vest were smoldering; he rolled on the pavement, slapping at his chest. The tracksuits were watching him. He didn’t need to see past the masks to tell they were stunned.

So stunned, in fact, that they didn’t notice Jan Chang drop from the fire escape behind them. Her gloves were in her teeth, her hands bare. She caught one of the tracksuits by the wrist, and he dropped with a snap and a bright blue spark. She reached for a second but he pulled back and drew a knife. Sparks danced between Jan’s fingers, and her eyes glowed bright even behind her sunglasses. She raised her hands; the tracksuits drew back into a semicircle. One flicked out a collapsible baton. Two more drew knives.

Robin caught two lampposts and rubber-band-gunned off them, splattered against the wall of the building across the way, and tumbled down to resume his mostly normal form—a bit stretched—beside Jan. Her sparks glinted off the masks. The tracksuit she’d stunned found his feet, tried to raise his knife, and dropped it.

Tiny lightning bolts danced between Jan Chang’s teeth when she grinned. “Nice move. Got any more?”

He pulled a quarter from his pocket, cupped it in the webbing of his left thumb, pulled the webbing back three feet, then loosed. The quarter struck the nearest tracksuit’s knife hand with a sharp crack, and he swore and dropped the blade. The others backed up further, into the street. They weren’t scared—just timing for their rush. Waiting to see if he had any more quarters. Robin heard a rumble far away, like people in heavy boots running. Reinforcements? “This was a bad idea. We should have called the cops.”

“Relax, Ruttiger. I told you, we have backup.”

No. Those weren’t booted feet. He’d just never heard hooves on asphalt before.

He wasn’t any more ready than the tracksuits for the buffalo charge.

There was only one buffalo, but it was easily as tall as the tallest tracksuit, weighed as much as the whole group put together, and was doing forty miles an hour at a charge. The first tracksuit to see the buffalo might have preferred to describe his reaction as a warning cry, but it sounded like a scream to Robin. The tracksuits really were well-trained: without audible communication they realized how the odds had changed, and turned to run, weaving between cars, trying to keep out of horn range.

Jan whooped. “Way to go, Chowdown!”

“You know that buffalo?”

“Upstairs tenant. Come on! They’re getting away!”

So he ran.

The tracksuits couldn’t outpace a buffalo on a straightaway, but they ran out onto Bowery and into traffic. Horns blared and the buffalo’s hooves scraped on asphalt. Robin sprang from fire escape to rooftop to rooftop as Jan followed on the ground. Below, he saw the tracksuits split into three groups. “Stay on the north group!” he shouted, and Jan followed them across the road, waving apologies to the cars she ran between. Robin catapulted himself across the whistling gap and landed in a puddle beside Jan on the west side of Bowery. By the time he gathered himself, the tracksuits had vanished around the corner of Houston, but only just. Robin ran, and Jan ran beside him. He might be out of shape but the chase was burning in him now, and beneath that the joy of doing something right for a change. He skidded on the corner of Houston, glimpsed a sneaker and a tracksuit leg vanish around Mott, ran after, Jan thudding behind in her Doc Martens. He forgot to breathe—he didn’t really need to anymore, his skin took all the oxygen his system needed from the air—and his stride was smooth and easy. When he reached Mott he saw them turn east on Prince. Keep it up, keep it up, you’re almost there.

When he turned the corner, he stopped and began to curse.

A pile of tracksuits and masks lay on the corner of Prince and Mulberry. And Mulberry was wall-to-wall people: eating arepas, dancing to indie folk, lining up at the Korean barbeque burrito stand, drinking beer while doing all of the above. He’d walked through the street fair two days before. He hadn’t forgotten about it. He just hadn’t thought at all.

Jan skidded to a stop. “They must have changed shape. After reptoids shed their skin, they glisten in direct light for a few minutes after—we can still catch them.”

He sagged. “No. We can’t. We should have called the cops. They would have caught one of these guys. We should have done something, anything even remotely effective.”

“We saved the shop.”

“Great! Good. We were real heroes for two minutes! And what now? Do we wait for them tomorrow night, and the night after that? These guys aren’t amateurs. They could have killed us. Next time they’ll bring something to handle your buffalo buddy. This isn’t about reptoids, or mind control, or, what, wacky hijinks. Octavia’s real. We got into this to help her. And we just fucked it up.”

Jan took off her sunglasses. Without them her eyes were large and glowed softly. “You think I don’t know that?”

This was all wrong. That is, it wasn’t wrong, he wasn’t wrong, they should have called the cops, they should have done everything he said, but still somehow he’d just messed it up worse. Like always. He reached into his pocket for his phone. “I’m tired. I’m calling 911, and I’m going home to sleep. Some of us have work tomorrow.”

 

Thursday after school, Robin went to rehearsals. He still felt like he’d been crushed by a steamroller—he actually had been once, on the show—but he liked to see how the kids spent the time they could control. After a school day when he’d felt all eyes swivel toward him as he wandered through the hallway, only to swivel back to their own business when he turned, after even Ms. LaJolla pursed her lips across the lunch room table in what he felt certain was judgment, he needed to sit in a dark room and watch someone else take the spotlight.

He clapped. He couldn’t stop himself. The kids were good. When he’d been in high school theater, he’d been so impressed by how his friends transformed from the dressing room to the stage, melted by the lights into their roles. Now it seemed staggeringly obvious the girl playing John Wilkes Booth was just fifteen, her mustache pasted on. There was something pure about that, though femme Booth would probably have been mortified to hear him say so: the clarity of performance, the person revealed underneath.

After the rehearsal, he congratulated the director—Mr. Cho—and the kids, and ended up in the empty theater with a Broadway actress named Baker (“Like Tom, or Josephine,” she’d said with a half smile in a British accent he couldn’t place, “but Abigail”) who’d come in as a vocal coach, on what he’d heard whispered was a sort of . “The kids love you,” he’d told her after Mr. Cho introduced them, and it was true. Part of that was the Broadway mystique, and maybe the slight lawbreaking edge, but she was glamorous and handsome and tall and had hair like she should have been in Cabaret, with tattoos on both arms. Booth had blushed and gone corpse-still every time Baker so much as glanced in her direction.

“They’re perfect,” she said. “I mean, they’re fabulous. Working with young talent like this, with no agents or managers, is sort of the dream, isn’t it? Pure theater. And I say that from the point of view of someone who’s in the wrong line of work. Dealing with them every day, though, probably like ice cream for breakfast all the time, if you’re lactose intolerant. Slightly. Sorry, metaphor needs work. Anyway. Assassins in a high school—bit of an odd choice?”

“I don’t know. Less so here than most places.”

“I suppose.” She stretched her arms over her head, and they kept stretching until they reached the ceiling, then snapped back. “Ow!” She rubbed her shoulders.

“I hate it when that happens to me,” Robin said. “Once I threw my jaw out yawning. How long have you been stretchy?”

“Just since a few minutes ago,” she said. “That’s me, you know, Abigail Baker, the Understudy.” When she sketched a bow, her arm swooped elongated behind her. “Your talents are my speciality.” When she looked up, her eyes widened in an expression Robin dreaded. “Just a mo. Stretchy. I remember you. Ruttiger—Mr. Rubberband, right?”

“Just Rubberband. And I don’t go by that anymore. Just Robin, these days.”

She really was a good actor, Robin thought. Her expressions were transparent: he could read her trying to stop herself from speaking, then deciding she’d rather not pass the chance. “I watched American Hero religiously. I watched a lot of TV between auditions. When you retired from public life I was so bloody furious. At you, I mean. Yes, we have just met, and it is terribly unfair of me to say, and, obvs, you have no idea who I am, but, new policy, honesty at all times. Back then, here were my thought processes: I’m trying to break in; no luck whatsoever; big debut, gloriously romantic, also an enormous storm of bollocks—and here was this guy who lucked out, got the golden ticket. Only rather than appreciate it, off he goes. Oh thank you so bloody much. I mean, have you seen the world? We don’t really have love, do we? Instead we have celebrities. Those were my thoughts at the time. However. Adulthood. One sees mistakes were made. I was a child. I was being unfair. Now, I really get it. You were right. So, well done there. And thank you for remaining still for all that.” She set her hand on his arm, and his experience of British people was too limited to know whether that felt as forward for her as it did for him—they did the cheek kissing thing over there after all, didn’t they, or was that France? “It’s good to see you happy. To see anyone happy. Well, that is my portion of Too Much Information today, and now I shall retreat—”

“No,” he said, “it’s all right. Thank you.” And he meant it, more or less.

Was he happy? He walked the halls to his office, unsure.

His hand was on his office door and his mind on home, sleep, solitude, when a voice like crushed granite interrupted the quiet of his skull. “Mr. Ruttiger? Me and the guys were talking and, um. There’s something you got to see.”

 

“Look, Mr. R, you gotta understand, my jokers and me, we’re not into anything bad, right? We just keep an eye out. Take care of each other. But soon as you start to, like, you hang around, and you get so’s you know each other, and you make up a handshake, a special kind of nod, not meaning anything by it, people get ideas. We’re not doing wrong, right? Like okay maybe once in a while there’s some jokers want to get scrapping on your block, so you scrap back, and sometimes nats come down to start shit with little jokers who can’t defend themselves. Squishy people. I don’t mean you, you’re okay, Mr. R, you got your own back, I’m talking about, like, Smalls, who’s small, or Gabby who don’t have a mouth so she can’t call for help. God made me a rock so I got to be a foundation, you figure?”

“I figure.” There were parts of Jokertown not even realtors went, buildings that had been rat traps and fire hazards long before the virus, and after that turned weird, shellacked by three generations of joker inhabitants, crumbling masonry glistening with slime, veined by crystal, studded with papery nests for wasps the size of toddlers.

By itself, those hazards wouldn’t have kept the street safe. New York realtors had bulldozed and built over worse, and lied about it on the environmental impact statement. But the locals were fiercely loyal, and no one yet had worked up the entrepreneurial gumption to offer enough money to break that bond for an apartment wallpapered with its previous owner’s cast-off skin. Robin had walked most of Jokertown on one lunch break or another, but never this four-block stretch. They didn’t have places like this in Ohio.

“But you start that and then the police gall you, right, like every group of jokers is a gang or some mafan shit like that. But we heard you and Miss Jan scrapped them tracksuit guys who came for Octavia’s last night.”

“You heard about that?”

“Shit yeah, everybody heard! Why you think all and them was watching you all day? Some badass shit man! Wha!” Slade mimed a channel 5 kung fu movie pose, and an uppercut. The ground shook when he bounced on his feet, and rock flour drifted from his joints. “Yeah. So I added it up and thought maybe you’d like to know your tracksuit boys hang out here.” He nodded across the street and down: a building with broken windows boarded up, a weathered illegible sign bearing a picture that might have once been of a car. “They moved in six weeks back. Real serious tough guy shit. We spied ’em, didn’t want people bringing poison onto our street, that’s how jokers get hurt, you figure?”

“Yes.” It was an ideal hideout: near their target, and cop-free.

“But they kept quiet. Scoped up by the school—but nobody starts mafan by the school, that’s how jokers get sent up federal. We figured it for okay. But they can’t be hurting on Miss Octavia. I’d go to the police, the Fort Freak crew’s okay, but maybe I go to them and they ask me, Slade, why you coming to us with this now, right? What else you got? And maybe Big X or one of hers sees me going into Fort Freak and asks, Slade, why you in with police now? But you, Mr. R, you’re okay.”

“Would you be willing to talk to the cops? If I made the introduction?”

“I don’t know, Mr. R. For Miss Octavia, maybe.”

But it wouldn’t be enough. Arresting the tracksuits might slow Mikhail’s plan—if it was in fact his plan—but if they wanted Octavia’s place safe, they needed more. They needed to tie the man to the trouble. “Have you seen a guy in a suit with them? A big guy, with an Eastern European accent?” Slade looked confused. “Like Dracula?”

“Mr. R, man, they all talk Dracula. And nats all look the same. Me and my jokers, we gotta go to school or else they send for us, so if they do things during the day, we wouldn’t see nothing.”

Shit. Okay. Think, Ruttiger. We’ve got a street cops don’t patrol, close-knit community, outsiders will be noticed, but good luck getting anyone to testify. You need documentary evidence. But this was the kind of place where city cameras would keep getting mysteriously eaten. Think harder. Take in your surroundings. There’s the building covered in the thin layer of ooze, there’s the apartment walled in crystal, there’s the wasp’s nest making an uneasy humming noise, and there’s—

“Slade?”

“Yeah?”

“What’s with that apartment there? With three sets of bars over the windows, and aluminum foil?”

“Mr. R, you don’t want to be bothering her. That’s Mama Salva, she’s straight up paranoid, man. She thinks everyone’s out to get her. You talk to her, and it’s all, the government, and the aliens, and like the Kings of France and shit. My mama says she’s thought there was people out to kill her for at least twenty years. She paid some of my jokers to paint the hexes on, and they said she got the place all wired up, mics and cameras and junk.”

“Any of them pointed at the street?”

Slade’s eyelids ground down over his eyes, then up again. “You can’t be going in there, Mr. R. Mama Salva don’t talk to nobody. She’s going to hex you.”

“No,” he said. “You’re right. She won’t talk to me. But I think I know someone who speaks her language.”

 

He didn’t need to jump the fence to reach the stairs down to Jan’s apartment—Jan, it seemed, just lacked patience for the gate. The basement door was unlocked, and the lights weren’t on, so he fished out his phone and soft-shoed through the cluttered dark tool room with its dripping pipes to a shut door beside a washer-dryer, half-hidden behind paint cans, wishing the whole time that he hadn’t been such an unreconstructed dink the night before. The door handle turned, but the door stuck. He leaned into it, pressed harder, shoved. The door gave. He tumbled through into blinding light, and landed on a bear.

The bear wasn’t alive, but a bearskin draped over a chair oozing foam out the remnants of its upholstery. The fake fur smelled like dust, but the room was full of sage and incense and weed smoke—not to mention, as he forced himself back to his feet, bulletin boards, twenty of them, on the walls, in freestanding easels, festooned with news clippings and website printouts. The room was a spider’s mess, multicolored yarn lines sagging from pushpin to pushpin across the space between corkboards, and in the heart of that web stood Jan Chang, wielding a broken pool cue as a pointer. A man sat on the couch: squat and broad, the kind of big that didn’t need to suggest muscle beneath the flesh and the ripped jeans and the gold chain and the stained tank top—the muscle was as broadly stated as the rest of him. The big man’s eyes got narrow, and he rumbled up, dislodging a red piece of yarn that linked Queen Margaret to Prince Charles, which was silly, because there wasn’t a Prince Charles unless the royals had shuffled while he lost track. “Hey, buddy. This is a private residence here.”

“Ruttiger! No, Fred, this is Robin Ruttiger. Remember? The guy from last night.”

“That guy?” Fred didn’t seem encouraged by the association; Robin didn’t blame him.

“I’m sorry,” he said, hands up. “Jan, I was a jerk last night. But I need your help.”

“It’s cool, Robin, you were right. I wasn’t thinking about the bigger picture. I sat down to thinking, and that’s where all this came from.” She waved her hands to include the corkboards. “Fred, remember, Robin saved Octavia’s shop, he saved me—he’s okay.”

“It all gets a bit fuzzy,” Fred mumbled. “You know, the horns and all make it hard to concentrate. Buffalo brains are tiny.”

Robin blinked. “You were the buffalo?”

Jan frowned at the distraction. “Right, sure. Ruttiger, meet Fred Minz. Fred can turn into animals he eats. Fred, meet Robin. Stretchy guy. Rubberband, Chowdown. Chowdown, Rubberband. Can we get on with this, or do we have to have a crossover special?” No one answered. “Good. Now, as I was saying, after some substantial digging I’ve assembled two competing theories. The first has to do with reptoid manipulation of the Rosicrucian sect and internal Freemason magipolitics which affected the pre-grid street layout of southern Manhattan, interfacing with secret Majestic 12 experiments conducted here through the ’70s and ’80s when Jokertown was an undisclosed federal testing ground for psychoactive weaponry. The other has to do with the fact that our good friend Mikhail Alexandrovitch is a mid-level operator for Ivan Grekor of the Brighton Beach mob. That explains why the goons were so well-trained: the Russian mob has access to a lot of ex-Spetsnaz guys. Good thing Spetsnaz are notoriously weak against buffalo.” Frank chuckled. “Anyway. Alexandrovitch a semi-legit errand boy, emphasis on semi, and real estate development is a great vehicle for money laundering. Our man’s assembled a collective of investors currently operating under the name of the Twenty-First Century Retail Group, who’ve committed a large amount of capital to build a high-rise luxury condominium complex in Jokertown, provided Mikhail acquires the free and clear rights to demolish Octavia’s building. The other owners in the building all accepted down payments over the last year from puppet organizations I’ve traced back to Alexandrovitch—he’s not as good at covering his tracks as he thinks—because they assumed Octavia would never sell. They were right. But now the Twenty-First Century Group’s run out of patience, and Mikhail’s taken matters into his own hands. They’re both compelling theories; I’m not sure how to choose.”

Robin boggled as his brain raced to catch up with Jan’s mouth. “How did you put all that together?”

“I was a financial analyst before my card turned and I had more important things to worry about. But even with the paper trail, we don’t have anything to tie Mikhail to the attacks.”

“That,” Robin said, “is where I think I can help.”

 

“Back up,” Jan said when they stood in front of the door, with its six locks and chains, its pasted prayers, and the poorly disguised reinforced plates to either side that would have stopped a prospective burglar from just sawing through the wall.

Robin retreated a step.

“I meant, around the corner. The fewer people she sees through that peephole, the better. Plus, all due respect, I look more like a joker.” He didn’t think his expression was that skeptical, but her frown suggested otherwise. “Come on. I can take care of myself.”

When he was safely down a flight of stairs, Jan knocked. The locks were heavy, slow and vicious to unlatch. Some of those high-pitched whines you never realized you were hearing until they stopped, stopped. The door opened on at least two heavy chains.

The woman’s voice was sharp and cold. “Who are you? Who sent you? What’s the secret?”

“We don’t have time for the usual protocols.” Jan was talking fast. “I’m with the resistance. We’re being monitored. I need critical information from a secure facility. I was told you’re the person in this district I could trust.”

“Told by who? What’s the secret?”
“You of all people should understand that I can’t divulge my contact’s identity.”

A considering silence. “What’s the secret?”

He held his breath.

“Blood and gold,” Jan said. “Isn’t it always?”

The door slammed. Chains clanked. The door opened again. “Come inside. This hallway’s only Lavender secure.”

Footsteps, and the door slammed shut, and locks engaged.

Robin sat on the steps and waited. He pressed his thumbs together. A stooped gray woman lurched up the stairs under a layer of groceries; he helped her with them. Two kids came home from school and let themselves into their apartment. On the first floor, someone started practicing trombone.

Robin was playing jacks with the kids when the locks disengaged again, and the door opened. He’d been playing by snapping his hands out to catch the jacks (the kids cried not fair, but one of the little hypocrites was telekinetic and the other had gecko palms), so he turned his head all the way round on his neck to face Jan when she emerged. The boy laughed, “Eww, gross!”

Jan put her glasses on with one hand. “I’ll never understand the Merovingians. So much time worrying about the blood of Christ, when obviously organized religion is a Gray plot to prepare us for invasion.”

“Were there cameras? Did you get the footage?”

She grinned and held up a gleaming disc.

 

The next morning, when Mikhail came for Octavia, they were waiting.

Octavia had covered the shop’s window with a tarp that didn’t keep out the dawn chill. Robin hunched deep in his coat, over his coffee. He didn’t look at Jan, seated against the other wall, scrawling red sharpie circles and arrows on the morning’s Times. A one-eared tabby cat sprawled on Octavia’s counter, very interested in his own dreams.

“Good morning, Ms. Zargoza!” Robin heard Mikhail’s shark-toothed grin even though his back was to the man. “Is shame about the window. Dangerous neighborhood, I hear.”

“Mikhail. It’s never been dangerous for me before.”

“But nothing changes, no? Is New York! Have you taken chance to consider my offer?”

“I’ve been considering it for two months, Mikhail. And after two months, the answer’s still no.”

“Is a big mistake, Ms. Zargoza! I understand, is sentimental, I feel this way myself, I have been reluctant to part with old things because they belonged to my grandfather in this war or that. But we must move on, or else the world moves on around us. Especially in such dangerous places. A window today, who knows tomorrow?”

“Is that a threat, Mikhail?”

He faked shock, hands raised. Robin watched him in one of the mirrors Octavia hung to make the cramped shop feel bigger. “Is no threat. I hear same stories as everyone. Tracksuit men come to break windows, start fire. Jokertown is dangerous place, yes? And every day more dangerous.”

“That’s funny, Mikhail.” The very tall man in the very long coat who ducked through the bakery’s front door wasn’t wearing a badge, but even without the two-cop escort his bearing screamed police. “We have surveillance footage that shows you meeting with the men who tried to torch Ms. Zargoza’s shop. Tracksuits and masks and everything. We paid them a visit, and one of them remembered where he put his tongue.”

“Detective McTate.” Mikhail’s eyes narrowed, and he got very smiley and loose. “You have some honest mistake, I am sure.”

“Not this time, Mikhail.” The rolled newspaper the tall man held compressed and sharpened into a paper blade. “Let’s do this the easy way.”

Mikhail’s eyes flicked from McTate to his escort. The smile’s corners turned down, and the gleam in his eyes sharpened into hate. Then he moved, fast—not for McTate, but for Octavia.

He didn’t make it. Robin slung out one arm and snared his fist before it could connect. Then Jan zapped him. Then the tabby cat tackled him, only it wasn’t a cat anymore, but a heavyset ginger cop, still missing an ear, but in ample possession of a fist.

Police stuff followed after that. The three of them kept it together all the way through. Octavia only collapsed when the cops and Mikhail were gone. Jan hugged her, then glared at Robin until he, cautiously, stepped forward and joined the embrace.

“I can’t believe it’s over,” she said when the tears were done. “I’ll have to fix the window. I don’t know where I’ll find the money for that. But people will keep coming. I’ll make it work.”

“I’ll pay,” Robin said before it occurred to him to stop himself, and then there were more hugs, and violent thanks, and he couldn’t take it back.

It was after the hugs and the tears and the free coffee, and back out on the sidewalk, that he confessed to Jan Chang, “I don’t know how I’m going to afford that window. I’m using my savings to cover my rent as it is.”

“Move,” she said.

“Where?”

“The apartment upstairs from my place is reasonable. And Chowdown needs a roommate.”

“Think you could put in a word with the landlord?”

She laughed and punched him in the arm. It tingled. “Ruttiger, I am the landlord.”

 

He took the coffee to his office. There were eyes, yes, but he realized now they weren’t staring at him—watching only, with interest and approval. A gaggle of seventh graders trading Pokémon cards in the hallway stared open-mouthed as he walked past. He marched into his office, set the coffee down on his desk, and sat firmly on his chair—sure at last in his place, until the chair collapsed beneath him.

His head hit the floor. His feet hit the desk.

And, in a slow shuffling avalanche, Mount Paperwork collapsed onto his face.

He began to laugh. It had been a long time since he laughed. His sides hurt. He gasped in a dusty papery breath that filled his whole body from his ankles to his fingertips. The paperwork rustled and crumpled around him like a nest.

“Um, Mr. R?”

He slung a long arm over his desk and pulled himself to his feet. “What’s up, Slade?”

“I wanted to talk with you. You know. About.” Slade looked both ways as if afraid he’d been followed to the office, and mouthed: “Math.”

 

Text copyright © 2018 by Max Gladstone
Art copyright © 2018 by John Picacio


How to Destroy Civilization and Not Be Boring

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So you’ve decided to destroy your fictional civilization and for reasons of verisimilitude, you want to draw on a historical model. Your first thought may be to rotoscope the collapse of the Western Roman Empire … and why not? It worked so well for Isaac Asimov. The problem is it worked for a lot of other authors, too—the Fall of Rome is well-chewed gristle at this juncture. Perhaps other models would make a nice change?

Granted, other models may not be as well known as the Roman one, at least to Western readers. Generations of Westerners learned Latin and read Roman history; generations read Gibbon’s Decline and Fall.

Plus, other collapses were, no doubt, so thorough that we have no inkling they even happened.

Still, there are some collapses and calamities about which we have some knowledge. I have a few suggestions.

 

Boom, Baby, Boom

Volcán de Fuego eruption (Photo: Kevin Sebold, 2018)

Large eruptions like Toba 70,000 years ago or the Yellowstone eruption 640,000 years ago are very sexy: one big boom and half a continent is covered by ash. But why settle for such a brief, small-scale affair? Flood basalt events can last for a million years, each year as bad as or worse than the 18th century Laki eruption that killed a quarter of the human population in Iceland. Flood basalts resurface continental-sized regions to a depth of a kilometer, so it’s not that surprising that about half the flood basalts we know of are associated with extinction events. In terms of the effect on the world, it’s not unreasonable to compare it to a nuclear war. A nuclear war that lasts one million years.

N. K. Jemisin’s Broken Earth series gives some idea what a world in the midst of the formation of a Large Igneous Province might be like. In Jemisin’s world, there are people who can at least moderate the effects of an eruption. In ours, of course, there are not. As horrific as the Broken Earth is, the reality of a flood basalt event would be much, much worse. And that’s leaving aside resurfacing events on the scale of Venusian eruptions.

 

Holocene Big Melt

Viedma Glacier (photo by Liam Quinn, 2010)

The transition from glacial to interglacial predates the oldest known cities, but if there had been towns comparable to Uruk or Jericho 12,000 years ago, we might not necessarily know about it. We do, however, have some idea how the world changed when it warmed. Humans love to settle along rivers and seashores and the latter are radically altered when ice sheets turn to liquid water. Take, for example, Sundaland:

When sea levels were lower, Sundaland’s land area was close to twice as extensive as it is now. If humans built villages along the coastline twelve millennia ago, any relics would now be under many meters of sea water. Humans have occupied the region for a very long time, but our understanding of what the coastal cultures were doing during the glacial periods may be hobbled by the fact that a lot of the evidence is currently inaccessible.

We live in an interglacial period. Many of the ice-sheets that fed sea level rise are long gone. The good news for writers is the ice sheets that are left are still more than adequate for some serious coastal restructuring. Add in the disruptive effects on agriculture and a post-Big Melt world could be a much emptier , unfamiliar-looking world. Consider, for example, George Turner’s (probably more obscure than I realize) classic Drowning Towers.

 

Bronze Age Collapse

Ramesses II storming the Hittite fortress of Dapur (From Nordisk familjebok, 1907)

In the 12th century BC, cities all around the Eastern Mediterranean were burned, trade routes collapsed, large states declined, and some vanished entirely. It took centuries for civilization to recover. The powers that rose were in many cases new nations, speaking languages that would have been unfamiliar to people living in those regions a few centuries before. Whatever happened to the Bronze Age cultures of the Mediterranean seems to have been devastating.

One problem with incredibly devastating events is record-keeping becomes much harder when one’s city is being burned. Even when records were kept, the languages they were written in were replaced. As a result, what seems to have been an End-Permian catastrophe to the Fall of Rome’s K/T is more obscure than it really should be, and the possible causes more of a matter of disputed conjecture than one might expect. Our friend climate change appears, of course (because cultures dependent on predicable weather for agriculture react badly to sudden climate changes ), among a myriad of other possibilities.

One of my favourite hypotheses is disruptive technological change: cheap iron replacing expensive bronze had as a side effect the overturning of a complex social order, and thus the sudden collapse of everything dependent on that social order. It would be extremely comic if all it took to duplicate one of the most dramatic setbacks human civilization has suffered was something as simple as global computer networks. Or Twitter.

 

Trade Decline

Al-khazneh Monastery at Petra (Photo by Susanahajer, 2014)

Lunar colonists might look to Petra as an example of what can be achieved in a hostile, demanding environment. Surrounded by desert, the people of the Nabataean capital were remarkably adept at harnessing the resources they did have. In fact, they not only survived, they prospered, thanks to their strategic location in a Mediterranean-Middle Eastern trading network. At least, they prospered until the city declined and fell into ruin.

It is believed that the city fell to several earthquakes (which destroyed a sophisticated water storage and management system) and also declined due to a shift in trade routes. The Arab conquest may have completed the catastrophe.

Petra could be a model for the decline and fall of nations unaware that their trading partners have alternatives, or more SFnally, space colonies. Natural disasters and shifts in trade routes can befall whole planets. A minor subplot in Clarke’s Imperial Earth touches on this: what of Titan’s hydrogen export-based economy when demand for reaction mass falls dramatically?

 

New World Expansion

Landing of Columbus (John Vanderlyn, 1846)

Fifteenth-century Europeans were the equivalent of plague rats; they carried with them a millennia-long heritage of contagious diseases. They were descended from the survivors of the epidemics and pandemics, which means they enjoyed a degree of resistance to the diseases they carried. The unfortunates of the New World had no resistance. Their populations declined 90% or more over the next centuries. Small wonder that people struggling to survive in a post-apocalyptic hellscape were unable to prevent waves of infectious, violent invaders from stealing their land.

SFnal diseases tend to be far more lethal than the historical ones, probably because killing 999 in 1000 is more dramatic than 9 in 10. Ninety percent lethal virgin-field infections are still more than sufficient to kick the legs out from under heretofore successful civilizations, to leave the survivors unable to maintain their records and infrastructure, and unable to deal with other challenges that might arise (like the arrival of land-hungry, genocidal strangers). How precisely this might come about NOW might be a challenge to imagine, given modern medicine. I suppose one could imagine people suddenly deciding en masse to abandon proven technology like vaccines, but that seems pretty far-fetched…

While most authors opt for virgin field epidemics that kill all but one in a thousand or one in a million, there is at least one exception: Algis Budrys’ Some Will Not Die begins in the aftermath of a plague that has eliminated 90 percent of the population.

 

Natural disaster, technological missteps, epic cultural mishaps…it’s all good for the author who needs to sweep away the old to make room for the new. Or perhaps, if the mishap is large enough, for those who long for the tranquil quiet of an empty world.


1: I see some worried faces out there. Take comfort in the fact that the rich may have the resources to survive the calamity their own profit-seeking behaviour will cause. Even better, they can arrange for such history books as are written to lay the blame on the plebs who have been swept away by the demise of the old order.

2: Again, no need to worry that this will needlessly inconvenience our oligarchs. Even if agriculture shuts down for a few decades, the unnecessary masses can be converted into a nutritious slurry to keep their betters fed.

In the words of Wikipedia editor TexasAndroid, prolific book reviewer and perennial Darwin Award nominee James Davis Nicoll is of “questionable notability.” His work has appeared in Publishers Weekly and Romantic Times as well as on his own websites, James Nicoll Reviews and Young People Read Old SFF (where he is assisted by editor Karen Lofstrom and web person Adrienne L. Travis). He is surprisingly flammable.

Watch the First Trailer for Post-Apocalyptic Thriller Bird Box

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Bird Box trailer Sandra Bullock Josh Malerman

Netflix has released the first trailer for its feature-length adaptation of Josh Malerman’s post-apocalyptic novel Bird Box. Sandra Bullock plays Malorie, a survivor of a strange force that causes its victims to witness their greatest fears and then enact terrible violence. Seeking sanctuary with her two young children while avoiding whatever creatures are linked to certain death, she must lead them on the two-day journey… completely blindfolded.

Malerman’s novel got a lot of buzz for its chilling vision (pun unintended) of the future when it was published in 2014; the movie (adapted by Arrival screenwriter Eric Heisserer) seems equally atmospheric, showing us a brief glimpse of Malorie’s life before the world goes to hell. Sarah Paulson, John Malkovich, Lil Rel Howery (Get Out), and BD Wong also appear in the movie. Watch the trailer below:

The official synopsis:

When a mysterious force decimates the world’s population, only one thing is certain: if you see it, you take your life. Facing the unknown, Malorie finds love, hope and a new beginning only for it to unravel. Now she must flee with her two children down a treacherous river to the one place left that may offer sanctuary. But to survive, they’ll have to undertake the perilous two-day journey blindfolded.

Bird Box premieres December 21 on Netflix.

Read This, Watch That: Perfect Horror SFF Books and Anime Pairings

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There’s nothing like cuddling up on a dark October night with a creepy horror novel—or hunkering down to watch a scary anime. In this season of terror, we’ve got four pairs of horror books and anime to check out, from favorites to stories you shouldn’t miss.

With horror fiction and horror anime both being such incredibly in-depth areas, we’ve narrowed it down to pairings of stories that focus on people and the relationships between them. While many of the stories possess paranormal elements, the real terror lies not in the monster you’ve barricaded out, but the person you’re locked inside with.

 

Read The Devil Crept In, Watch When They Cry

Small towns in horror can be home to truly terrifying things. Ania Ahlborn’s The Devil Crept In is the tale of one such small town: Stevie’s cousin and best friend has gone missing, and he knows as well as anyone else who’s seen a cop show what that might mean. Except that in Deer Valley, children and pets have gone missing or been found dead more than once over the years. And even though Stevie is searching for the truth, he can’t imagine the answer he’ll find in Deer Valley.

Similarly, the anime series When They Cry (or Higurashi: When They Cry) introduces a horrifying mystery set in a rural village in the Japanese countryside. When Keiichi moves to Hinamizawa, he befriends a group of girls near his own age. It might sound like heaven for some teenage boys, but after the manager of a controversial dam project is found dismembered, the girls’ behavior grows increasingly bizarre, and Keiichi soon finds himself in grave danger.

 

Read Lord of the Flies, Watch Future Diary

William Golding’s 1954 classic The Lord of the Flies isn’t strictly a horror novel, but this story about a group of boys stranded on a mostly deserted island asks questions and provides answers that might bring dread to any reader: what are the lengths to which people will go when their lives are in peril—or when they have the chance to seize power? Ralph, one of the novel’s key characters, wants the boys to work together to succeed, but the tenuous civilization they build on the island soon begins to unravel.

Future Diary is a tale about the balance of safety and power with a supernatural twist: to find the world’s next god, the current god gives twelve people a cell phone diary with a specific power—and Yukiteru has one of the most valuable, a diary that can predict the future. Like in Lord of the Flies, the relationships between people take center stage in this anime, depicting the loyalties and betrayals of people desperate to preserve their own lives—and people greedy for power.

 

Read Misery, Watch Perfect Blue

Paul, the author protagonist in Stephen King’s Misery, is known for his romance series surrounding the character Misery Chastain—and he’s ready to move on from Misery’s story to new opportunities. But a car crash in Colorado leaves him injured and in the hands of a crazed fan of the Misery Chastain series, who’s enraged by Paul’s plan to move on. She’s prepared to do whatever it takes to get the ending she wants for her favorite character… even at the expense of Paul himself.

In Perfect Blue, Mima is leaving her spot as the lead singer in a popular musical group to pursue a career in acting. Like Paul in Misery, Mima seeks new opportunities in her career, but the move to acting angers one of her fans—one who turns into a terrifying stalker. As the only film on this list, Perfect Blue is the shortest anime to commit yourself to during the spooky season, but it’ll still leave viewers with a lingering sense of paranoia.

 

Read Another, Watch… Another?

Is this technically cheating? Who knows—and really, it doesn’t matter, because Another is an exemplary work of Japanese horror in both novel and anime form. Originally published in Japan in 2009, Another follows Koichi Sakakibara’s transfer to a middle school in the countryside, where everyone seems to be ignoring Mei, one of the girls in class. Contrary to their warnings, Koichi tries to befriend Mei—but by doing so, he unleashes a chain of gruesome and horrifying deaths of his classmates and the people around them.

Like When They Cry and Future Diary, Another is a supernatural story, though Koichi is pretty reluctant to admit that at first. But in a lot of ways, what’s truly terrifying is the things people will do to their friends when they’re frightened… and the lengths to which they go in an attempt to avoid triggering the curse in the first place.

Feliza Casano writes about science fiction, manga, and other geeky media around the internet. She currently lives in Philadelphia, where she moderates two book clubs and lines her walls with stacks of books. Visit her online or follow her on Twitter @FelizaCasano.

Chicken Feet and Fiery Skulls: Tales of the Russian Witch Baba Yaga

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Despite her appearances in numerous folktales, Baba-Yaga is one of the few creatures of fairy tale that I first encountered strictly through paintings and images, rather than through text or animated cartoon. In part, this is because she was left out of my various collections of western fairy tales, especially since it was years before I encountered the Andrew Lang collections. The ones I had largely focused on English, French, German, Norwegian and Italian fairy tales, with the occasional Spanish or Arabic (or probably faked Arabic, in the case of Aladdin and Ali Baba and the Forty Thieves) story thrown in. She is, after all, from Russia, and although the occasional Russian or Slavic element crept into my collections, these appearances were rare.

But I did see the pictures: horrific images of a person more skeleton than person, really, reaching out with clawed hands towards terrified children; tiny bizarre houses resting on—could those be bird feet? Chicken feet?—hidden deep in the woods; fiercely ugly old women with long noses using skulls as lanterns.

They were powerful. They were mesmerizing.

Clearly, they had a story.

(And may I just say, while I perfectly buy the theory that the “chicken legs” on Baba Yaga’s house were inspired not by actual chickens, but by stilt houses whose stilts do, at a distance, look like bird legs—birds that could, I guess, be chickens—I prefer to think that Baba Yaga is just awesome enough to use actual chicken legs, not “at a distance, these could be chicken legs,” for her house. Especially since that explains just how her house can walk around.)

But it was years before I found any of the Baba Yaga stories, even though two of them are relatively well known in English: Vasilissa the Beautiful or Vasilissa the Fair, a Cinderella variant where Cinderella interrupts her social climbing to visit a haunted house, and The Death of Koshchei the Deathless, also known as Maria Morevna, with the titles slightly varying depending upon the translator.

Both tales were translated into English in the mid-19th century by William Ralston Sheddon-Ralston (1828-1889), who understandably chose to go by the name W.R.S. Ralston in his scholarly publications, and reprinted in his scholarly work Russian Fairy Tales: A Choice Collection of Muscovite Folklore (1873).

Intended for a scholarly British audience, Russian Fairy Tales mingles the tales with introductions, Sheddon-Ralston’s commentary on Russian folklore and society, other scholar’s commentaries on Russian folklore and society, comparisons to folklore from other countries, and extensive footnotes. These are often somewhat condescending, if not worse, introductions, commentary, comparisons, and footnotes, with at least one comment making me wonder why Sheddon-Ralston studied fairy tales at all:

As usual, all these stories are hard to understand.

Grumble.

Still, Andrew Lang was able to dip into the collection, choosing to reprint its version of The Death of Koschei the Deathless in The Red Fairy Book (1890), introducing a version of Baba Yaga to many young English readers. A rather edited version of Baba Yaga, I might add—Lang continued to have Certain Ideas of what was and was not appropriate for young readers, whatever their thoughts on the subject—and one that left Baba Yaga’s appearance rather vague. Even the chicken legs supporting the house were left out—though Lang did keep the detail of Baba Yaga’s love of decorating her home with human heads.

Lang easily could have taken still more stories from Sheddon-Ralston’s collection, which even included a small section dedicated to Baba Yaga, described by the scholar as a “female fiend whose name has given rise to much philological discussion of a somewhat unsatisfactory nature.” (This sort of thing, which is not one of the comments I’m calling condescending, for the record, is all over the book, and probably helps explain just why this book failed to achieve the popularity of, say, the typical translation of Grimm stories into English.) This is the section featuring his translation of Vasilissa the Fair, but it also includes different descriptions of Baba Yaga’s house—the familiar, shifting, moving one on chicken legs, and the mansion surrounded by a fence of bones—along with quick references to various tales of how the Baba Yaga can be tricked, and how the Baba Yaga happily consumes human flesh. And, I must note, then very thriftily turns the leftover bones into building materials. All stuff that Lang could have used, but may have found a bit too horrific for younger readers.

This section also includes a tale called The Baba Yaga, which turns out to be more the story of a girl whose father marries again (which may sound familiar) and who finds out that her stepmother is the sister of a Baba Yaga (which may sound a little less familiar). Luckily, another older woman is able to give the girl advice about how to befriend the Baba Yaga’s servants and avoid the other dangers of the house. The servants are delighted to be given gifts at last (and the talking doors are happy to finally be oiled), and thus help out the girl. Sheddon-Ralston takes this tale as an example of Baba Yaga’s evils: I take it as a pointed lesson from the original storyteller about the importance of treating servants and other employees well. If you do, you can turn as many young girls into breakfast as you want.

If you don’t—well.

Prepare for a very aggravating day.

Without breakfast.

Interestingly enough, Sheddon-Ralston fails to comment on some other tidbits he collected here and there about Baba Yaga—for instance, in The Blind Man and the Cripple, a tale notably not included in the Baba Yaga section, but in the fourth section on Magic and Witchcraft, where a Baba Yaga begins to suck on the breasts of a woman, slowly sucking away her health as well. The two disabled men she lives with manage to capture the Baba Yaga, forcing her to take them to a fountain filled with healing water, which cures their disabilities.

And then the two men kill the Baba Yaga and head out to hunt down the other evil doer in the tale.

Quite a bit seems to be going on here, what with that hint of a poly relationship (the woman does end up marrying one of the men by the end of the tale) and the Baba Yaga’s more lesbian tendencies (something rather prudishly ignored by Sheddon-Ralston). But I find myself particularly intrigued by this portrait of an evil woman who could help cure disabilities—but won’t, unless threatened. Perhaps understandably, given that the two men, to repeat, kill her immediately after she helps heal them, but I am still intrigued by the idea that evil can heal, or at least, conceal a source of healing.

The stories were translated into English again just a few decades later by George Post Wheeler, a journalist and career diplomat with the United States Foreign Service who served various stints in St. Petersburg, Russia, between 1906-1911, in between postings to Tokyo and Rome. Despite all of this travelling, he apparently found time to learn Russian and collect fairy tales, always an interest of his. The result: Russian Wonder Tales in 1912, which included his versions of Vasilissa the Beautiful and Koshchei the Deathless.

Vasilisa by Ivan Bilibin (1900)

Interestingly enough, while Sheddon-Ralston frequently chose an almost aggressively straightforward English, and used plenty of contractions and words like “granny,” Wheeler tended to use a more archaic style, with lots of “thees” and “thous” and “thys” and variant spellings for “Tsarina” and other Russian words. I’m not sure if this was because Wheeler wanted to make his stories sound more exotic to American readers, or because he felt really strongly about the need to keep the familiar second person common in English, but it can serve to make the tales feel a little more distant. At the same time, Wheeler also included—or perhaps added on his own account—details absent from the Sheddon-Ralston versions. It makes for an interesting contrast.

Baba Yaga appears in many of Wheeler’s Russian Wonder Tales, including the first, Tsar Saltan, where Baba Yaga helps the Tsarina Marfa’s jealous sisters replace the royal children first with kittens (the kittens, I’m sorry to say, get tossed into the ocean), then puppies (the puppies, I’m even sorrier to say, also get tossed into the ocean), and then a stick of wood (the stick, I’m not sorry or surprised to say, also gets tossed into the ocean), slowly turning the Tsar against the Tsarita, who is eventually locked into a chest and tossed into the ocean (if you are starting to think that this Tsar was not exactly great at coming up with ways to kill people that did not include tossing them into the ocean, you are on the right track).

After this, Baba Yaga largely disappears from the story, though the troubles of the Tsar Saltan, Tsarina Marfa and their seven sons continue until the family is finally reunited and –

tosses the jealous sisters into the ocean.

What can I say? It’s a theme.

Baba Yaga in this tale seems rather less awful than several other characters, including the jealous sisters and I suppose, technically, the ocean. After all, Baba Yaga doesn’t actually kill anyone, unless you count the kittens, puppies, and the stick of wood—all of which are really more on the evil sisters, the Tsar and the people who actually did the kitten-, puppy- and wood-tossing than on Baba Yaga. She can even, in a way, be seen as the savior of the royal children—sure, she takes them and hides them underground, but by hiding them from the rest of the characters, she ends up saving their lives.

Another Baba Yaga appearance—along with her chicken leg house—comes in Wheeler’s long, intricate tale of the Frog Tsarina. This time, Baba Yaga is a mostly beneficial (if still terrifying) witch, who helps the prince regain his wife although I MUST SAY THAT THE WIFE IN QUESTION DESERVES A BETTER HUSBAND, which makes me kinda question just whose side the Baba Yaga is on. DEFINITELY NOT THE WIFE’S. In the context of the tale, however, I think we’re supposed to be cheering for this result, and the Baba Yaga does give the couple a nice white horse, so, there’s that.

But in other tales, the Baba Yaga is a much more clear-cut figure of evil—as in, say, Maria Morevna/The Death of Koshchei the Deathless, where she tells the hero, Ivan, that he can have a magical steed if he takes care of her horses, and doesn’t lose any of them—and then proceeds to drive the horses away, so she can blame Ivan for failing to care for them. Fortunately, Ivan has previously befriended some talking animals, who help him gather the horses again (in yet another fairy tale lesson of the importance of treating lesser creatures, and specifically talking lesser creatures like talking animals, well), allowing him to trick Baba Yaga in return. And in this tale, her house is surrounded by human heads—and she continually threatens to end Ivan’s life.

She is also a fearsome creature in the long, elaborate tale of Vasilissa the Beautiful. Vasilissa, in both translations, is the daughter of a Russian merchant, whose mother dies when she is only eight. The mother leaves her with an unusual present: a little doll which can talk and eat if given a little food and water.

Shortly after this, the merchant marries again, to a widow with two ugly daughters. If this sounds a touch familiar, you will probably not be surprised to hear that Vasilissa’s new stepmother immediately puts the girl to hard labor. You may be surprised to hear that Vasilissa’s solution to this is to talk to the doll, who, as it turns out, doesn’t just chatter or offer comfortable advice, but does chores. Better, in most respects, than a fairy godmother. Especially since, as a doll, it’s tireless.

Eventually, the merchant leaves for a trip, and the widow assigns the three girls tasks of making lace, hose and yarn, with only one candle for light—a sign that she’s not particularly interested in saving their eyesight. Sure, candles are expensive, but, as the story frequently reminds us, the merchant is well off; they can presumably afford a fire in the fireplace OR three candles or even—stay with me—BOTH.

Not surprisingly, one of the stepsisters puts out the one light—and then sends Vasilissa out to fetch fire from the closest house, which turns out to be Baba Yaga’s house. And this, everyone, is why you should keep a steady supply of matches, lighters or even just plain old flint and steel in the house, just in case you happen to acquire stepsisters who think it’s a good idea to try to fetch fire from any nearby house after dark, let alone a haunted house balanced on chicken legs, which just happens to be inhabited by a witch.

Why Vasilissa agrees to this, other than “because otherwise there wouldn’t be a story,” is a real puzzle, given that the story has already established that they live relatively close to at least one village, and given that she has a magical doll capable of doing extensive housekeeping and gardening and thus can presumably kindle fire. I’m just saying, Vasilissa has other options. Instead, she heads out to the home of Baba Yaga.

The house is terrifying. It’s not just the chicken legs (though Vasilissa really seems to have no appreciation for them) or the various supernatural horsemen, or even the use of human bones for building material, but the way the lights in the skulls (yes, skulls) turn off and on and the way that Baba Yaga in this tale turns out to be the sort of person who demands that you stay a bit and do some work for her if you want any fire. Vasilissa—understandably clutching the doll at this point—agrees.

The presence of the doll almost makes this into a competition between two magic-users, but in the end, what frees Vasilissa is her mother’s blessing—something the Baba Yaga cannot endure to have in the house. To the point where the Baba Yaga loses her temper and throws a fiery skull at Vasilissa as the girl leaves, which, frankly, tells you all you need to know about Baba Yaga right there. I mean, she could have given Vasilissa some matches, or a cake, or some cute mittens, or a map to the nearest village, or something, but no: fiery skull. Vasilissa takes this and its fire to her stepmother and stepsisters, who have been shivering for three days without light and warmth, and watches as they burn up.

Afterwards, Vasilissa heads to the nearby village, choosing to take shelter with another elderly woman—and not, noticeably enough, with any of the men who were eager to marry her earlier. Maybe they had objections to marrying anyone who carries fire around in a skull. I can see that. Eventually, she gets into weaving—with the help of the doll—which eventually brings her to the attention of the Tsar, who marries her.

So much of this—the analogies to other Cinderella tales, the way Vasilissa watches her stepmother and stepsisters die and then finds another possible mother, the way that Vasilissa uses skilled (and kinda magical) weaving to raise her social status, the way the confrontations between Vasilissa and Baba Yaga play out almost like a competition between rival magic users—fascinates me. But I think above all, I’m struck how once again, the Baba Yaga isn’t just evil—or purely evil—but rather, something or someone standing between the protagonist and something badly needed. In Vasilissa’s case, fire; in other tales, magical horses, or healing.

And—in stark contrast to the other evil doers and villains in these tales, Baba Yaga does not stand between the protagonists and happiness, but between the protagonists and objects. Nor does she, for the most part, come after the protagonists: rather, they are sent to her, or in some cases, travel to her for assistance.

It’s easy enough, of course, to imagine the obstacles in front of our own goals as evils, and natural for storytellers to imagine these evils as characters. Imagining them as elderly women crouched in chicken leg houses might be a bit more of a stretch, admittedly, but one that does make for richer stories—however terrifying the illustrations created from them.

Mari Ness currently lives rather close to a certain large replica of Hogwarts, which allows her to sample butterbeer on occasion. Her short fiction has appeared in Clarkesworld, Lightspeed, Fireside, Apex, Daily Science Fiction, Nightmare, Shimmer and assorted other publications — including Tor.com. Her poetry novella, Through Immortal Shadows Singing, was released in 2017 by Papaveria Press. You can follow her on Twitter at mari_ness.

Watch Out for Assassins: A Spoiler-Filled Review of John Scalzi’s The Consuming Fire

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Everyone’s had time to read The Consuming Fire, the second book in John Scalzi’s expansive new space adventure series, The Interdependency. If not, it’s time to rock up to your nearest bookstore, Audible app, or library and fix that. You won’t want to venture into this post without arming yourselves with the plot of the book (unless you love spoilers and then, that’s fine). If you want a taste of what you’re in for, check out the recap of The Collapsing Empire and the spoiler-free review of The Consuming Fire over here.

If you’re ready, let’s talk politics, plots, machinations, and banging. Spoilers, ahoy!

When we left our heroes, Emperox Grayland II of the Interdependency, or Cardenia, had survived several assassination plots by Nadashe Nohamapetan. Unfortunately for Nadashe’s brother Amit, he didn’t, leaving us down one antagonist and with the third, Ghreni, trapped on the planet End at the farthest edge of Interdependency space. Marce Claremont, our awkward rural scientist from End, has just dropped data on Cardenia that says the Flow shoals that the empire uses for travel, colonization, and trade will soon vanish. That will leave the empire fractured and many populations cut off and doomed without the ability to require additional resources. Kiva Lagos, a member of House Lagos, who brought Marce and his data through the Flow to be delivered to Cardenia, also brought with her dirt on more Nohamapetan shenanigans on End. Nadashe, having acquired incomplete data about the Flow shoals, launched a whole plan for mutiny that would leave her family in power instead of Cardenia’s. Too bad about the incomplete bits, and also too bad that Kiva Lagos is irked and has the information to really ruin their day.

Sequels can be hard to pull off, because you have to tie up some loose ends, drop new mysteries for the reader to chew on (making a note here—HUGE SUCCESS), juggle old and new characters alike, and keep the tension high—it’s not the last part of the story! Luckily, The Consuming Fire does so beautifully with some excellent character introductions, universe expansion, and some great villainy. There’s lots to unpack, but we’re going to focus on five specific things.

Political Maneuvering 101

Cardenia, thrust into the position as emperox, is quickly tossed into what for us would amount to a global crisis. However, Cardenia is no fool, even if she wasn’t raised to take over a massive empire. The Interdependency was founded using visions—a really flimsy PR tactic that somehow worked—and so Cardenia tries to use them, too. She proclaims visions that support the data that Marce has provided about the collapse of the Flow shoals in order to shift public opinion. Sadly, the other parts of the government aren’t super thrilled. But given that they all seem intent on fighting over power, disregarding science, and being real jerks about it, Cardenia’s visions plan was at least a plan.

Murderers Gonna Murder

Nadashe went to prison for trying to assassinate the emperox and also killing her brother Amit in the process, but that’s not the end of the story. Her mother, Countess Nohamapetan, taught her how to scheme, but not quite how to pull convoluted schemes off and not get caught. So when Nadashe finds herself rescued from a prisoner transport and presumed dead by everyone, she’s largely off the board as her mother tries to plant doubt about her guilty within society. Countess Nohamapetan is prepared to marry Nadashe off and do quite a few terrible things to continue Nadashe’s plan, because after all, who cares that their entire society is on the brink of destruction? For those harboring any doubts that Countess Nohamapetan is the OG schemer in House Nohamapetan, who else gasped out loud when she admitted to killing Cardenia’s brother once it became clear he and Nadashe might not work out? But again, talk about being the victim of your own arrogance—Cardenia has made life for House Nohamapetan hell way more than her brother might have, deservedly so. See: Attempts, Assassination.

It’s brilliant to watch how Cardenia finally puts Countess Nohamapetan in her place. That is, charged, along with her minions, with treason. But we haven’t seen the last of the Nohamapetans. Nadashe makes a quick escape to avoid recapture. The Consuming Fire hasn’t forgotten the existence of Ghreni Nohamapetan, but he’s still on End with Marce’s father and sister. Well, we assume so, and it’s likely Nadashe will head to him.

Still, seems risky. Vrenna Claremont doesn’t seem like an awfully forgiving person when you mess with her family.

New Friends & New Data

Marce is making tons of new friends in The Consuming Fire. First, there’s Hatide Roynold, who Nadashe received Flow data from. Nadashe used Hatide’s data to hatch her mutiny/Interdependency takeover, not realizing that the data wasn’t complete. Hatide, unfortunately, didn’t have her work peer reviewed, because the only other person studying the data, Count Claremont—Marce’s father—was banned by Cardenia’s father from talking about his research. Hatide accosts Marce after a lecture and shows him that his data is incomplete without hers—hers just shows something different and when you combine them the full picture emerges. Instead of the Flow collapse, it’s going to be a collapse paired with the opening and closing of temporary Flow shoals in different places.

This leads Marce and Hatide to discover that there’s actually an older Flow shoal open again. It was lost years before; Marce is adamant that they go through the shoal to see what happened on the other end so they can make better preparations for the empire.

Although the trip reveals that people survived in space for centuries, it’s undermined by the same forces trying to take over the Interdependency. Countess Nohamapetan sends assassins (she loves herself a solid assassination) after Marce and his team, and Marce and a few others only survive because they accidentally find a sentient spaceship that rescues them, and Marce makes his second friend.

Yes, that’s right: a sentient spaceship.

Poor Hatide, who just wanted to do science, is murdered along with the crew of Marce’s original ship. I bet Marce is going to put her name first on whatever papers he publishes, guaranteed. The new ship, helmed by an AI called Chenevert, comes to their rescue but also reveals that hey, the Interdependency wasn’t the only government out there. Also, the Interdependency didn’t accidentally lose Earth—they left with extreme prejudice.

The Secret History

After helping the survivors at the end of the newly opened Flow shoal before it closes, Marce brings Chenevert back to the Interdependency and introduces him to Cardenia. This is the greatest because a) Chenevert is actually an awesome character who, if he gets developed further, has the chance to become an excellent ally and b) he gives Cardenia some info that helps her start using the power at her disposal. Cardenia’s Memory Room—housing the memories and experiences of all the emperoxes before her—also houses data collected and stored by the AI that runs the room. It’s scooped up data the entire time it’s been active, and has a record of the time before the Interdependency.

Cardenia is probably the best person to have access to the power that Chenevert inadvertently brings her by alerting her to the secrets of the Memory Room. Chenevert’s existence, his escape from his own empire through a shifting Flow shoal, and Cardenia’s discovery of even more history of the Interdependency raise many questions about the survival of her empire.

Love is in the Air

Yeah, this is a book containing Kiva Lagos, so I hope no one thought we were leaving this discussion without talking about banging. There’s some great banging, because Cardenia and Marce finally get their heads out of their butts. Cardenia: falling in love! Marce: resigned to being a fling because he’s not important enough to marry and oblivious to how deep Cardenia is getting. I endorse some angst, emotionally resonant resolution, and a happy ending for these two nerds. *stares directly at John Scalzi, who is definitely reading this*

The most interesting, though, is Kiva! Countess Nohamapetan has a lawyer, Senia Fundapellonan. And because Kiva is Kiva, of course she’s gonna bang the lawyer. I don’t even know why that’s a spoiler. “Kiva Lagos meets someone new and doesn’t try to bang them” doesn’t even compute. But who knew that Countess Nohamapetan would get so mad at Kiva for working to root out all the corruption in House Nohamapetan’s finances that she would engage in assass—no. No, of course she would go directly to assassination. Unfortunately for her, her assassin doesn’t hit Kiva. Instead, they hit Fundapellonan, and Kiva has to go punch some people for it. And wouldn’t you know—Fundapellonan starts to grow on her. We’ll see if Kiva Lagos is ready to settle down or not in the next book. That’d be the biggest twist of the whole series.

The End

I’ve only scratched the surface of the adventures in The Consuming Fire. There’s a lot going on here and I could talk about it all, but why not save some fun discussions for the comments or Twitter? Things I didn’t cover: the Wu family is full of squabbling whiners; yeah, those people lost when the Flow shoal closed did survive and the reason will surprise you; is part of this book grappling with how governments respond to massive change similar to, oh, you know, scary reports about our own global temperature? Also, is it okay to use certain power, even when it’s for a good reason?

These questions and more await you in The Consuming Fire. I hope you love it. I sure did.

Renay Williams stumbled into online fandom, fanfiction, and media criticism via Sailor Moon in 1994. Since then, she’s become an editor at Lady Business and a co-host of Fangirl Happy Hour. She can be found having emotions over the lives of fictional characters on Twitter @renay.

An Important Thing to Learn: Friday Black by Nana Kwame Adjei-Brenyah

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Friday Black is the debut collection of Syracuse-based writer Nana Kwame Adjei-Brenyah, gathering twelve pieces of short fiction spanning from 2014 to now. These stories mingle the mundane and the extraordinary, the exaggerated and the surreal, all for the purpose of commenting on pivotal, often horrible moments in contemporary American culture. The collection is cutting from start to finish, a deep stare into the sociocultural abyss shot through with bleak humor.

From a gruesome timeloop tale whose protagonists are children to a metafictional riff on the danger of creating lives via prose, Adjei-Brenyah prods at tropes and expectations to create affective and moving stories exploring, above all, the “violence, injustice, and painful absurdities that black men and women contend with every day in this country.” It’s a haunting, unforgiving debut that pushes at genre boundaries in the service of art and criticism.

This is a challenging collection of stories that digs into the affective problem of “business as always” then uses that ennui to examine how far American culture would let things go, especially with regard to racism and anti-blackness. By pushing current events three small steps further, Adjei-Brenyah creates sweeps of dystopic horror that don’t appear much different from the present moment at all. Nothing in Friday Black feels impossible or unreal; in fact, the punch of the constant violence is that it’s utterly plausible despite the purposeful edginess of literary surrealism. Issues of authority, power, and social violence are dealt with as sticky webs, hideous and interrelated, whose effects are all-encompassing and inescapable.

And it does, in this case, feel relevant for me to point out the relation between text and reviewer before continuing. Namely, most of the stories collected in Friday Black are visceral, often-brutal explorations of contemporary black American experience and I do not want to approach claiming, as a white reader, to have access to or critical angles on that experience. The engagement I have with the collection is necessarily from the subject position I occupy, and while that is a given for any text, it seems particularly relevant to note given the politics of race, violence, and class Adjei-Brenyah is dealing with—as a matter of respect, if nothing else.

One of the most powerful and nauseating stories of the collection, “The Finkelstein 5,” comes first—and it’s a stellar example of Adjei-Brenyah’s critical lens, the raw horror that he distills from contemporary experience. The background of the story is that a man, “George Wilson Dunn,” murdered five black children outside a library with a chainsaw and the courts let him off scot free. The protagonist’s community is left to respond in complex, messy ways to their ongoing trauma as it manifests in every aspect of life within a culture that condones and encourages anti-black violence. This search for a functional or even survivable reaction forms the emotion core of the piece.

It is, I assume, no accident that read aloud the name George Wilson Dunn sounds like George Zimmerman (whose public and unpunished murder of a black teenager also figures in another piece, “Zimmer Land”). The defense attorney spouts a screed about “freedom” while the prosecutor is trying simply to argue that an adult man chased down and decapitated a seven-year-old girl—but the jury decides he was within his rights to do so. As the defense attorney says, “My client, Mister George Dunn, believed he was in danger. And you know what, if you believe something, anything, then that’s what matters most. Believing. In America we have the freedom to believe.” These courtroom scenes are interspersed throughout the story as the protagonist tries to navigate the world in constant awareness of his Blackness on a scale of one to ten—voice, clothes, stance, skin tone, location, activities—in the course of a normal day that does not, ultimately, remain normal. Adjei-Brenyah explores in brutal detail the internal conflict of a person, a community, suffering continual abuse and what possible responses even exist after a certain event horizon has been crossed. There are no simple answers, but there is pain, and fear, and anger. It’s a powerful story.

Commodification also features prominently as a form of social violence in several stories: the commodification of bodies, the corrosive consumption of late-stage capitalism, the entertainment value of trauma and oppression. Multiple stories are set in retail job environments, such as the titular piece, a mashup of zombie horror and the devaluation of human life in the face of material goods. Given contemporary treatment of the American worker, very little about these stories feels absurdist or satirical, despite the fact that there are trashbins for bodies in the shopping mall. As with all of the stories in the collection, it’s so close to the real monstrosity people wade through every day that the horror comes from the places where we can’t see the seams in the costume, where as a reader I’m aware it’s creative exaggeration but the emotional truth feels identical to the real.

Friday Black is also a collection of stories that primarily encompasses men’s experience, doing so with a level of emotional intimacy between the reader and the various protagonists that I appreciated. These are men and boys struggling to survive in an inhospitable world… who are nonetheless still men participating in patriarchy in a loop of complex inter-relational power, which Adjei-Brenyah doesn’t forget. Though women are less prominent in Friday Black, he is pointed in his representation of how his male protagonists do interact with them. For example, the protagonist of “Lark Street” struggles to deal with his girlfriend’s abortion—as described through a grisly fantastical plot device—but ultimately the narrative makes it clear that she is the one struggling most and he has a right to his emotions, but not at the cost of her emotional work.

However, the corollary to Adjei-Brenyah’s facility at exploring men’s interiority is that women do appear primarily as set-dressings rather than as fully developed characters. Meaningful interaction occurs, for the most part, among men. One of the weakest pieces is “In Retail,” a companion story set in the same shopping mall store as “Friday Black” and “How to Sell a Jacket as Told by IceKing”—and it does read as a companion rather than a story that exists individually. It’s also one of the only stories from a woman’s point of view, aside from “Through the Flash.” The protagonist’s viewpoint feels underdeveloped and underexplored, a quick tidbit that offers the counterpoint to “How to Sell a Jacket as Told by IceKing” rather than a whole tale of its own.

Of course, one book can’t do all the work in the world simultaneously—and the perspective Adjei-Brenyah is offering on black masculinities in America is vital and significant. He is also working with a set of literary tropes (and a style of edge-pushing short fiction in particular) that are reminiscent of Chuck Palahniuk as much as anything. So, on the whole, the collection is multifaceted, provocative, and focused first on affect. His willingness to explore ethical and emotional complexity, offering incisive portrayals and few simple answers, gives Friday Black the kind of heft I don’t see often in short fiction debuts. I almost regret reading the book in one fell swoop, as these stories are all emotionally intense; I suspect taking it one at a time, letting each story settle individually, would’ve been a more productive approach given the content. It’s certainly an important book for our contemporary political moment.

Friday Black is available from Mariner Books.

Brit Mandelo is a writer, critic, and editor whose primary fields of interest are speculative fiction and queer literature, especially when the two coincide. They have two books out, Beyond Binary: Genderqueer and Sexually Fluid Speculative Fiction and We Wuz Pushed: On Joanna Russ and Radical Truth-telling, and in the past have edited for publications like Strange Horizons Magazine. Other work has been featured in magazines such as Stone Telling, Clarkesworld, Apex, and Ideomancer.

Here’s the Art Serving as Inspiration For Guillermo del Toro’s Pinocchio!

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In his first directing deal since wrapping The Shape of Water, Guillermo del Toro has partnered with Netflix to create his stop-motion animated version of Pinocchio.

According to Deadline, del Toro’s co-production designer Guy Davis will be taking inspiration from the the illustrations of Gris Grimly, as rendered in a 2002 edition of Carlo Collodi’s original story.

Guillermo del Toro has wanted to make a darker version of the little wooden boy’s journey for a decade now—and with Grimly’s evocative illustrations as inspiration, this is one passion project that we can’t wait to see unfold!

Check out some of the interior art below!

Art by Gris Grimly

Art by Gris Grimly

Art by Gris Grimly

Art by Gris Grimly

Art by Gris Grimly

 

And there’s more where that came from! Check out more of Gris Grimly’s illustrations in Pinocchio—available from Starscape!


A Grand Unified Theory of Hayao Miyazaki: MiyazakiWorld: A Life in Art by Susan Napier

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I love Studio Ghibli’s films. Repeated viewings of My Neighbor Totoro and Kiki’s Delivery Service were all that got me through college with my mind (more or less) intact. But more to the point, I love Hayao Miyazaki. I love that he obsesses about his work, makes absurdly detailed films, never stops at good enough. I love that he’s prickly and irascible in interviews. I love that he constantly harps on how much better things were when it seemed like his generation were going to turn Japan socialist. I love how he’s unafraid of an ambiguous ending, and indeed, seems to regard happy endings with suspicion—but that he’s also willing to lay pure joy on us and expect us to keep up.

All of these elements are discussed in Susan Napier’s MiyazakiWorld, a masterful look at his life and career that balances the best elements of pop culture enthusiasm and academic analysis.

Susan Napier is the Goldthwaite Professor of Rhetoric at Tufts University. She focuses on Japanese culture, particularly film and anime, and her previous books include Anime from Akira to Howl’s Moving Castle: Experiencing Japanese Animation and The Subversion of Modernity: the Fantastic in Modern Japanese Literature. Here she dives into the life and work of Hayao Miyazaki specifically, giving us brief moments of biography interspersed with longer looks at each of his films.

Napier begins with Miyazaki’s childhood, and how living through World War II as a privileged child shaped his later anti-authoritarian beliefs. He realized, looking back, that he had a much better time during the war than much of his generation, and so often dealt with themes of war and aggression in his films. She digs into his complicated legacy as the son of war profiteers—Miyazaki’s grandfather, father, and uncle headed up a factory that made fan belts for Zeros, thus directly benefiting from Japan’s war effort, and allowing young Miyazaki the luxury of a suburban home and garden, far from the horrors his future partner Isao Takahata experienced, for instance. The war and his family’s role in it fed directly into the tension between his love of planes and flight, so beautifully expressed in his films, and his horror of war. Napier repeatedly returns to one pivotal moment in Miyazaki’s childhood: in the last month of the war, when Miyazaki was four years old, an air raid devastated his neighborhood. Napier quotes Miyazaki’s biographer, Ōizuma, to relate what happened next:

My uncle came by with a company truck, smaller than the vehicles that we have these days; the space for luggage was really tiny…the streets that he passed along were burning, right down to the sides of the road. …We covered ourselves with a blanket—we had to somehow get through the place where the flames were burning.

Just then at the guard rail a bunch of people arrived looking for shelter. My memory isn’t totally clear on his, but I’m certain that I heard a woman’s voice saying, “Please let us on.” I’m not sure if it was my memory or if I heard it from my parents and felt like I had seen it, but, anyway it was a woman carrying a little girl, someone from the neighborhood running toward us saying, “Please let us on!” But the car just went on going. And the voice saying, “Please let us on” got father away and it gradually took root in my head the way a traumatic event does.

In Napier’s view this moment became one of the roots of what she calls ‘Miyazakiworld’ as the director used his work to revisit his feeling of terror and helplessness, repeatedly giving his child heroes moments of strength where they can subvert or challenge uncaring adults, and creating adult heroes who value compassion above all else. Nausicaä, Kiki, Ashitaka, Chihiro, hell, even Miyazaki’s version of Lupin III—all of them would have stopped to save the mother and child. At the same time, the director is not naive or sentimental. In his world, war is often a reality to be reckoned with–the trick is in finding a way to keep your humanity and sense of decency intact. With Lady Eboshi, he gives us a character who makes plenty of moral compromises, but who also defends the helpless. In Howl, he gives us a magical terrorist who risks himself nightly to stop a ceaseless battle. In Jiro he gives us a romantic whose love of flight is perverted into an instrument of destruction. But around these characters he also allows for pure whimsy and magic, which is the key to Miyazakiworld.

In Miyazakiworld, Nausicaä can find delight in exploring a toxic jungle. Kiki can enter a dark wood, and instead of a witch or haunted house find a young artist who becomes a new friend. Miyazakiworld has enough room for the awe-inspiring Deidarabotchi and the cute kodama. A man can reject his humanity and be cursed to live as a pig (maybe) but everyone else in his life will simply accept him as a pig, no one will make a big deal about it, and he can then take refuge in his pig-ness when humans disgust him by embracing fascism.

Napier gives us an in-depth look at each of Miyazaki’s films, pulling out examples of this loose, beautiful universe and looking at recurring themes in the works. She draws links between Totoro and Kiki as two different views of Japan’s 1980s bubble economy: Totoro gives us a more negative view, where people exhausted by the excesses of capitalism wanted to flee to an agrarian past and celebrate a small rural community that lives in harmony with nature. On the other hand, in Kiki’s Delivery Service she sees the connection between the film’s message of a young witch’s independence, and the shift in society that happened when young women entered Japan’s workforce, living independently, saving up for European vacations, and generally demanding a level of autonomy that hadn’t been common before. And of course in Spirited Away, we see what happens after the bubble bursts.

In an inspired reading, Napier shows how Spirited Away and Howl’s Movie Castle can also serve as meta-commentaries on Studio Ghibli itself, with Yubaba’s bathhouse and Howl’s ramshackle castle as giant, fractious collectives fueled by near-constant work and many different personalities that barely hold everything together. She looks at the links between Miyazaki’s own mother, a towering, forceful woman even as she battled tuberculosis, and Miyazaki’s love for strong-willed girls and imperious older women, and she refracts Porco Rosso through the lens of Miyazaki’s mid-40’s, but she never resorts to easy pop psychoanalysis.

In what is probably the best thread in the book, Napier carefully explores the political and environmental themes in each of Miyazaki’s films. She looks at how they’re infused with Miyazaki’s political beliefs—not in the manner of a tract or propaganda, but in the clear-eyed way that he looks at all sides of a question in his films. As she shows, Miyazaki often comes down on the side of nature, even if it means the destruction of humanity. Napier takes special care with his two masterworks, Nausicaä of the Valley of the Wind and Mononoke Hime. First she talks about key differences between the Nausicaä film that Miyazaki made in 1984 and the ongoing manga that he wrote and drew between 1982 and 1994, looking specifically at how the film’s optimistic ending diverges from the manga’s resolution, which implies that a new world is indeed being born from the ashes of human civilization, but makes no promises that humans can live in it.

This is echoed in her later discussion of Mononoke Hime, where she looks at how Miyazaki creates moments of utterly non-human transcendence. The Shishigami might be able to cure Ashitaka, but it doesn’t particularly care about him. It is not a benevolent, anthropomorphic god who concerns itself with the lives of humans. It simply is. It receives worship from the kodama and other forest creatures, but doesn’t seem to dole out any favors or theology. It can be hurt, but it can also heal itself and the land to some extent. It doesn’t care that the Emperor wants its head, because it doesn’t care that there’s an Emperor. An aspect of Shishigami will exist long after the Emperor is dust. This sense of otherworldly, non-human-centric awe is a huge part of Miyazakiworld as Napier sees it. The constant refrain of wind currents, the lives of animals, and the cycles of nature surround the mortal humans and their slightly less mortal gods, and will outlast all of them.

MiyazakiWorld is a fantastic work of film scholarship that underlines just how titanic an achievement Miyazaki’s filmography is. As Napier finds themes that echo across all of his work, you will probably find yourself saying, as I did: “OK, this one’s my favorite. Oh, but, no, it’s gotta be Totoro. But wait, what about that one? Oh, I forgot Porco Rosso…”

Leah Schnelbach knows that as soon as this TBR Stack is defeated, another shall rise in its place, and she’d still rather be a pig than a fascist. Come sing the Totoro song with her on Twitter!

Kentucky Bourbon and Elder Signs: Alter Reiss’s “In the Forest of the Night”

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Welcome back to the Lovecraft reread, in which two modern Mythos writers get girl cooties all over old Howard’s sandbox, from those who inspired him to those who were inspired in turn.

This week, we’re reading Alter Reiss’s “In the Forest of the Night,” first published in the March 2015 issue of the Lovecraft E-Zine. Spoilers ahead; go check out the original, it’s a quick read and has shimmer spiders.

“And who is this,” said the long-necked paneron, from the bole of one of the great, phosphorescent night oaks, “come to our solitary?”

Summary

Abraham Jackson, or as he prefers to be called One-Eyed Jack or simply Jack, walks in the Dawning Wood. A paneron creeps down a phosphorescent night oak to interrogate and taunt him, while the shimmer spiders reel up their threads at his approach. Abraham Jackson isn’t the only one to come into the woods from the mirrored hall tonight, the paneron says. Brightest Star and Black-Cowled Drusus have conspired to trap him for use in a certain ritual. Yes, Abraham Jackson’s own Star, who pretended to be his pupil, but he is too weak and old, and she has—

The paneron, hungry for Jack’s fear, creeps too close. He throws it to the ground, closing his one good eye to its poison, driving the end of his black staff through its throat. As it dies, the paneron gloats on: his enemies will feed his blood to a great one, and prosper from it.

Jack cuts the two gems from the paneron’s heart and sits down. Star and Drusus may have laid on him a spell that directs his every step towards them, but he can hold off on those steps.Beside a night oak he sits more still than death, until the shimmer spiders forget him and lower their strands past the oak roots into the dreaming world. Sparks rise and fall on the strands, the souls of dreamers, each captured by a spider and drawn upward toward the wood. Ultimately the dreamers will wake in the forest of the night, reborn briefly before the spiders’ jaws close.

Jack waits for the nearest strand to be fully extruded. Then he cuts it loose, to the spiders’ rage. He coils up the stolen shimmer silk and walks on. He twists the silk into patterns along with the paneron’s heart-gems, a hank of his own hair, two silver dimes, and nine drops of Kentucky bourbon.

He comes at last upon Brightest Star and Black-Cowled Drusus. Each alone is more powerful than Jack; their magic combined they easily render him helpless. Drusus mocks and kicks Jack, for which Star chastises him: there’s no need to be cruel. To Jack, she apologizes: He was a good teacher, but Drusus’s offer of alliance was too good to pass up, and after all, Jack’s understanding was a bit limited.

The two bring Jack into a magic circle of black iron and nightshade and bind him to an altar stone with silver chains. To keep him conscious and in pain as long as possible, for the great one’s delectation, they cut him and stuff the incisions with burn-weed and wasp venom.

The ritual suspends Jack between life and death in incredible agony for a long time before Star stabs him through the heart. He dies, to wake naked save for a strand of shimmer silk, outside the magic circle.

Now it’s Drusus and Star who are trapped inside.Jack stands and studies the sky.There are no clouds, but the encircling trees toss as if in storm winds. You’ve called something up, Jack says. He knows, as do the trapped ones, that they have two choices. Either one of them lies on the altar as sacrifice, so saving the other, or the great one will take them both to be bound to it in torment for all eternity.

Star and Drusus draw their daggers, neither eager to play the noble role. Jack withdraws to the shelter of the trees as the great one comes.It takes what the magic circle offers.Before departing, it gazes at Jack, who bows his head.

He returns to the altar long enough to retrieve his staff and clasp-knife and consider what little’s left of Star and Drusus. The denizens of the mirrored halls will be surprised when Jack returns instead of the ill-fated pair. For a while they’ll fear him. Then, when he fails to perform wonders, they’ll forget. They’ll forget well before it’s time for him to make his next offering—just as he was promised.

What’s Cyclopean: Lovely, evocative creature-names—paneron and shimmer spider, kite and breakshell—invoking a whole ecosystem probably better avoided without heavy protective equipment.

The Degenerate Dutch: No recognizable in-groups from our own world here, though the mirrored halls sound pretty degenerate.

Mythos Making: Jack’s patron is “not one of the more pleasant great ones.” It’s not clear who, or what, would fall into that latter category.

Libronomicon: No books this week.

Madness Takes Its Toll: The closest we come to madness is Drusus’s petty irritation at Jack for taking his time on his way to the altar.

 

Ruthanna’s Commentary

This week’s story is clearly Lovecraftian, because people are getting sacrificed to Great Old Ones and it’s in the Lovecraft E-Zine, and there’s a bourbon-laced splash of American folklore in there too, but I have to admit that the weird creatures lurking in a weirder wood made me wonder if the wood in question might be kind of… tulgy.

Beware the shoggothim my son
The blobs that bite
Plasms that snatch
Beware the Shantak bird
And shun the squamous Bandersnatch.

I’m kind of surprised that we don’t have more Carroll/Lovecraft hybridization. The moods of the originals are different, but they have in common the underlying irrationality of existence. Can’t you picture Alice spending a lazy day with the cats of Ulthar, or Randolph Carter making his narrow escape from the Queen of Hearts? But then, I’m always interested in the many ways that people deal with the aforementioned irrationality, beyond the worldview-breaking anxiety that was Lovecraft’s obsession.

One-Eyed Jack is neither anxious nor absurdist—he’s taken another path, that of the trickster who’s joined forces with the universe’s irrationality and (in this case) malice. Given the season, I’m put in mind of Neil Gaiman’s The Graveyard Book, where the Jacks make up a mutual aid society of such tricksters, a cosmic force in their own right backed by all the stories of Jacks as clever sons and giant-killers… and killers of other things.

One-Eyed Jack is backed by something much simpler, a deal with a familiar sort of devil. Here we get the Problem of Sacrifice—why do the incarnations of an uncaring universe care so much about sapient blood, pain, and/or souls? We’ve encountered some good answers to this question. My favorites focus on the sacrifice’s meaning for the people carrying it out, leaving its meaning for the gods if any opaque—though “art preservation” also works pretty well. The thing is that, much as modern cultures generally have strong taboos against human sacrifice—and mind you, I’m pretty happy with this state of affairs—the cultures that embrace it tend to do so as a tool for order and social binding rather than chaos and unmaking. In literature, by contrast, it more often serves to demonstrate just how unsavory a particular entity’s tastes run.

Or how unsavory a particular Jack might be. This one goes from giant-killer to ripper as nimbly as any of Gaiman’s. He remains interesting to follow, if only because he seems to prey on those who first betray him. Though perhaps the inevitability of that betrayal is part of his Deal, in which case we get autonomous-car-level ethical questions about culpability.

Which are made more interesting by the title. What’s found in the Forests of the Night is a Tyger, Tyger, its fearful symmetry shaped by an immortal hand or eye. And tigers (or tygers) are predatorily innocent. So is Jack the Tyger, shaped as living bait? Or is it the Old One, nature shaped by blind evolutionary forces alongside the formation of the stars?

Or is it the whole tulgy wood, full of panerons and shimmer spiders, all looking for their next meal, whatever form of sustenance has been decreed for them? Possibly this is a story about predation rather than sacrifice—about great old ones and spiders and jacks all filling their necessary ecological niches, nature red in tooth and claw and shimmer-silk strand.

 

Anne’s Commentary

Is it still a thing in grade school, in high school even, to memorize poetry? It was definitely a thing in my Precambrian day, when all we good little soft-bodied Ediacarans would recite together, “Tyger, tyger, burning BRIGHT/In the forests of the NIGHT,/What immortal hand or EYE/Could frame thy fearful symmeTRY?” All the while wondering why William Blake couldn’t spell or rhyme (tyger? eye-symmetry?); also, what even was this vertebrate mammalian predator of which Mr. Blake spoke, and why was it on fire?

In Alter Reiss’s forest of the night, there is no tiger, ignited or otherwise. No, nothing so homey as that, for we are once again snared in nightmare. That, or we’ve passed into what Hagiwara called “the reverse side of the landscape,” the place that lies beyond the dream we call reality. Either way, Reiss’s story creates a narrative space with the imaginative grip of Lord Dunsany’s fantastic creations and Lovecraft’s Dreamlands; and as with these spaces, its hallmark is evocative economy. What do we know about panerons? They have long necks, and claws, and can scuttle on tree trunks and leap from one to another agile as squirrels, and spit venom, and speak in human tongues, and feast on harsh emotions, and provoke them with harsh truths they’ve harvested with what, quick ears for gossip, telepathy? Bits of information, doled out as the opening progresses, as snatches of observation from viewpoint character Jack who, as it turns out, is not really ignoring the paneron, who’s watching for his chance to… slaughter it for its two heart-gems. Heart-gems!

My imagination’s going double time filling in gaps on this creature, which is as it should be. I’m seeing something between a gecko and a spitting cobra, with a great interest in the politics of both Forest and Mirrored Hall. Then there are the shimmer spiders and the crucial question they open about which world is “real,” the Forest or the nether-root realm the spiders fish for the souls of dreamers.

“Who is this come to our solitary?” is the paneron-posed query that opens “In the Forest,” rather like “Who goes there?” opens Hamlet. Except First Paneron knows very well who it is, or thinks it knows, and is merely warming up for its taunting assault. When at story’s close the far less cocky Second Paneron asks, “Who are you, Abraham Jackson?”, its question is sincere:Who and what is this guy, really? He’s not what he seems, a failing old man and weak magician, or he wouldn’t be the one returning to the mirrored halls. Even more to the point, he’s not what he wants to seem. But as if some law of magic compels him to answer this one question truthfully, our pretender tells Second Paneron “I’m Jack.One-eyed Jack, if you prefer.”

He also tells First Paneron he’s One-eyed Jack, when it’s dying and the knowledge can do it no good. What’s the significance of the moniker? First thing I thought was it had a frontier America sound to it. His clasp knife added to the impression. Throw in among his magical paraphernalia two silver dimes and drops of Kentucky bourbon, and this fellow has definitely dropped into the Forest of the Night from some high ridge of our own Appalachian mountains.And why not, if Randolph Carter could access the Dreamlands from the lesser summit of College Hill? Or if Jack didn’t go willingly into that Forest, perhaps he was one of the dreamers drawn up and up a shimmer spider strand until he passed from the unreal bubble of our world into the too-real existence that included hungry spinner jaws.

Only Jack didn’t succumb to those jaws. Jack went from dimension to dimension with his cunning intact, and he escaped from his spider-captor, and he went on to prosper in his new reality, and why not? He just happened to be suited to the place, being a one-eyed Jack, like he of Spades and he of Hearts, who show only one side of their faces.In the mirrored halls, everyone looks at reflections, which reverse reality. The Brightest Star is the darkest traitor, to be matched only by her own “ally” Drusus. One’s worth is judged by the enemies one makes.Safety lies not in showing strength but in feigning weakness. Fool everyone, us readers included, into feeling sorry for the poor old man going to his doom, until bit by bit we realize who was in charge all along, who the great one’s favored servant actually is and will be again.

Beware the One-eyed Jack, see, because he shows you the good side of his face and hides the bad. Where Abraham Jackson’s concerned, “good side” equals the side it profits him to show you. Until it doesn’t anymore. Then he can reveal the “bad side” of wizard powerful enough to return from the dead, oh did you miss my little shimmer silk and bourbon talisman there?

Good old Jack. Or bad old Jack. Depending on whether it’s all a dream or only too real, yet another debate for the still-expanding regulars table at the Cat Town-Ulthar Teahouse-Inn. Meet you there!

 

Next week, a follow-up to the ill-fated and infamous Dyer expedition in John Shirley’s “The Witness in Darkness.” You can find it in The Madness of Cthulhu.

Ruthanna Emrys is the author of the Innsmouth Legacy series, including Winter Tide and Deep Roots. Her neo-Lovecraftian stories “The Litany of Earth” and “Those Who Watch” are available on Tor.com, along with the distinctly non-Lovecraftian “Seven Commentaries on an Imperfect Land” and “The Deepest Rift.” Ruthanna can frequently be found online on Twitter and Dreamwidth, and offline in a mysterious manor house with her large, chaotic household—mostly mammalian—outside Washington DC.

Anne M. Pillsworth’s short story “The Madonna of the Abattoir” appears on Tor.com. Her young adult Mythos novel, Summoned, is available from Tor Teen along with sequel Fathomless. She lives in Edgewood, a Victorian trolley car suburb of Providence, Rhode Island, uncomfortably near Joseph Curwen’s underground laboratory.

Oathbringer Reread: Chapter Fifty-Three

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Today on the Oathbringer Reread we’ve got a Scholarly Sit-down with Jasnah Kholin and a few of her friends (via span-reed, of course). Suspicions start blooming over a certain Kholin boy’s spren, Amaram takes a well-deserved verbal beat-down, and Renarin makes a grand discovery that could change everything.

Aubree and I have a lot to cover today, and Alice won’t be joining us due to family obligations, so strap in and prepare your spanreeds to make those comments on the bottom!

Reminder: we’ll potentially be discussing spoilers for the ENTIRE NOVEL in each reread. There’s also a tiny bit of Cosmere talk in the epigraph part of The Singing Storm, so tread carefully if you haven’t finished the original Mistborn trilogy. As always, if you haven’t read ALL of Oathbringer, best to wait to join us until you’re done.

Chapter Recap

WHO: Jasnah
WHERE: Urithiru
WHEN: 1174.1.9.1, one day after Dalinar flew to the warcamps.

Jasnah is spending some time with her fellow scholars in Urithiru. She makes a “conference call” via spanreed to some old friends, and discusses the fact that Nalan has been sighted in Azir. They also talk about Lift, whether or not Dalinar is crazy (he’s not), and Jasnah begins to have some suspicions about Renarin’s spren. Unfortunately for Jasnah, her least favorite person (Amaram) shows up, wanting to talk to her about bridging the growing gap between their families. Jasnah’s having none of it, and insults him so thoroughly that he leaves in a huff. Shallan brings up that she plans to leave with Elhokar to infiltrate Alethkar, which Jasnah’s none to pleased about, then Renarin makes the discovery of a lifetime—a hidden cache of gems, holding vibrational codes containing knowledge thought long lost.

The Singing Storm

Title: Such a Twisted Cut

L: I’m inclined to think that this is talking about the cuts Jasnah inflicts on Amaram’s ego, and nothing you can say will convince me otherwise.

Heralds

Palah’s in all four places on this chapter, and it’s pretty clear why, I think. She’s the Scholar, and if there’s one thing Jasnah is in full-gear on in this chapter, it’s scholastics. And mad burns, but we’ll get to that.

Icon

Shadesmar

Epigraph

Friend,

Your letter is most intriguing, even revelatory.

L: Oh no, Alice isn’t here so I guess I’ve got to take a stab at this section this week. ::sweats:: Well, this is clearly the beginning of a new correspondance. In the next parts the writer says they’re a deity and holding two opposing powers, so… Sazed/Harmony, writing to Hoid, presumably. The question is, what in the world was Hoid writing to Harmony that would surprise him so much? Something about Odium’s return, perhaps? We’ll dig into more of this letter in later chapters, of course, but I’m so curious to know what Hoid’s up to. (As always with him.)

AP: I was really excited by this, because the Cosmere timeline is a bit wibbly-wobbly to me.

L: (You said it so I have to post the gif, I’m contractually obligated.)

AP: It’s really cool to see Sazed pop up again. I’m eager to get more and more connections as the series unfolds.

Stories & Songs

He gathered them together at a grand feast, promising the delights of distant Aimia.

L: I’m desperately curious to know what these delights were.

AP: I’m going to need our fellow beta, Deana Whitney, to take a stab at this in one of her Cosmere food articles!

L: Wow, for some reason my head didn’t even go to food, I was thinking music or entertainment or something. But you’re right, looking at it again it probably does refer to food.

The text sounded almost delighted when she’d explained how he’d died by choking on the food at that very feast, alone with nobody to help him.

L: I really like this story/proverb. On the one hand, this guy survived so many assassination attempts that it’s almost understandable that he did what he did—but on the other, the irony is pretty delicious: the very fact that he had no one he could trust led him to his demise.

AP: I thought it was a great story too. But on a second look, it makes me wonder why exactly so many members of his own family hated him enough to try to kill him. Based on his overreaction, it seems like they may have had good reason.

L: Yeah, there’s definitely some underlying subtext, here. If he was a perfect benevolent ruler, everyone wouldn’t be trying to do away with him, now would they?

Often the greatest threat to a ruling family was its own members. Why were so many of the old royal lines such knots of murder, greed, and infighting? And what make the few exceptions different?

AP: Related to the above, this makes me really nervous for possible foreshadowing what with Jasnah being the new Queen at the end of the book. Are the families prone to paranoia or other forms of mental illness? We know that potential Knights Radiant are particularly paranoid when cryptics start hovering around. If the royal lines were full of unstable people, then no wonder they fell to internal threats. And with the Kholin dynasty already overrepresented in the newest iteration of the Knights Radiant, is it possible that we see some of this pop up again in future books?

L: Well, at least if people within the family do start gunning for her, she’s well equipped to take care of herself. Not only is she a Knight Radiant, she’s had years and years of experience in hiring assassins to “take care” issues like this.

AP: Oh, definitely. She’s got more experience with her powers than anyone else at this point. I fear for whoever tries to take on Jasnah Kholin.

L: Me, when that happens. Unless it’s Kaladin, in which case, this.

In any case, something’s wrong with the man I think is Nalan, Jasnah. I don’t think the Heralds will be a resource to us.

I will provide you with sketches of the Heralds, Jasnah said. I have drawings of their true faces, provided by an unexpected source.

L: Hoid, perhaps? We know Jasnah ran into him. I’m interested in this from another angle though. Do you think that the Heralds retained the same physical form in each return? I always sort of imagined it like reincarnation, sort of like in Wheel of Time. But this indicates that they look the same each time they’re brought back. It also implies to me that they return each time as adults, rather than being reborn and having to take the time to grow to adulthood. This makes sense, as they’d need to be adults to lead the people in each Desolation—but does it also mean that their bodies themselves are immortal, as opposed to just their souls?

AP: I wonder if it has to do with their cognitive identity—how they see themselves. So perhaps they experienced small changes over time related to their own self image, maybe they are taller than they were when they were human, for example. But by & large, your self image is pretty set.

L: Interesting. So their self-image could somehow alter their physical appearance? Like… “wouldn’t you rather be fire?” only in this case, “wouldn’t I rather be blond?” Man. I wish changing hair color in the real world were so easy…

AP: Not exactly a “would you rather” but like how Kaladin still has his slave brand that doesn’t heal, because it’s part of his self identity. Versus The Lopen who regrew his arm because only having one arm isn’t something he has internalized. His “self” has two arms, so the stormlight “healed” him to match his self identity.

L: That makes sense. So rather… “I should be blond, hence… I am.” I think therefore I am? ::laughs::

AP: Decartes would so be there for Roshar!

L: I do still wonder about their physical bodies though. Are they immortal and their bodies were carted off into the other realm with them to be tortured each Desolation?

AP: I don’t think so. My guess is that they get new meat suits for each reincarnation. They just match their cognitive identity.

A ruby, long as Jasnah’s thumb, cut into a strange shape with holes drilled in it.

The library had decayed, but the ancient Radiants had obviously anticipated that.

They’d found another way to pass on their knowledge.

L: Fun fact, the little snippets of information that show up in the epigraphs from here on out weren’t in the beta draft, so I have no idea what’s in them. I look forward to finding out and speculating…

AP: I was so confused when the book came out and people were talking about what was in these. I ended up skimming through all the epigraphs in a single sitting. It’s a really clever way to get world lore to the reader. Though in the beta we were all guessing about what these stones would do, and were totally off base. I thought they would be part of what powered Urithiru and made it “be a city.”

Jasnah was most interested in the Thaylen parshmen who had stolen the ships that survived the storm. Their exodus—combined with Kaladin Stormblessed’s interactions with the parshmen in Alethkar—was painting a new picture of what and who the Voidbringers were.

AP: I find all these tidbits fascinating. The awakened parshmen are definitely going to have a huge role to play apart from the Fused. I’m all in on them reclaiming their culture and identity.

L: Yeah, as much as I hate the Fused, I am all for the poor parshmen. Poor people have been downtrodden and enslaved for so long that they don’t even have their own cultural identity anymore. It’s heartbreaking.

AP: My completely unfounded suspicion is that it will take the Listeners/Singers/whatever new identity the awakened parshmen take on AND the humans working together to take down Odium.

L: I still think that Odium’s a red herring and the Real Big Bad is going to show up after he goes down after book 5, but I’m with you on the “Listeners/Humans team up” thing for sure.

Relationships & Romances

“We were close once.”

“My father wished us to be close. Do not mistake his fancies for fact.”

“Why, Jasnah? Why have you always denied me?”

“Other than the fact that you are a detestable buffoon who achieves only the lowest level of mediocrity, as it is the best your limited mind can imagine? I can’t possibly think of a reason.”

L: Dude, Amaram. Take the hint. The lady’s not into you.

AP: No means no. It makes me wonder what he was like when they were younger. I got seriously creepy vibes when he grabbed her arm.

L: Saaaaame.

“Brightness!” Shallan said as Jasnah sat. “That was incredible!”

“I let myself be pushed into abundant emotion.”

“You were so clever!”

L: I love how Shallan looks up to Jasnah so much, even despite the frustration she feels over being treated like a child sometimes. (Also, it might be worthwhile to mention that while Shallan tries—too hard, often times—to be clever, Jasnah does it effortlessly.)

AP: I like how this shows the difference in maturity between them so clearly. Shallan is just over the moon about the epic burns, and Jasnah is self-critical about the tactics she chose to take and knows that there will be consequences.

Bruised & Broken

You can’t spend forever floating between worlds, Cousin, she thought. Eventually you’ll need to decide where you want to belong. Life was so much harder, but potentially so much more fulfilling, when you found the courage to choose.

L: There’s a lot of interesting thoughts to unpack in this passage. For starters, I don’t think Jasnah is right here. She’s thinking in such binary of terms—black or white, fact or fiction. It’s a very scientific approach, but I don’t think it necessarily applies to people and emotions. It’s entirely feasible to live in the grey area, to be both a scholar and a soldier. Perhaps in this case, the courage Renarin needs is to take a stand and straddle that line, to choose what’s right for him and not to align with what society and culture expect of him.

AP: I think that the orders of the Knights Radiant can live on the edges much more easily than the son of a highprince. I expect the old rules to be less and less applicable, and I definitely welcome the change. However, this does show that Jasnah, for all her very public heresy, does have to work within the system to a strong degree to achieve her goals. She is still very much an Alethi lighteyes.

L: I wonder how much that’s going to change now that she’s queen, though!

AP: Depends on how effective she wants to be, I would guess! We saw with Elhokar how the king can be just a figurehead if they don’t have the support of the highprinces. I think Jasnah is much more politically savvy than her brother though.

—the boy could be a powerful addition to our ranks. He shows interest in numerology, and asked me if we can truly predict events with it.

Jasnah made a note to speak to Renarin; she would not have him wasting his time with a bunch of fools who thought they could foretell the future based on the curls of smoke from a snuffed candle.

L: Jasnah, really? Come on, now. You’ve been judged for your belief (or lack thereof) your entire life, maybe don’t judge others based on those same metrics.

In all seriousness, I get where she’s coming from. Athiests often have a dissatisfied take on any sort of religion, having been judged based on their beliefs for their entire lives. It makes sense that any sort of scientifically unprovable belief system would chafe against her. But she’s continually trying to make others what she believes they could be, rather than allowing them to figure that out for themselves. It’s the only thing that really bugs me about her.

AP: I think that’s a valid criticism! I wonder how much of the predicting the future is based on the abilities of one or more orders of KR, and how much has been corrupted like seemingly everything else in Vorinism?

Squires & Sidekicks

Are you at Urithiru? Jochi wrote. When can I visit?

As soon as you’re willing to let everyone know you aren’t female, Jasnah wrote back. Jochi—known to the world as a dynamic woman of distinctive philosophy—was a pen name for a potbellied man in his sixties who ran a pastry shop in Thaylen City.

L: I absolutely adore this guy already.

AP: He’s definitely the side character I’m most looking forward to “meeting”.

Heralds alive and trying to kill people, Jochi wrote. And here I thought my news about a sighting of Axies the Collector was interesting.

L: Just noting this casual little drop of information on Axies.

Places & Peoples

tests confirm something is different here. Temperatures are distinctly lower on other nearby peaks of the same elevation—

L: Well that’s interesting. Something to do with the dormant technology of Urithiru, perhaps?

AP: I really want to know how Urithiru works! This is the bit of lore I was most interested in finding out, and we don’t get an answer by the end of the book. Which makes me think there is a Big Reveal coming in book 4.

Navani talked of ways to improve the experience—of spanreeds that could be adjusted to connect to different people.

AP: Yaassss Navani! I am totally in on Navani’s magi-tech.

L: You just had to say that word, now all I can think of is Final Fantasy.

“And yet, my first insult was not to attack him, but the moral reputation of his female relative. Clever? Or simply the use of an obvious bludgeon?”

L: I’m putting this one here because of the subtext of social commentary. So often femininity is used as an insult (“You throw like a girl”), and I really love seeing Jasnah admitting that her first instinct was to adhere to this rather than insulting him based on his own lack of virtues or honor. Alethi society may have a long way to go, but I’m glad for people like Jasnah who, like many in our own world today, are taking a good hard look at the ingrained injustices and prejudices of the world and taking active steps to reject them.

AP: As I alluded to earlier, I think this is huge. It takes a lot of self reflection to acknowledge an error, and work to do better.

Tight Butts and Coconuts

“Jasnah,” he said when he drew close. “I was told I could find you here.”

“Remind me to find whoever told you,” Jasnah said, “and have them hanged.”

L: Storms bless you, Jasnah Kholin.

“Everyone can see that he has started to share your religious beliefs.”

“Which would be incredible, since I don’t have religious beliefs.”

L: Jasnah 2, Amaram 0.

“Yes, from what I understand, she spent the seven months she was with child entertaining each and every military man she could find, in the hopes that something of them would stick to you.”

L: Yup.

Jasnah smiled, holding her freehand toward him, letting Stormlight curl and rise from it. “Oh, please do, Meridas. Give me an excuse. I dare you.”

L: This Jasnah Kholin appreciation comment is brought to you by the letter B, for “badass.”

AP: Yes! I wanted to see her summon her shardblade! And, AND, after Amaram threatens her with the blade he STOLE FROM KALADIN!

L: Shit I had forgotten that and it makes me want to kill him even more.

A Scrupulous Study of Spren

Concentrationspren rippled in the air like waves overheard—a rarity in Alethkar, but common here—and logicspren darted through them, like tiny stormclouds.

L: I wonder if the concentrationspren being more prevalent here is simply due to the fact that it’s easier to concentrate in such a secluded place, or if there’s more going on in regards to location.

AP: I read it as a commentary on having so many scholars in one place, which was rare in Alethkar.

Ethid, she wrote, weren’t you going to try to construct drawings of the spren tied to each order of Radiant?

I’ve gotten quite far, actually, she wrote back. I saw the Edgedancer spren personally, after demanding a glimpse.

What of the Truthwatchers? Jasnah wrote.

Oh! I found a reference to those, Jochi wrote. The spren reportedly looked like light on a surface after it reflects through something crystalline.

L: Here we go, starting to really question Renarin’s spren. I’m curious about what exactly piqued Jasnah’s interest here, though. What he said (“—it’s coming from in here. Somewhere in this room—”) doesn’t seem to raise any red flags for me…

AP: I had the same question. We don’t know a lot about the Truthwatchers, so my guess was that it’s something in the lore surrounding them and Renarin’s behavior with Glys did not fit the expected pattern. Is he demonstrating an ability that he shouldn’t have based on his declared order? We know that Shallan is pretending to be an Elsecaller for her own benefit, which Jasnah knows is a lie. Perhaps she is more suspicious of her own family and internal threats than she’s willing to acknowledge.

Analyzing Artwork

Click to enlarge

AP: I love the calligraphy discussion here! Seeing the glyphs written out for the first ideal of the Knights Radiant is a cool easter egg. And then the reference to the phoneme set on the next page….which we don’t get!!

L: I agree, but… who the heck is writing this?

I prefer bloodstains to inkstains any day, so next time send me somewhere I’m more likely to die from wounds than from handcramps.

Assuming that it’s a worldhopper, but… are there any other clues?

AP: Someone posing as an ardent, I surmise. Or an actual ardent undercover in another devotary? The “Purity’s Eye” swear sticks out at me. It sounds like the writer is worried about coded messages being sent via glyphs, and that they do not typically spend a lot of time writing.

L: The way they talk about the Alethi, it’s got to be either a worldhopper or someone from a different culture on Roshar.

AP: Oh, totally a worldhopper. But we’ve seen Hoid be deep undercover before. Pretending to be an ardent wouldn’t be anything too difficult.

L: I also like how the glyphs so closely mirror the evolution of the written languages for Chinese and Japanese. The way they change and simplify over time, the way we have that section on the bottom right that’s just letters transcribed to simple glyphs is very much like Japanese hiragana and katakana! This is probably intentional—I know that Sanderson spent some time in Asia, he probably picked up on some cool stuff like this while he was over there.

AP: That’s a good catch! I study western calligraphy, and it makes me think of the way that scripts changed over time, first becoming highly stylized and decorative, then moving back toward functional before becoming very standardized with printing.

Quality Quotations

Turns out the end of the world had to actually arrive before people would take it seriously.

L: ::cough climate change cough::

AP: Such a good quote.

If Alethkar was going to survive the Desolation, they’d need committed leadership. A stable throne.

L: That’s some quality foreshadowing, there.

AP: Time will tell! I love my girl Jasnah, but I don’t know how stable the throne will be during a Desolation!

Ethid did not think highly of men who earned their reputations through conquest, despite having made the study of such men a cornerstone of her research.

L: Or perhaps because of it.

Jasnah Kholin? Lost at sea? Likelier we’d find the Stormfather dead.

AP: Weellll…that seems ominously like foreshadowing….

 

AP: Next week we join back up with the guy everyone loves to hate, Moash! Get hype!

L: Mm hmm.

AP: We also learn a lot more about the Fused. And someone we thought was gone re-emerges…

Aubree is eventually going to have to write an actual bio. But as she is currently on assignment hunting inspirationspren it will have to wait for another time. She heard that Axies found one in Aimia and she is now giving stray cremlings the side-eye.

Lyndsey is heading to Salem, MA for Halloween this year. If you’re there, keep an eye out for Yuuri Katsuki and Victor Nikiforov and if you see them, come say hi! If you’re an aspiring author, a cosplayer, or just like geeky content, follow her work on Facebook or her website.

The Fantastical Food of Fantasy: Magic Made Real

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Two words for you: Turkish Delight.

In a discussion of food in the fantasy genre, we may as well start with one of most well-known examples. When I read the Narnia books at age 12—an age when I fervently wanted magic to be real—I was overwhelmed with curiosity about this mysterious confection called Turkish Delight. I mean, it had to be really good for Edmund Pevensie to sell off his family to the White Witch.

The Narnia books were not favorites of mine—my preference went to Prydain—but that mention of Turkish Delight stuck with me. Later in my teen years when I visited a Cost Plus World Market for the first time, I encountered the candy for sale. I had to buy it.

I also had to throw it away because I found it to be outright vile.

Yes, I know the version I had wasn’t legit Turkish Delight. What is important is the food and the experience. I wasn’t even a Narnia fan, but I wanted to connect with and understand that scene years later.

Food is incredible like that. As far as I’m concerned, it’s the Force. It’s what binds people together within and across cultures and eras. As a worldbuilding element, it’s essential because what we eat (and don’t eat) is personal, is religious, is a snapshot of our very moment in time. Mess that up, and believability in the literary world shatters. If a book has samurai in feudal Japan regularly munching on yeast-risen white bread or William the Conqueror drinking hot chocolate, there had better be some major alternate history going on or a believable magical angle, or I’ll stop reading right there.

Even in outright bizarre settings, food in fantasy usually utilizes recognizable ingredients. There’s a big reason for that. Describing flavor is like trying to describe color to someone who can’t see quite the same range. Have you ever tried to explain a spice to someone who has never had it before? I did that with cardamom once, and I couldn’t get much better than, “It’s like cinnamon, but not at all like cinnamon.”

Bread is probably the most common food across the genre, but it can easily be an anachronism. Fluffy white sliced bread is a fairly recent thing; a book shouldn’t say something is “better than sliced bread” before 1928 unless you’re setting up a paradox.

In my Blood of Earth trilogy, I created an alternate history 1906 setting where many elements of Japanese culture are infused with American daily life. In actual history, European-style yeast breads weren’t successfully adapted to Japanese tastes until the Meiji Era of the late 19th century. For my setting, it therefore made perfect sense for Japanese sweet rolls like an-pan and jamu-pan to be common pastries in America. In Call of Fire, I introduce sylphs who engage in contractual alliances in exchange for bread.

That melding of familiar foods and the magical is something I particularly love about historical fantasies. J. Kathleen Cheney’s Golden City trilogy utilizes this especially well as she establishes her setting of 1902 Portugal:

The waiter arrived then with two plates: Duilio’s hearty meal of liver and sausage with fried potatoes, stuffed mushrooms, and broa, along with Joaquim’s fish soup.

There’s nothing inherently fantasy about that simple line, but basic details like this matter because they accurately portray the culture, place, and period. That kind of detail is also evident in her worldbuilding of the sereia, selkies, and otter-folk who live at the fringes of human society. Broa, by the way, is a yeast-leavened bread made of cornmeal and rye, and it’s delicious.

On the more explicitly foodie-fantasy side are two recent series: Matt Wallace’s Sin du Jour, with a wacky catering angle on urban fantasy, and Cassandra Khaw’s Gods and Monsters, wherein chef Rupert Wong serves man (literally, on a platter) to ghouls in Kuala Lumpur. The two series are radically different yet both invoke food in funny, seriously twisted ways.

A more traditional approach to the theme is found in Christina Rossetti’s famous poem “The Goblin Market,” which explores the old-as-Adam concept of magical beings tempting and destroying humans through food:

…Come buy, come buy:
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye;
Come buy, come buy.”

I think most of us know that if we ever get that long-awaited invitation to the Fairy Court, we shouldn’t eat the food, no matter how extraordinary it looks and smells. Certainly, things don’t go well for the maidens Laura and Lizzie in Ms. Rossetti’s poem. The historical context around that poem can’t be ignored, either. We in the 21st century are spoiled by the wealth of international produce offered by even the smallest of grocery stores. In the Victorian era—or really any time before the mid-20th century—a bounty of juicy, ripe fruits like those offered by the goblins would defy geography, seasons, and preservation methods. No wonder such a meal is an infernally tempting event.

Fairies can be the tempters—or the tempted. As I noted earlier, I use this with the sylphs in Call of Fire and my new release Roar of Sky. I love this trope, not just because I’m a foodie, but because there are so many ways to give it a fresh spin. One of the great side characters in Jim Butcher’s Dresden Files series is the dewdrop fairy Toot-Toot. While Toot is originally summoned through more traditional means of a magical circle baited with bread, milk, and honey, protagonist Harry Dresden discovers Toot and his kind really, really, really love pizza. Moments like that provide a moment of levity in an otherwise intense story.

Since the old-fashioned fairy spread of ripe fruit doesn’t embody quite the oomph it once did, pizza actually works well as modern-day bait for human and fairy alike—and other creatures, too. The Teenage Mutant Ninja Turtles certainly have a passion for pizza that kids and adults can relate to.

That brings me around again to what makes food essential to world-building in fantasy: we all eat. Our favorite book characters eat (some divine or immortal beings excepted, of course). Even if their world is completely bizarre in contrast to contemporary Earth, the food likely is not. Food provides the common bond between our worlds. It makes the fantasy more real.

Fantasy genre-connected cookbooks and blogs make that realism downright edible. As a Dragonlance-obsessed teenager, I was enthralled that the Leaves from the Inn of the Last Home: The Complete Krynn Sourcebook actually contained recipes based on food from the novels. I begged my mom to give the fried potatoes recipe a try. They weren’t as tasty as I’d hoped, but I still geeked out over it because I was eating Dragonlance food, something that Raistlin Majere might eat.

A more current example of this recipe trend is the food blog Inn at the Crossroads, whose efforts to cook their way across George R. R. Martin’s Westeros garnered them a book deal for an official Song of Fire and Ice cookbook. Devout fans cook up themed meals to enjoy while they watch the show on HBO.

An official cookbook for Outlander takes a more historical tack by providing recipes from postwar Britain to the Scottish Highlands and beyond. Video games also come to life through their foods, as bloggers and Twitch-streamers make mana potions and other dishes into genuine fare. Video game powerhouse Square Enix maintains an official Dragon Quest-themed restaurant in Tokyo called Luida’s Bar which features a full menu of food and drinks, including many that pay tribute to the role-playing game series’ beloved slime.

These examples highlight a major perk of being a reader/gamer and foodie in our modern age: food enables us to celebrate the worlds and characters of the books, movies, and video games we love. Not only does it make the fantasy world feel more real, but social media allows us to be, well, social about it. The internet isn’t just for cats. It’s also about sharing food pictures on Instagram and Twitter, blogging about recipes, broadcasting the cooking process live on Twitch or YouTube, and pinning everything on Pinterest.

On my Bready or Not food blog, I’ve shared recipes related to my Clockwork Dagger duology and my Blood of Earth trilogy. Readers love that they can eat what my characters eat. So do I. I want that level of interaction when I enjoy other books and games, too, whether that involves damsons and bilberries, broa, or a slime-shaped meat bun at Luida’s Bar.

I write fantasy because I want magic to be real. Eating food from the fantasy genre is a way to make worldbuilding into an actual, visceral experience. That is a delicious kind of magic—even in the case of Turkish Delight.

Nebula-nominated Beth Cato is the author of the Clockwork Dagger duology and the Blood of Earth trilogy from Harper Voyager—book three, Roar of Sky, is available now. She’s a Hanford, California, native transplanted to the Arizona desert, where she lives with her husband, son, and requisite cat. Visit her website and follow her on Twitter at @BethCato.

Science and a Thrilling Space Rescue: A Fall of Moondust by Arthur C. Clarke

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In this bi-weekly series reviewing classic science fiction and fantasy books, Alan Brown looks at the front lines and frontiers of the field; books about soldiers and spacers, scientists and engineers, explorers and adventurers. Stories full of what Shakespeare used to refer to as “alarums and excursions”: battles, chases, clashes, and the stuff of excitement.

Humanity has long referred to the flattest areas of the Moon as “seas.” And for a time, it was theorized that those seas might be covered with a dust so fine it would have the qualities of liquid—dust deep enough that it might swallow vehicles that landed upon it. That led to author Arthur C. Clarke wondering if you could build a craft that would “float” upon the dust…and what might happen if one of those vessels sank. While it is rare to find someone who hasn’t heard of Clarke and his major works, there are many who aren’t overly familiar with A Fall of Moondust, a novel that helped popularize science fiction at a time when the genre was still limited to a fervent but relatively small base of fans.

As a young boy, I was fascinated by tales of the sea, and it was probably this fascination that planted the seed which eventually led me to a career in the Coast Guard and Coast Guard Reserve. While the setting of A Fall of Moondust is exotic, the narrative is very much the story of a rescue at sea. While the book was first published in 1961, by the time I read the book a few years later, the USS Thresher had been lost with all hands, and I remember that undersea rescue was a topic receiving a lot of attention in the wake of the disaster. I immediately noticed the parallels between submarine rescue and the actions described in Clarke’s book.

A Fall of Moondust was one of Clarke’s early successes, and was nominated for the Hugo Award. But it also had a huge impact outside the science fiction field, in a way that many today may not appreciate. In the early 1960s, science fiction was still a genre limited to a very small fan base. A Fall of Moondust was the first science fiction novel picked to be included in the Reader’s Digest Condensed Books series. From 1950 to 1997, these collections appeared 4-6 times a year, with each volume containing 3-6 abridged versions of currently popular books. With a circulation estimated at about 10 million copies, this publication gave the science fiction field huge exposure in households across the United States.

Clarke popularized a realistic type of science fiction that, unlike its pulp predecessors, rooted itself in realistic science and careful extrapolation of technological capabilities. A Fall of Moondust, and another contemporary book of Clarke’s I enjoyed at the time, The Sands of Mars, fall clearly into this category. And Clarke, while not religious, could also be quite mystical in his fiction; many of his works looked toward the transcendence of humanity and powers beyond anything our current science can explain. The chilling tale of the huddled remnants of humanity in Against the Fall of Night, and the story of alien intervention into mankind’s future, Childhood’s End, fall into this category, as does the novel (and movie) 2001: A Space Odyssey, Clarke’s most famous work. The space journey in 2001 starts in a very realistic manner, but soon moves into the realm of mysticism. I, like many of Clarke’s fans, often found this very moving. While I have looked to theology and the Bible for clues about what life after death might hold, the first thing I think of every time the topic is raised is a line in the movie 2010, when a transcendent Dave Bowman speaks of “Something wonderful…”

 

About the Author

Arthur C. Clarke (1917-2008) is a British science fiction writer who spent his final years living in Sri Lanka. Already widely known both within and beyond the science fiction field, Clarke was famously chosen to sit beside the noted television news reporter Walter Cronkite and provide commentary during the Apollo 11 moon landing in 1969.

In World War II, he worked as a radar officer for the Royal Air Force, specifically in developing radar-guided landing techniques. In an article in Wireless World magazine in October 1945, entitled “Extra-Terrestrial Relays—Can Rocket Stations Give Worldwide Radio Coverage?”, Clarke famously advocated putting repeater satellites in geosynchronous orbit around the equator. While he was not the only proponent of the idea, he did quite a lot to popularize it, and the concept went on to revolutionize rapid communication around the Earth. He was also an early advocate of using satellites in weather forecasting. In his 1962 book, Profiles of the Future, Clarke famously stated what he called his three laws:

  • When a distinguished but elderly scientist states that something is possible he is almost certainly right. When he states that something is impossible, he is very probably wrong.
  • The only way of discovering the limits of the possible is to venture a little way past them into the impossible.
  • Any sufficiently advanced technology is indistinguishable from magic.

Because of their dominance of, and profound influence on, the field, Clarke, Robert Heinlein, and Isaac Asimov were often referred to as science fiction’s Big Three authors. Clarke and Asimov were both known for being top science writers, as well as top science fiction writers. In an agreement amusingly referred to as the Clarke-Asimov Treaty, Clarke is reported to have agreed to refer to Asimov as the best science writer, as long as Asimov agreed to refer to Clarke as the best science fiction author. Later, Clarke and Heinlein reportedly had a major falling out regarding the Strategic Defense Initiative, with Heinlein being in support, while Clarke opposed it.

Clarke’s most famous work is 2001: A Space Odyssey, a project for which he wrote the movie script with Stanley Kubrick while concurrently working on the novel version of the tale. He published a sequel, 2010: Odyssey Two, and participated in development of the 1984 movie adaption of the book. There were eventually two additional books in the series.

Clarke was not particularly known for the quality of his prose, which was sturdy and workmanlike, although his books frequently transcended that prosaic foundation. Besides the Odyssey books, the works of Clarke that I’ve most enjoyed over the years include Against the Fall of Night, Childhood’s End, A Fall of Moondust, The Sands of Mars, Rendezvous with Rama, and The Fountains of Paradise. Many of the books produced late in his career were sequels prepared with co-authors, and after finding a few of them forgettable, I gave up on reading them entirely. This may not be a very fair approach, but there are so many books in the world to choose from, and so little time to read them.

Clarke’s shorter works included “The Sentinel,” a story whose central concept led to the plot of 2001: A Space Odyssey. He also wrote the unforgettable, “The Nine Billion Names of God,” and the Hugo-winning “The Star.” His novella “A Meeting with Medusa” won the Nebula.

He hosted three science-based television series, Arthur C. Clarke’s Mysterious World, Arthur C. Clarke’s World of Strange Powers and Arthur C. Clarke’s Mysterious Universe, and was a participant in numerous other science shows and documentaries.

The awards Clarke received, and the awards that now bear his name, are too numerous to mention without exceeding my desired word count for this article. His most honored work was Rendezvous with Rama, which won the Hugo, Nebula, and British Science Fiction Awards. The Fountains of Paradise also won both Hugo and Nebula. Clarke was named a SFWA Grand Master in 1986, and he was knighted by the British Empire for his services to literature.

 

A Fall of Moondust

Captain Pat Harris is skipper of Selene, a vessel designed to float upon the surface of the deep deposits of moon dust that make up the Sea of Thirst (a fictional area within the real Sinus Roris, or “Bay of Dew”). She is an excursion vessel, run by the Lunar Tourist Commission, and sails with a crew of two: Harris and stewardess Sue Wilkins. Because travel to the moon is expensive, their tour group is an older crowd, made up largely of affluent people. While propellers drive her across the moon’s surface, Selene is essentially a grounded spacecraft, equipped with all the life support systems any such craft would carry. Pat is good at his job, and knows how to make the excursion as entertaining as possible.

Near the Mountains of Inaccessibility, however, an ancient gas bubble reaches the surface and Selene is enveloped and swallowed by the dust without any warning. When the vessel doesn’t check in, a search is initiated. The lunar colony calls upon the Lagrange II satellite, and astronomer Thomas Lawson takes on the task of locating the vessel (upon my first reading, I had yet to understand what Lagrangian points were, but this is an early use of the concept in fiction). Lawson finds no sign of Selene and goes to bed.

On Selene, Pat is working to figure out what happened, and what the implications are, when a passenger approaches him. He is Commodore Hansteen, noted explorer and leader of the first expedition to Pluto, who had been traveling under an alias in order to avoid attracting attention. While there is no formal transfer of command, the younger, grateful Pat is happy to defer to the older, more experienced man. At this point we meet the passengers, and if I have any criticism of the book, it is that they are a rather predictable lot (although Clarke, commendably for the time, does introduce us to physicist Duncan McKenzie, an Aboriginal Australian, making the cast of characters at least slightly more diverse than one might expect in 1961). They are understandably worried about their air supply, but soon realize that their main problem is heat, as the normal means of dispersing excess heat are now compromised by the dust.

The lunar colony sends out smaller dust-skis to trace Selene’s route in an attempt to locate her, but find nothing. An observatory reports a quake occurred in her vicinity, and they suspect that she has been buried by an avalanche, which would probably have destroyed her. Fortunately, circulation in the dust draws off some of the waste heat, and while conditions are unpleasant, the passengers are able to survive. Meanwhile, Lawson awakens and begins to look for traces of the wake Selene should have left, which would be visible on infrared cameras. He finds a hot spot caused by their waste heat, and realizes what has happened.

On Selene, the entertainment committee decides to have a reading of the old cowboy novel, Shane, and Clarke has some fun speculating on what future scholars would have to say about the (then popular) genre of the Western novel. Elsewhere, Chief Engineer Lawrence realizes that there may be a chance to save the passengers and crew, calls for Lawson to be brought to the moon, and begins planning a rescue. Lawson is an unlikeable fellow, but it is enjoyable to see him rise to the occasion and become a better man. Lawrence and Lawson set out to look at the hot spot, and eventually find the ship. A metal probe not only locates the ship, but allows them to communicate by radio.

We get a sub-plot regarding press efforts to uncover what is happening, as well as various sub-plots regarding the tensions between passengers—including the reveal that one of them is a believer in UFOs (Clarke uses the opportunity to poke some fun at them). But what kept my attention riveted, both as a youth and upon rereading, was the engineering effort of building rafts and structures to anchor over Selene and provide them with a new supply of air. The failure of their CO2 scrubbing system adds significant tension to that effort, providing an urgency to the rescue effort that no one had foreseen. Additionally, attempts to build a tunnel to Selene using caissons are complicated by further settling of the vessel. The final complication involves a fire in the engineering compartment, which threatens to explode and kill everyone aboard.

That the crew and passengers survive the ordeal will be no surprise, but for those who might want to read the book, I will be silent on any further details. I would definitely recommend A Fall of Moondust as a solid adventure book, with the narrative driven by technological and scientific challenges. It is an example of the realistic approach that made science fiction stories respectable and more relatable to wider audiences. The book is an early example of space rescue tales, paving the way both for works based in non-fiction like Apollo 13 and science fictional stories such as Andy Weir’s novel (and eventual movie) The Martian.

 

Final Thoughts

A Fall of Moondust was a pioneering book that made the exotic seem almost inevitable, leaving readers with the impression that it was likely just a matter of time before tourists would be buying tickets to the moon. Fortunately for lunar explorers, while moon dust turned out to be a real thing, and a pesky substance to deal with, it was not found in sufficient quantities to swallow up any of our expeditions or vessels. Clarke was able to produce a science fiction adventure that was gripping and full of technological speculation, while at the same time straightforward enough to appeal to the many subscribers to Reader’s Digest Condensed Books, many of whom may have been encountering science fiction for the first time with this tale.

And now it’s your turn to talk: I’m interested in your thoughts on A Fall of Moondust, or Clarke’s other works, as well as your thoughts on his place in the pantheon of science fiction’s greatest authors.

Alan Brown has been a science fiction fan for over five decades, especially fiction that deals with science, military matters, exploration and adventure.

Five Books Featuring Women in Love with Women

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There were science fiction and fantasy books with lesbian and bi women in them, back in the 1980s, when was a kid. But I didn’t know about them. They existed, but not in the stacks of paperbacks I borrowed from my local public library.

So lately I’ve been making up for one of the failures of the time and place in which I was born. I’ve been on a reading jag, focusing on SFF books with F/F relationships. And there are many! (Although never enough.) What makes me happiest is the sheer diversity of the love stories I’ve found. I don’t mean only demographically, although that too. There are mature and complicated relationships and there are quick, passionate affairs. There are slow magical sagas and fast techno thrillers.

Here are five of the books I’ve enjoyed recently.

 

Ascension by Jacqueline Koyanagi

This space opera is so much fun, start to finish. Alana Quick is a sky surgeon (like an engineer, but for starships) with a chronic illness, an ex-wife, and a fraught relationship with her mystical sister. When a starship comes looking for said sister, Alana stows away in its cargo hold, hoping to end up with a job as an engineer.

The brash, blonde starship captain, Tev Helix, is desperate to get some leverage over a transdimensional corporation, a corporation that can save the ship’s pilot from a slow, strange death. Alana finds herself desperate for Tev. But Tev already has a partner, and that’s only one of the complications Alana tries to untangle.

The science in this book is cool and magical (the other ship’s engineer is a man who might be a wolf if you look at him from the right angle), but the concerns of the characters are grounded and just so real, from the costs of medicines to the complexity of human relationships. It’s sexy and fast-paced, and most of the characters are women.

 

The Ruin of Angels by Max Gladstone

This is the sixth book in Max Gladstone’s Craft Sequence, and full of his particular brand of delicious magic and ideological conflict. It’s also full of female characters, which creates the space for the book to show not one but two major female-female romances.

Kai Pohala is a priest who’s come to the new city of Agdel Lex for a business deal. There she encounters glimpses of a ruined city that keeps asserting itself in the cracks of the newly imposed one, despite the best efforts of the creepy Rectification Authority. She also encounters her sister, Ley, a brilliant artist who has managed to push everyone away from her, including her sister and her ex-girlfriend, Zeddig. When Ley tries to put everything right, it all goes very wrong.

Ley enlists Zeddig’s help for a dangerous heist, and the rest of Zeddig’s crew of delvers: people who take short, dangerous trips into the old city to retrieve artifacts. The relationship between Zeddig and Ley is always fiery, as they try to figure out how they can love each other when they can’t trust each other.

Then there are the other delvers, Gal and Raymet. Gal is a knight in exile, a shining, golden-haired paragon. Raymet is a messy scholar who finds Gal fascinating and infuriating and can’t figure out how to communicate with her; it’s as if they’re speaking different emotional languages. Eventually, they’re forced into a situation where all they have is words, and they find the right ones after some flailing about, which gives Gladstone the opportunity for the glorious line of dialog: “But a Knight may rescue her lady from a tower. That is practically what Knights are for.”

 

The Winged Histories by Sofia Samatar

Set in the same world as A Stranger in Olondria, this book is, as the title suggests, a collection of histories. These are told stories about a time of war, and the story-tellers are, for the most part, four women, each of whom uses words in her own way. Each of the stories is like a painting on a pane of glass, beautiful in its own right and adding to our understanding of the whole when it’s placed in front of the one before it.

Tav is a noblewoman from a powerful family who goes off to become a soldier and then helps to lead a rebellion. She’s in love with Seren, a nomadic poet. While Tav seems dazzled by Seren and uncertain about what their future holds, Seren’s lyrical section of the book portrays their relationship clearly and wholly, as though she can see the past and the future all at once.

There’s so much world in every one of Samatar’s sentences that it demands the reader slow down, not only to understand the political and cultural context of these histories but also to ponder the thematic questions and savour the language.

 

Huntress by Malinda Lo

Kaede and Taisin are two 17-year-old girls, chosen to go on a quest to the city of the Fairy Queen, to bring nature back into balance and save their world. Kaede is a fighter, and Taisin is a sage. Gradually, they fall in love.

Huntress is a prequel to Ash and set in the same world, in a different time period. I’m drawn to those sorts of prequels, probably because I read both of Robin McKinley’s Damar books until they fell apart, when I was a teenager. And the love story in Huntress reminds me a little of the great and abiding love that develops in McKinley’s The Hero and the Crown. In Huntress, Taisin must choose between her duty and her love for Kaede, just as Aerin must choose between her duty and her love for Luthe. In both cases, choosing duty wouldn’t mean not choosing love; it would just mean separating from the beloved, perhaps for a very long and painful time.

 

Everfair by Nisi Shawl

 Everfair is an alternate history that re-imagines and re-examines one of the worst atrocities of the 19th century: King Leopold of Belgium’s murderous Congo Free State. What if African-American missionaries and British socialists had bought a piece of land from Leopold and tried to establish a utopia there, a haven for refugees and enslaved people? Of course, the land isn’t Leopold’s to sell in the first place, and the rightful king of that land naturally has some opinions.

Everfair is a complex, fascinating critique of colonialism and white supremacy—and it uses steampunk to do it. The airships and prosthetics of Everfair develop out of the state of war and the needs of its characters.

Two of those characters are women in love. Lisette Toutournier begins the novel as mistress to an older Englishman who engages her as a nanny to his children. She falls in love with his wife, Daisy Albin. These two women are passionate soulmates but the racist, patriarchal and colonial toxicity of their world continually buffets and disrupts their relationship.

Everfair is a book about nations, in which nothing is easy and nobody is right. Throughout, the passion of these two women is a constant refrain, like hope, as Daisy whispers in Lisette’s ear: “Where can we meet? Chérie—how soon?”

 

Kate Heartfield’s time-travel novella, Alice Payne Arrives, is coming Nov. 6 from Tor.com Publishing, to be followed by a sequel in March. She is also the author of the historical fantasy novel Armed in Her Fashion (CZP) and the novella The Course of True Love (Abaddon). Kate’s interactive novel, The Road to Canterbury, is available from Choice of Games. She is a former journalist and lives in Ottawa, Canada.

Star Trek: Lower Decks Animated Series Coming From Rick and Morty Head Writer

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The Lower Decks Star Trek The Next Generation

The Star Trek universe expands further with the announcement of a new series! Star Trek: Lower Decks is a half-hour animated sitcom that will, according to Deadline, “focus on the support crew serving on one of Starfleet’s least important ships.” (Much like the now-classic Star Trek: TNG episode of the same name focused on some of the support crew on one of Starfleet’s most important ships.) CBS All Access has given the series, from Rick and Morty head writer and dedicated Trek fan Mike McMahan, a two-season order.

Star Trek: Lower Decks is the latest series to come from Alex Kurtzman, who signed a five-year contract to expand the Star Trek universe with a number of series of varying lengths and styles. That includes a new Captain Picard series and the mini-episodes Star Trek: Short Treks; for the latter, McMahan wrote “The Escape Artist,” which sees the return of Harry Mudd and will premiere on January 3, 2019. In addition to Kurtzman, other executive producers for Lower Decks include Heather Kadin (from Kurtzman’s production company Secret Hideout), Roddenberry Entertainment’s Rod Roddenberry and Trevor Roth, and former Cartoon Network executive Katie Krentz.

“Mike won our hearts with his first sentence: ‘I want to do a show about the people who put the yellow cartridge in the food replicator so a banana can come out the other end,’” Kurtzman said in the official announcement. “His cat’s name is Riker. His son’s name is Sagan. The man is committed. He’s brilliantly funny and knows every inch of every Trek episode, and that’s his secret sauce: he writes with the pure, joyful heart of a true fan. As we broaden the world of Trek to fans of all ages, we’re so excited to include Mike’s extraordinary voice.”

“As a life-long Trekkie, it’s a surreal and wonderful dream come true to be a part of this new era of Star Trek,” McMahan said. “While Star Trek: Lower Decks is a half-hour, animated show at its core, it’s undeniably Trek—and I promise not to add an episode at the very end that reveals the whole thing took place in a training program.”


Pull List: Life Lessons in The Nameless City and The Girl Who Married a Skull

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It’s been awhile since we last looked at middle grade comics for Pull List, and what could make a more perfect return than The Nameless City and The Girl Who Married a Skull and Other African Stories? While the latter retells folktales from the African continent, the former finds life lessons in a story of colonial occupation and Indigenous rebellion. Plus, Faith Erin Hicks writes for both comics, and her presence is always a good sign.

 

The Nameless City series

The ever-rotating list of conquerors call the city by their own forcibly applied names, but those born and bred from its streets and sacred temples eschew them all. Their city has no name, no matter what the invaders say. The Dao are the current occupiers, having taken the city a few decades ago. Kaidu, a preteen Dao boy, arrives in the Nameless City to train as a warrior and connect with his absent father, a military general. While exploring the city, Kai meets Rat, a local orphan girl his age. She agrees to teach Kai to run across the rooftops like she does, and they become fast friends. But when a selfish, heartless Dao prince takes control of the city, Kai and Rat must decide where their loyalties lie. They hold the key to the city’s fate, but what should they do with it and who can they trust?

Faith Erin Hicks wears both writer and artist hats on the Nameless City series. The setting of the city and the neighboring colonizers are all Asian inspired. Hicks picks bits and references from all over the Asian continent and historical eras. There is an energy to Hicks’ artwork, which is ideal for a series involving a lot of action – running, jumping, dancing, fighting, and escaping are all prominently featured. But even the quiet moments are emotive and nuanced. Hicks excels at small changes in expressions and fills so much drama into something so subtle. If you’ve followed this column, you know I love everything colorist Jordie Bellaire touches, and the same goes for this series. Interestingly, Bellaire changes the palette from scene to scene. It keeps the story flowing and engaging, particularly when the plot slows down or gets repetitive.

The Nameless City series is a beautiful, powerful story. Although it’s aimed at preteens, people of all ages will love it. It’s a middle grade take on colonialism, racism, empathy, and accepting people for who they are rather than rejecting them for what they aren’t. I’m glad I read all three together instead of freaking out about the cliffhangers during the year long break between volumes. The need to know what happens to Rat and Kai was just too strong. And if that isn’t the mark of a great story, I don’t know what is.

Writer and art: Faith Erin Hicks; colors: Jordie Bellaire. First Second released volume one, “The Nameless City,” in 2016, volume two, “The Stone Heart,” in 2017, and the third and final volume, “The Divided Earth,” on September 25, 2018.

 

The Girl Who Married a Skull and Other African Stories

In this intriguing and appealing comic anthology, seventeen writers and artists adapt fifteen African folktales with varying degrees of success. The stories featured range from why snake and frog don’t hang out anymore to why nobody likes the hyena to Thunder and her destructive son Lightning to, well, the girl who married a skull. As with all anthologies, some entries are stronger than others. A few stories were very good, a few felt incomplete, but all were enjoyable.

With its excellent art and fun dialogue, the eponymous story (by Nicole Chartrand) was my personal favorite. Faith Erin Hicks’ entry, “The Stranger,” leaned the hardest into the “adaptation” part of the anthology by shifting the setting to space. Cameron Morris and Nina Matsumoto took an equally as inventive of a route with their tale “Isis and the Name of Ra” by breaking out of the typical panel layout and piling detail after detail into the art. Jose Pimienta’s “Anansi Tries to Steal Wisdom” feels the least like a traditional comic, and I mean that as a compliment. It’s loose and breezy, with an unusual and creative art style.

Some of these stories were familiar ones for me, but that was because I was raised on folklore. Even as an adult, when I think of the stories I learned as a child, I think of Anansi rather than Cinderella (or at least the version of Cinderella where the stepsisters cut off their toes and heels instead of the Disney one). But for preteens who aren’t as well versed in African folktales, this is a fab introduction. Here’s hoping Iron Circus Comics publishes the rest of the volumes in the Cautionary Fables and Fairy Tales series sooner rather than later.

Artists and writers: Nicole Chartrand, Jose Pimienta, Katie Shanahan, Steven Shanahan, Chris Schweizer, Carla Speed McNeil, Jarrett Williams, Kate Ashwin, D. Shazzbaa Bennett, Mary Cagle, Cameron Morris, Nina Matsumoto, Ma’at Crook, Kel McDonald, Meredith McClaren, Sloane Leong, Faith Erin Hicks. Iron Circus Comics published the first print volume of the Cautionary Fables and Fairy Tales series on October 2, 2018.

Alex Brown is a YA librarian by day, local historian by night, pop culture critic/reviewer by passion, and an ace/aro Black woman all the time. Keep up with her every move on Twitter, check out her endless barrage of cute rat pics on Instagram, or follow along with her reading adventures on her blog.

How Dead is Dead, Really? Shelley Jackson’s Riddance

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Shelley Jackson has long been one of gothic fabulism’s most delightful and ambitious Renaissance persons. Her 1995 hypertext Patchwork Girl is a reimagining of Frankenstein by way of L. Frank Baum’s The Patchwork Girl of Oz, a labyrinthine and nonlinear rabbit-hole collage of quotations, allusions, and anatomical diagrams. In 2003 she began the novella Skin, published entirely as one-word tattoos on the bodies of several thousand volunteers; her ongoing novella project is written in snow. She is a visual artist who’s illustrated the covers and interiors of Kelly Link’s short story collections Stranger Things Happen and Magic for Beginners as well as her own children’s books. And her most conventional (in form, anyway) novel to date, Half-Life, is the story of conjoined twins Nora and Blanche, one of whom is on a murderous quest to take back the first-person singular pronoun.

Riddance is Jackson’s first novel in twelve years, and it’s as noisy, category-defying, and fantastically weird a book as a longtime Jackson fan might hope for.

While plot is not its chief concern, it is more or less organized around the happenings at the Sybil Joines Vocational School, a Massachusetts boarding school of dubious reputation whose increasingly sinister headmistress, Sybil Joines herself, collects children with speech impediments under the premise that they can be made to channel the voices of the dead. (“I reveled in counterfeit,” Joines tells us early on, suggesting that perhaps she is not quite so reliable a necronaut as she would have us believe.) Eleven-year-old biracial stutterer Jane Grandison, a family-less new student with outsize ambitions, becomes Joines’s stenographer and personal assistant; but her own motives are as complicated as Joines’s, and when children at the school start dying, her story takes on a cool counterfeit of its own.

Riddance is presented as an anthology of first-person testimonials and supporting documents: Jane Grandison’s records of Joines’s channeled utterances from the land of the dead, reports from a variety of school visitors on the school’s quack practices, necronautical textbooks, letters to dead authors, and Jane’s own recollections, which serve as a welcome anchor throughout the book’s gothic cacophony. It is a big, exuberant, gleeful book, whimsical and inventive and stuffed full of wild leaps from the land of the dead to the land of the living—which, in Jackson’s world, are not so very separate at all.

In places Riddance’s insistent intertextuality barrels off into the weeds; Sybil Joines in particular is fond of 19th-century digressions that can make even a die-hard Dickens fan a bit impatient. While Joines is hardly a sympathetic narrator, her abuses of and experiments on children with disabilities bear a nasty resemblance to real-world practices in 19th-century institutions, a parallel that goes largely unexplored in the book. And though Jane Grandison offers a number of sharp insights into the operations of race and class, including a savagely funny indictment of the unrelenting whiteness of Sybil Joines’s dead (“Does the afterlife, too, hold up Jim Crow?” she offers drily), her most pointed critique only comes halfway through the book and is then mostly set aside.

But the book’s heart is a sad and tangled story of two heartsick misfits finding their own ways to survive, and Jackson always brings us back to its most compelling elements: the intersections and divergences of Jane and Sybil’s devastating loneliness and indomitable wills. As the book progresses—and the school falls apart—their stories surface more and more insistently, carrying the reader through to a bittersweet end.

While Riddance begins as a sometimes grotesque and always clever meditation on living, dying, and writing fiction, its heart is something sadder and less cerebral—an investigation into the way that damage and trauma reroute human lives. Is Sybil Joines channeling the voices of the restless dead, or only her own brutal history? That’s a question the reader will have to answer for herself. But it’s not just the dead who haunt the living, Jackson reminds us, and in the end the only story we can truly tell is our own.

Riddance is available from Black Balloon Publishing.

Sarah McCarry is the author of three novels: All Our Pretty Songs, a Tiptree Award honoree; the Norton award-nominated Dirty Wings; and the Lambda award-nominated About A Girl.

Daredevil Succeeds When Matt Murdock Gets His Catholic Mojo Back

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Part of the reason Daredevil’s third season is so good is that it once again centers Matt Murdock’s spiritual journey in a way that allows for layered storytelling. I’ve found three different stories spread across the three seasons of Daredevil that focus on elements of Matt’s religious life: his commitment to Catholicism, his personal faith, and, most interestingly, a terrifying meta story of good versus evil.

One of the interesting things about the show is that it takes Matt’s faith seriously, which allows his worldview to weave around those of his more secular friends. In Matt’s worldview, he was blinded and gained superpowers so that he would be able to fight injustice for God. In his worldview, his spiritual state is more important than his physical, hence why he doesn’t mind getting kicked around and beaten up in the course of making New York a better place. When we met him in season one Matt sat in a confessional, speaking to Father Paul Lantom, asking forgiveness for violence he hadn’t committed yet.

He says it’s been way too long since he’s been to confession, so it’s possible that Matt has come back to his home parish after his years at Columbia Law School, as part of his overall return to Hell’s Kitchen. (We’ll overlook the fact that it’s like a 20-minute ride on the 1 train.) If I have the timeline right, he started Daredeviling right after he and Foggy quit their internship to start their own law firm, so, like, a month before this confession? If that’s correct, it would seem that Matt has given into “the devil” within him, betrayed his father’s deepest wish for him, and begun using violence for the greater good, and realized that he needs a moral core so he doesn’t lose himself. So, he turns to the church—specifically his old childhood church, which turns out to have even more ties to his life than he realizes.

Confessing a sin you haven’t committed yet is bad-ass, yes, but it also isn’t doctrinally sound. You can’t pre-pent. Even a severely lapsed Catholic would know that, which means that Matt has not come to confession in good faith. But the basement latte conversation that he and Father Lantom share a few weeks later is in good faith. Lantom knows who Matt is, he respects him, and as the season goes on he doesn’t chastise him for being Daredevil, he just tries to nudge him away from murder. From this point forward we can assume that Lantom is his literal Father Confessor, and that Matt, who takes his Catholicism seriously, is keeping himself as morally upright as possible, and probably giving confessions and receiving communion as regularly as he can. Especially given that any night of Daredeviling could be his last.

This is important because when we rejoin Matt in the opening scene of season three he is not grateful for his miraculous survival, and he doesn’t thank the nuns for saving his life—he’s too busy obsessing over Elektra. He knows that whatever arguments he made about wanting to bring Elektra “back to the light” he walked into Midland Circle with the other Defenders with no intention of walking back out. He knows he was committing suicide. He chose sexy death with Elektra over being God’s superhero. Father Lantom seems to intuit at least some of this, and immediately offers to hear his confession and give Matt Communion.

Because, again, in this worldview Matt is in a state of sin. He is out of joint with God, Catholicism, and his universe, and until he repents of his decision at Midland Circle and receives Communion he is, spiritually speaking, fucked. He and Lantom both believe this.

And Matt literally turns his back and tells his Father Confessor to “give it a rest.”

Over the next four episodes Matt rails against his faith, speaking about God not as New Atheist or as a Recovering Catholic but as a betrayed lover. There’s no external romantic plotline for Matt in this season, because his real romance is with God, and they’ve had one hell of a falling out. And for all Matt’s attempts to hit Nihilism up as a rebound chick, he just can’t quit the Lord.

But, tellingly, he just keeps talking about God, not to God—he ignores Sister Maggie and Father Lantom’s invitations to Mass (hell, Karen attends Mass before Matt does) and he certainly doesn’t pray… except for one notable exception.

At the end of the first episode he goes out hero-ing for the first time (back in an all-black outfit that is at least partially constructed from a nun’s wimple) and while he rescues a girl and her father, he ultimately loses the fight. The goons try to leave him in the street but he calls them back, throws one of them a metal pipe, and offers his throat, saying “God forgive me.”

The goons are understandably confused and bolt when they hear sirens approaching.

So that’s two suicide attempts now.

But of course that happens out in the street, away from his church, and away from the priest and nun who he’s desperately trying to impress with his anger. When he speaks with Sister Maggie of Father Lantom he says, well, he says this:

“I realize now that Job was a pussy” (Note that Frank Castle’s idea of complimenting Matt was telling him that he wasn’t a pussy after all.)

“I’ve seen [God’s] True Face now. In front of this God, I’d rather die as the Devil than live as Matt Murdock.”

“I no longer care what God wants”—says the guy who just begged God to forgive him while trying to commit assisted-suicide-by-metal-pipe.

“I’m Daredevil. Not even God can stop that now.”

(Also, can I just mention how tired I am of Job? Jonah, Ecclesiastes, Jeremiah–there’s plenty of dark stuff in the Hebrew Bible and New Testament! Why does everyone always go leaping for Job?)

When Sister Maggie says, “You’re talking to a nun, kiddo. Love and redemption are pretty much our sales pitch” he snaps “Yeah, well, I’m not buying” with all the venom of a scowling eighth-grader. When the woman he rescued in the first episode says “Thank God for you,” Matt tells her, “He didn’t help you. I did,” sounding eerily Punisher-esque.

At one point Matt goes upstairs to church, and hovers in the doorway to tell Father Lantom that he used to eavesdrop on people praying—he could hear them even if they only whispered—and believed that God was letting him hear the prayers so he, Matt, could answer. “That’s all I was trying to do—I was trying to help people. But I am not what I was.”

Which is sort of the key to the larger arc of the three seasons. Matt initially found meaning in his new abilities by using them to enact what he thought was God’s will. As his urge to become the Devil of Hell’s Kitchen rose, he sought support in his church, and while his faith may have been there from the beginning, he recommitted to the practice of that faith over the course of season one. When Matt is conflicted over how to deal with Fisk, he turns to Father Lantom, and the two of them talk in church with a crucifix hanging above them. Matt occasionally glances toward it, but keeps an attitude of reverence and respect. We see the wounds on Matt’s body, but he doesn’t acknowledge them as much as he focuses on his moral and spiritual concerns. Father Lantom talks about God allowing the Devil to fall and become evil as a symbol of what could happen to people who step off the path of righteousness. It’s after this conversation that Matt begins embracing the Devil persona more, to make himself a symbol in much the way Batman does in the DC universe—but where Batman’s symbol is borne of fear, Daredevil borrows a symbol from God in order to answer people’s prayers.

But by season two, Matt’s in full martyrbation mode. When Punisher comes to town and knocks Matt out, the Devil hallucinates a motherly nun telling him to stay down, to rest, as she tends his wounds and squeezes a bloody washcloth over him. The camera, from Matt’s hazy point of view, pans over a crucifix, lingering over Jesus’ wounds before resting back on his own blood. This is Matt, mostly unconscious, comparing himself directly to Jesus and allowing himself to stay down. Throughout the season he’s snippy and mean, alienates Foggy, yells at Karen when she tries to talk about Punisher, blathers on about the need for redemption, but seems totally uninterested in Karen’s concern with Frank Castle. And when he debates with Frank Castle? After years studying catechism and way more years studying law, he can’t win the argument. Matt has become quite literally holier-than-thou, which of course leads directly to an epic fall when Elektra shows up. Because suddenly her redemption is not only possible, it’s necessary, despite the fact that she’s just as cold-blooded a killer as Punisher. The religious imagery, and Matt’s religious commitment, disappears almost entirely from the latter half of this season, as does Father Lantom. This carries into Defenders as Matt is faced with the literal resurrection of his ex-girlfriend, but rather than talking it out or dealing with the religious implications of her being back from the dead, he just wallows in their usual S/M dynamic and tries to die with her while she tells him “This is what living feels like.”

Which is how, in season three, we end up with Anger!Matt looking at a church full of people praying and says of his Estranged Boyfriend, “All I ever heard was pain, and all He ever gave any of us was silence.”

In the midst of this performative anger, Matt’s ongoing internal monologue takes the form of Wilson Fisk. Internal Monologue Fisk asks him, “You don’t think God knows you tried to kill yourself?” and points out: “God returned your hearing just in time to hear my name chanted by the crowds. Just in time to learn in the long run, I won! You lost! Does that sound like God’s forgiveness?”

“No. Sounds like Hell,” Matt replies.

But just as he’s finally trying to reach out to Sister Maggie, he overhears her prayer, and realizes she’s his mother, and that Father Lantom has known all along. And then Matt—the guy who has made his two best friends keep his secret for YEARS—is angry that someone has kept a secret. Furious and Even! More! Betrayed! Matt storms off to try to get the drop on Fisk.

And it works. He’s able to infiltrate Fisk’s penthouse, and hides out in the camera suite with poor frightened Not Oracle (by the way, what the heck is her story?) and is revving himself up to sacrifice his soul for the murder he almost committed years ago when he learns that Karen’s in trouble. He finally listens to his better nature and bolts off to save her, arriving just in time to watch an example of true sacrifice when Father Lantom dies protecting her.

Lantom doesn’t have a weapon or a super suit. Karen is sacrificing herself to save his congregation, and when Dex takes aim at her, Lantom steps in front of her. His instinctive, subconscious move is to protect the innocent. This is the thing that shocks Matt back into being himself. Which is hilarious, because after months of railing against his religion, he is attacked with it. Dex chucks the entire church at him—weaponizes pews, rosary beads, votive candles, a shattered statue of a saint, they crash through the walls of the confessional—and once again Matt loses the fight. It’s Karen who forces Dex to retreat, then cradles Matt and begs him to wake up (in the show’s second homage to the Pieta). As they’re running away from Dex, Matt finally stops to pray for Father Lantom.

Not in front of a bloody crucifix or a martyred saint, but in front of a simple painting of the risen Christ.

Karen respectfully steps back to give him his space, doesn’t rush him, and notably does not eavesdrop on his prayer. Then of course they get in a giant argument about murder. Matt is furious with Karen for botching his attempt on Fisk’s life, and she’s horrified that he was going to go through with it. She argues from the position of having actually murdered someone… as well as accidentally having gotten at least two other people killed. He listens to her this time, and the huge silent truth is, according to his view of the universe, she’s just saved his soul, with a major assist from Father Lantom.

When Dex returns the two of them huddle up inside a crypt to hide, which if you want to get super metaphorical with me, recalls early Christians hiding in catacombs during Roman persecution… but that’s a stretch even for my academic ass. And then Matt pulls himself together and heads off to murder/not murder Wilson Fisk.

And when he once again chooses the path of righteousness, and doesn’t go through with it, he comes back to Sister Maggie. Knowing that she is his biological mother, he asks her to continue being his spiritual mother. She agrees, and Matt gives a eulogy for Father Lantom, seemingly finally reconciled with his church. Even more important, just as he seemed to have the idea to become “Daredevil” as opposed to just “The Devil of Hell’s Kitchen” during a conversation with Father Lantom, he credits his iconic tagline to the fallen priest, saying: “He counseled me to be brave enough to forgive, and to see the possibilities of being a man without fear.”

The status quo is restored, Fisk is in jail, Nelson, Murdock, and Page are all friends and business partners again, except now Matt has a sarcastic nun to advise him now instead of a sardonic priest. On the surface it’s an almost exact retread of season one’s moral conflict and resolution, but somehow it still feels fresh and vital.

And I think I’ve figured out why, which brings us to that giant meta-reading I was talking about back at the beginning.

Back in season one, when Matt Murdock and Foggy Nelson agree to take Karen Page’s seemingly hopeless murder case despite the fact that she can’t pay them, she asks if they’re just a couple of Good Samaritans. She understandably fears that they might be part of the conspiracy, and can’t believe that they just want to help her. As time goes on she comes to trust them, until the three have become an adorable trio of best friends fighting the good fight. But behind all of that a different story is unfurling.

Over the course of Matt’s conversations with Father Lantom, the priest makes it clear that after much study and life experience he has come to believe that the Devil “walks among us taking many forms.” I think Matt comes to believe that Fisk is one such form. While Karen and Foggy both interact with Fisk as “a rich dickhead who thinks he can pay people off to kiss his ass” (to quote Karen) Matt operates on the belief that Fisk is his era’s incarnation of the Literal Devil. He comes to think that he might have to sacrifice his soul—not just his life—in order to save New York from evil.

As you can imagine, this changes the story significantly.

During an argument about their anti-Fisk case, Matt quotes Sun Tzu to Karen and Foggy—“know your enemy”—but also begs them to “keep digging…but do it quietly” because he’s begun fearing for their lives. Matt himself goes to see Fisk’s partner, Vanessa, and allows Foggy and Karen to think he’s just researching their enemy’s personal life. What he’s actually doing, though, is trying to convince himself that Fisk is human as opposed to a literal demon, so he won’t kill him. Matt pretends to be interested in buying a painting, and finds himself charmed by Vanessa. When Fisk himself comes to the gallery, Matt is shocked and horrified to realize that he and Vanessa truly love each other, and that Vanessa would mourn Fisk’s loss. He leaves quickly, overwhelmed, and Vanessa seems confused: “ have you changed your mind about what you came for?” she asks, sounding almost hurt. Matt replies, “No, I would just need to consider the cost.”

Back at the church, he and Father Lantom discuss the difficulties of walking a righteous path, with Lantom saying “another man’s evil does not make you good”, suggesting that Matt actually went to see Vanessa because he was looking for a reason not to kill Fisk.

But then Fisk has their client Mrs. Cardenas killed.

Foggy is willing to accept official line on the woman’s death, and goes into proper Irish mourning mode. Karen says, “lets pray the man in the mask gets his hands on him, and rips his goddamn head off”—not knowing that she’s speaking directly to the man in the mask. Matt looks increasingly uncomfortable. Then she says, “if there’s a God and he cares at all about any of us, Fisk will get what he deserves.” Matt agrees with her. But here’s where the two worldviews clash in a fascinating way. She’s speaking as a secular person, a person who left her parents’ religion behind, but who is comforted by a vague idea of cosmic justice. Matt, on the other hand, is hearing her words as a call to action, and when he agrees with her he’s saying, “I know Fisk will get what he deserves, because I’m going to damn myself by murdering him tonight.”

But what the season did so well is that while Matt’s hardcore theological lines threads through all of his behavior, we’re seeing another story, where every single time he tries to go and do something that would put his soul in peril, either Foggy or Karen call him on it. It’s when he ignores their calls and concern that he puts himself in danger.

After Matt finally defeats Fisk on legal grounds, the man lets his mask drop and declares himself a supervillain. This is what he says to the agents taking him to prison:

Fisk: I’m not a religious man, but I’ve read bits and pieces over the years. Curiosity more than faith. But this one story… There was a man, he was traveling from Jerusalem to Jericho when he was set upon by men of ill intent. They stripped the traveler of his clothes, they beat him, and they left him bleeding in the dirt. And a priest happened by, saw the traveler, but he moved to the other side of the road and continued on. And a Levite, a religious functionary, he came to the place, saw the dying traveler, but he, too, moved to the other side of the road, passed him by. But then came a man from Samaria, a Samaritan, a good man. He saw the traveler bleeding in the road and he stopped to aid him without thinking of the circumstance or the difficulty it might bring him. The Samaritan tended to the traveler’s wounds, applying oil and wine, and he carried him to an inn, gave him all the money he had for the owner to take care of the traveler, as the Samaritan, he continued on his journey. He did this simply because the traveler was his neighbor. He loved his city and all the people in it. I always thought I was the Samaritan in that story. It’s funny, isn’t it? How even the best of men can be deceived by their true nature.

Agent: What the hell does that mean?

Fisk: It means that I am not the Samaritan. That I’m not the priest, or the Levite. That I am the ill intent who set upon the traveler on a road that he should not have been on.

He wasn’t in the room when Karen met Matt and Foggy, and she first invoked the parable. He presumably wasn’t monitoring their conversation—at least not yet. But when he finally accepts his “true nature,” it’s by aligning himself not even with the shitty people in the Good Samaritan parable, but with the concept of evil itself. He is declaring himself the Devil, and confirming Matt’s worst fears.

In season two the show lost a lot of this meta thread. Matt’s sacrifices went to his head, and he threw himself into being the Punisher’s judge while insisting it isn’t up to humans to judge, and then tried to become Elektra’s redeemer. Then when she actually did come back from the dead, with no help from him (and presumably none from Matt’s version of God) he ditched his faith entirely for her. This was all pretty surface level stuff. But in season three, with the Fisk-Devil back in Hell’s Kitchen, the meta thread began to unspool once more.

Once again, Matt is the only one who knows what he’s dealing with, which is literal evil. He has to watch as corporations and powerful New Yorkers and even some members of the press cave to Fisk’s influence. His own name is once again dragged through the slime and the mud. He ricochets between raging at God—or rather, about God—and being terrified that his New York has become a hell.

But in the background of these scenes a different story unfolds. Mary and assorted saints stand calmly around him while he heals. Votive candles—each of which could possibly be standing in for a deceased soul, and thus, the larger Catholic communion of the dead—flicker in nearly every scene. As his wounds heal and re-open, and heal again, they do so under crucifixes that hang on almost every wall. He’s healing underground, in hiding, which, if the stories are at all correct, is where the church started out back when it was illegal under Roman law. All of these symbols surround him, untouched, un-offended. No lightning bolt is coming for him, because he’s allowed to be angry.

It’s only after he goes out to kill Fisk (AGAIN, Matty? Come on) that he is literally pelted with the physical trappings of his faith. And it’s only after he stops running for his own life to stop and pray for Father Lantom that he and Karen finally reconnect, that the emotional tide of the show begins to turn. Matt gains a new spiritual advisor (and regains his mother) by rejecting the bitterness that pushed him away from Father Lantom. He ends this season reconciled with his faith and rededicating himself to his calling from the altar.

But most important: he defeats the Devil again. After a season of people feeling defeated by Fisk and his machine, and musing about fighting the good fight, making moral compromises, and asking, “How can we keep fighting when we’ve already lost?” Matt defeats his adversary not with violence (although there is plenty of that on the way) and not even with the law, but with love. First by uniting with Fisk to protect Vanessa from Bullseye, then by protecting her from a life in prison, Matt Murdock finds a way to offer the Devil a deal, the two men end the season with a bloody handshake, and once again, Hell’s Kitchen is safe.

…you know, if you think about, Season One of Daredevil is the Hebrew Bible and Season Three is the New Testament…Leah Schnelbach should probably stop now. Come throw votive candles at her head on Twitter!

Nussknacker und Mausekönig, the Original Nutcracker Tale

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Centuries before a Hollywood studio thought it would be a great idea to spend millions on a film about a girl travelling to fairy lands created through CGI, and before shopping malls and ad agencies thought it would be an equally great idea to pound the same classical melodies into the ears of shoppers year and after year, a poet and musician bent over his desk in Berlin working on a fairy tale. A story for children, perhaps—his daughter was about 11 at the time. A story about toys coming to life and fighting mice. But as he wrote, images of war and obsession kept creeping into his tale.

Much later, someone thought it would be a great idea to turn his fantasy about inescapable war into a ballet. Which later became inescapable music during the holiday season.

You might be sensing a theme here.

Ernst Theodor Wilhelm Hoffman (1776-1822) was born into a solidly middle class family in Königsberg, a city at the time part of Prussia and now part of Kaliningrad, Russia. His father was an attorney; his mother, who married at the age of 19, apparently expected to be a housewife. Shortly after Hoffman’s birth, however, their marriage failed. The parents divided their children: older son Johann went with his father, and Ernst stayed with his mother and her siblings, who sent him to school and ensured that he had a solid grounding in classical literature and drawing.

The family presumably hoped that the boy would eventually enter some lucrative career. Hoffman, however, hoped to become a composer—he had a considerable talent for music playing. As a partial compromise, he worked as a clerk in various cities while working on his music and—occasionally—cartoons. In 1800, Hoffman was sent to Poland, where, depending upon the teller, he either flourished or got himself into trouble. In 1802, he married Marianna Tekla Michalina Rorer, a Polish woman; they moved in Warsaw in 1804, apparently willing to spend the rest of their lives in Poland.

Just two years later, Hoffman’s life was completely disrupted by Napoleon, who had already conquered most of what is now Germany before continuing on to Poland. Hoffman was forced to head to Berlin—also under Napoleon’s control—and spent the next several years juggling work as a music critic, theatre manager and fiction writer while trying to avoid war zones and political uprisings. Only in 1816, when the Napoleonic Wars were mostly ended, did he achieve major success with his opera Undine. Unfortunately, by then, he had developed both syphilis and alcoholism. He died just six years later.

Nussknacker und Mausekönig was written in that brief period of post-war success. Published in 1818 in Die Serapionsbrüder, it joined several other weird and wondrous tales, linked with a framing device claiming that these were stories told by friends of Hoffman, not Hoffman himself. By then, however, Hoffman had written a number of other fantasies and fairy tales that sounded suspiciously like the ones in Die Serapionsbrüder, so almost no one, then or later, questioned the authorship of Nussknacker und Mausekönig.

As the story opens, Fritz and Marie (the more familiar name of “Clara” is taken from the name of her doll, “Madame Clarette”) Stahlbaum are sitting in the dark, whispering about how a small dark man with a glass wig has slipped into their house carrying a box. This would be kinda creepy if it weren’t Christmas Eve, and if the man in question weren’t Godfather Drosselmeier, the man who both fixes the household clocks and brings them interesting presents. Even as it is, given Hoffman’s description of just how Godfather Drosselmeier fixes the clocks—by viciously stabbing them—it’s still creepy.

Anyway. This year, Herr Drosselmeier has created an elaborate dollhouse for them—a miniature castle, complete with a garden and moving people including one figure who looks rather like Herr Drosselmeier. The children are not exactly as appreciative as they could be. Partly because they are too young, but also because the castle can only be watched, not played with, and they want to play with their toys.

Fortunately, Marie also spots a nutcracker on a tree—a cleverly designed toy that can crack open nuts and also bears a rather suspicious resemblance to Herr Drosselmeier. She loves the little nutcracker, but unfortunately, Fritz puts just a few too many nuts into the nutcracker, breaking it, to Marie’s genuine distress.

Later that night, after everyone else has gone to bed, Marie stays down below, with all of the lights almost out, so that she can tend to the little broken nutcracker. In the light of the single remaining candle, the nutcracker almost—almost—looks alive. Before she can think too much about this, however, things get, well, weird—Herr Drosselmeier suddenly appears on the top of the clock, and Marie finds herself surrounded by fighting mice, one of whom has seven heads. The dolls wake up and start battling the mice. In the ensuing battle, Marie is injured—and nearly bleeds to death before her mother finds her.

As she recovers, Herr Drosselmeier tells her and Fritz the rather dreadful story of Princess Prilipat, a princess cursed by the machinations of the vengeful Lady Mouserinks, who has turned the princess into an ugly creature who only eats nuts. Perhaps suspiciously, Herr Drosselmeier and his cousin, another Herr Drossmeier, and his cousin’s son, feature heavily in the story—a story that does not have a happy ending.

Marie, listening closely, realizes that the Nutcracker is that younger Herr Drosselmeier. Now identified, the younger Herr Drosselmeier/Nutcracker takes Marie to a magical fairyland inhabited by dolls and talking candy, where the rivers are made of lemonade and almond milk and other sweet drinks and the trees and houses are all formed of sugary sweets. (It is perhaps appropriate at this point to note that Hoffman had faced severe hunger more than once during the Napoleonic Wars, as had many of his older readers.)

Right in the middle of all the fun, the Nutcracker drugs her.

Marie is, well, entranced by all this, so despite the drugging, the realization that the Drosselmeiers deliberately gave her a very real magical toy that led to her getting wounded by mice, and, for all intents and purposes, getting kidnapped, she announces that unlike Princess Prilipat, she will always love the Nutcracker, no matter what he looks like.

And with that announcement, the young Herr Drosselmeier returns, bows to Marie, and asks her to marry him. She accepts.

They get married the following year.

Did I mention that when the story starts, she’s seven years old?

To be somewhat fair, time does pass between the start of the tale and its end, with Hoffman casually mentioning that a couple of days had passed here, and a couple more days passed there, and one paragraph does give the sense that several days have passed. To be less fair, all of these days seemingly add up to a few months at most. And the story never mentions a second Christmas, which means that Marie is at most eight when she agrees to marry young Herr Drosselmeier and nine when she actually does.

He’s an adult—an adult who has spent some time as a Nutcracker, granted, but also an adult who drugged her in the earlier chapter.

If you are wondering why most ballet productions leave out most of this and cast tall, obviously adult dancers to play Clara and the Nutcracker in the second half, well, I suspect this is why.

To be somewhat fair to Hoffman, he seems to have run out of steam in his last chapter, more focused on ending the thing than on ending it in a way that made any sense whatever. It’s not just the age thing and the drugging; there’s a very real open question of just how Marie returned from the fairy land, and just what Herr Drosselmeier is up to, beyond introducing her to a fairyland and then mocking her when she tries to tell others about it, and several other huge gaping plot gaps, all of which I’d forgotten about, along with Marie’s age.

Marie’s age wasn’t the only part of the original story that I’d forgotten: the fact that the Stahlbaums have three children, not just two, with a hint that small Marie is a bit jealous of her older sister Louise. The way that Marie accidentally makes fun of Herr Drosselmeier’s looks, the unexpected entrance of about 500 slaves (it’s a minor note) and the way those slaves are used as one of the many indications that not all is well in the candy fairyland. The way that, after Marie tries to tell her parents about what is happening, they threaten to remove her toys completely. The way they urge her not to make up stories, and find imagination dangerous—an echo, perhaps, of what Hoffman himself had heard as a child.

But above all, just how much of this story is about war, and its effects on family and children: the way Fritz is obsessed with his Hussar soldiers and keeps going back to play with them, and how he insists (backed up by Herr Drosselmeier) that the nutcracker, as a soldier, knows that he must keep on fighting despite his wounds—since fighting is his duty. How just moments after Marie is left alone, when she is trying to heal her nutcracker, she is surrounded by a battle—a battle that leaves her, mostly a bystander, injured. The way that Hoffman sneaks a fairy tale into the fairy tale that he is telling.

And the way Marie is mocked for telling the truth, and how the men who are using her to break an enchantment—one cast by an injured woman, no less—drug her, gaslight her, and mock her.

They do eventually take her to fairyland, though.

So that’s nice.

I’m also mildly intrigued—or appalled—that a story that spends so much time focused on manipulation, fantasy, and the fierce desire for candy and toys just happened to inspire the music used by multiple retailers to try to sell us stuff every holiday season. It’s a more apt choice than I’d realized.

Anyway. A couple of decades after the publication of Nussknacker und Mausekönig, Alexander Dumas, pere, probably best known as the author of The Three Musketeers and The Count of Monte Cristo, found himself tied to a chair. Dumas was the sort of person who frequently found himself in those sorts of situations, but this time—or so he later claimed—he was tied there by children, demanding a story. Dumas, by then notorious for writing epically long works, offered to tell them an epic, along the lines of the Iliad, adding “a fairy story—plague upon it!” The kids, shockingly enough, did not want the Iliad. They wanted a fairy tale.

Dumas, who loved adapting (some said, less kindly, outright stealing), thought hard, and told them a version of Hoffman’s tale. The children were enthralled, and Dumas, a kindly sort, thought it might be nice to scribble down that version in French for their sake, publishing it in 1844—the same year as his wildly popular The Three Musketeers.

At least, that’s what Dumas said. Very unkind people noted that Dumas was short on funds at the time (Dumas was nearly always short on funds at all times) and that an unauthorized adaptation of Hoffman’s story would be a great way to whip up some quick cash, and it was just like Dumas to blame this sort of thing on innocent kids.

I’ll just say that the tied up in a chair makes for a much better story, and that’s what we’re here at Tor.com for, right? Stories. And do we really want to accuse the author of The Count of Monte Cristo of occasionally stretching truth and plausibility just a touch too far? No. No we do not.

In fairness to Dumas, his version of Nussknacker und Mausekönig—or, as he called it, just The Nutcracker—was far more than just a translation. Dumas kept the general plot, and kept Marie seven, but made substantial changes throughout. In his introduction, for instance, Fritz and Marie aren’t hiding in the dark, whispering about possible presents, but sitting with their governess in the firelight—a much more reassuring beginning. Dumas also took the time to explain German customs, and how they differed from French ones, especially at Christmas, and to throw in various pious statements about Christianity and Jesus, presumably in the hopes of making his retelling more acceptable to a pious audience looking for an appropriate Christmas tale, not the story of a seven year old who stays up playing with her toys after everyone has gone to bed and eventually ends up heading to a land of candy and sweets. He also softened many of Hoffman’s more grotesque details, and adopted a more genial tone throughout the story.

Presumably thanks to Dumas’ bestseller status, this version became highly popular, eventually making it all the way to the Imperial Ballet of St. Petersburg, Russia. It seems at least possible that either it, or the original Nussknacker und Mausekönig, or at the very least an English translation of one of the two versions, came into the hands of Frank L. Baum, influencing at least two of his early books, The Land of Mo (another candy land) and The Wizard of Oz (another portal fantasy). Meaning that E.T.A. Hoffman can possibly take credit for more than one cultural icon.

But back in 1818, Hoffman could have no idea that his work would be picked up by a bestselling French author, much less by a Russian ballet company, much less—eventually—inspire the music which would inspire scores of holiday advertisements. Instead, he used the tale to pour out his lingering anxieties and issues about war, and the innocents who get caught up in it along the way—and the refusal to believe their stories. It was something he had learned all too well in his own life, and it gave his tale, however stumbling and awkward the ending, a power that enabled it to survive, however transformed, for centuries.

Mari Ness lives in central Florida.

Between Earth and Heaven: Red Moon by Kim Stanley Robinson

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I don’t know about you, but I’d go to the moon in a minute. Not necessarily right now, but if, in a few years, the trip was relatively inexpensive, and I could be assured of a safe launch and landing, then that’s a rocket I’d ride! Just to put a booted foot on that “bone-white ball” between Earth and Heaven—so near, yet so far; so familiar, yet so alien—would be the experience of a lifetime, I imagine, for me and for many.

For Fred Fredericks, the point of entry perspective of Kim Stanley Robinson’s Red Moon, that invigorating voyage—into the black and back at seven times the speed of sound—is no more than a necessary evil. His American employer has sent him skyward simply to deliver a device to one of the moon’s Chinese masters: a secure, quantum-entangled phone that can only communicate with its equivalent on Earth. Fred plans to “make sure it’s connected with its twin and working well. After that [he’ll] head home.” Unfortunately for him, in Robinson’s torturous new novel even the best-laid plans have a habit of collapsing on Luna, so when Fred’s meeting with Governor Chang Yazu ends with the head of the special section dead, no one other than the newcomer is entirely surprised.

Alas, being confused doesn’t stop him from being accused, but before he can be completely disappeared, a seemingly sympathetic third party arranges for Fred to be flown back to Beijing alongside the subject of another diplomatic incident waiting to happen: a pregnant “princessling” by the name of Chan Qi. Qi is, as the figurehead of a revolutionary rights movements, the black sheep of the family of a particularly powerful Party leader. Her status has in turn made her a target of Red Spear, a secret wing of the Chinese military that may also be responsible for the fix Fred is in.

He tried to see the pattern, but there was too little he knew about the middle ground. That vast space between the thread of events he had witnessed and the great tapestry of the overarching landscape was like the clouds of mist that floated between the tiny travellers at the bottom of a painting and the distant peaks at the top.

What follows is a game of cat and mouse that takes our odd couple and their increasingly brutal pursuers to and from the moon by way of a series of cells, shops, cities and shuttles that do little to distract from the monotonous nature of their narrative. Again and again and again they hole up in one hideout only to find out that they’ve been found just in time to make their escape to another hideout where they’re safe for several days until they realise that they’re in danger and the whole routine repeats.

In between their ineffective escape attempts, Fred and Qi do at least develop a friendship. Thrown together as they are by chance and circumstance, they’re strangers to one another—and to us—at the outset of Red Moon, but before long they’ve nothing to do but get to know one another, and in the process, we get a sense of them as well. Fred, in the first, is fascinating, as it’s suggested, if not outright stated, that he’s somewhere on the spectrum. His struggles, especially in social situations, are subtly and sensitively shown, and his growth as a character through his interactions with Qi is ultimately rather satisfying. Sadly, this is mostly notable because he’s absent a personality, like “a book that had no pages,” for large portions of Robinson’s novel.

Qi is similarly interesting in the abstract, and similarly disappointing in practice. Robinson regularly asserts that she’s a strong woman with power to wield in the world, but only occasionally are we witness to her leading anyone but Fred. The rest of the time she’s relegated to a role which actively undercuts her characterisation: as Irritable Pregnant Princessling—or so the call sheet would read—Qi has little opportunity to do much of anything in Red Moon but birth a babe and badger other characters.

Despite these difficulties, Qi and Fred’s friendship is the closest thing Red Moon has to a heart. But for their relatively small role in the whole, it’s a stone-cold story far less interested in humour and humanity than in depicting a familiar future history Robinson has explored more potently before. Indeed, a great many of Red Moon’s moments are reminiscent of the author’s other efforts: there are moonwalks that recall the exhilarating opening of 2312; an AI acquiring something close to consciousness that Aurora’s readers will remember; and a title that demands comparison to the first volume of Robinson’s monumental Mars trilogy—a comparison that does nothing for this relatively feeble work of fiction.

Red Mars at least tackled its titular topic, whereas the moon of Red Moon isn’t much more than a backdrop for an exploration of infighting in China. Even then, what all this “wolidou” comes down to is a commingling of convolutions and contrivances, and a whole mess of complexities:

We think in pairs and quadrants, and in threes and nines, and every concept has its opposite embedded in it as part of its definition. So we can say, in just that way: China is simple, China is complicated. China is rich, China is poor. China is proud, China is forever traumatised by its century of humiliation. On it goes, each truth balanced by its opposite, until all the combinations come to this, which actually I think has no valid opposite: China is confusing. To say China is easy to understand—no. I don’t know anyone who would say that. It would be a little crazy to say that.

Red Moon could conceivably have been the beginning of something brilliant, but like China according to cloud star Ta Shu—another potentially appealing perspective hobbled in this instance by the author’s insistence on infodumping—it is also its own opposite: at the same time as it is robust and original, as it can be at its best, it is, at its worst, weak and dreadfully derivative. And coming as it does from Kim Stanley Robinson, a visionary voice in the genre if ever there was one, that—that and not its well-intentioned but wasted characters; that and not its ambitious but byzantine narrative—that dearth of delight and insight is Red Moon’s most frustrating facet.

Red Moon is available from Orbit.

Still image of the moon’s Tycho Crater, credit: NASA’s Scientific Visualization Studio

Niall Alexander is an extra-curricular English teacher who reads and writes about all things weird and wonderful for The Speculative ScotsmanStrange Horizons, and Tor.com. He lives with about a bazillion books, his better half and a certain sleekit wee beastie in the central belt of bonnie Scotland.

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