Quantcast
Channel: Reactor
Viewing all 32711 articles
Browse latest View live

Solaris to Publish New Suns, an Anthology Edited by Nisi Shawl

$
0
0

Solaris will be publishing an incredible, bold and powerful new anthology – a collection of original speculative fiction by people of colour edited by award-winning author and editor Nisi Shawl.

Featuring some of the most exciting names in the world of SF&F, New Suns is an  anthology of contemporary stories by emerging and seasoned writers, bringing forth unexpected brilliance that shines forth from every page. Available March 2019.

Check out the full cover and the table of contents below!

Discussing the anthology, Nisi Shawl had this to say:

“As one of speculative fiction’s swelling number of authors of color I have spent years wanting so hard to put together an anthology just like New Suns. We are legion! And our stories are as diverse in range as they are unheralded in the genre. Nearly everyone I asked to contribute told me that at some point during the creative process they’d thought what they were writing would never be published, for various reasons: too angry, too light, too long, too weird. Expectations of writers of color can be even more constraining to us than they are for our white colleagues, so it was a great pleasure to be able to charge right over them! Getting these stories out to you is a major joy, and I’m so glad you get to read them now.”

Cover art by Yoshi Yoshitani

 

Table of Contents

  • Foreword, LeVar Burton
  • The Galactic Tourist Industrial Complex, Tobias Buckell
  • Deer Dancer, Kathleen Alcalá
  • The Virtue of Unfaithful Translations, Minsoo Kang
  • Come Home to Atropos, Steven Barnes
  • The Fine Print, Chinelo Onwualu
  • unkind of mercy, Alex Jennings
  • Burn the Ships, Alberto Yáñez
  • The Freedom of the Shifting Sea, Jaymee Goh
  • Three Variations on a Theme of Imperial Attire, E. Lily Yu
  • Blood and Bells, Karin Lowachee
  • Give Me Your Black Wings Oh Sister, Silvia Moreno-Garcia
  • The Shadow We Cast Through Time, Indrapramit Das
  • The Robots of Eden, Anil Menon
  • Dumb House, Andrea Hairston
  • One Easy Trick, Hiromi Goto
  • Harvest, Rebecca Roanhorse
  • Kelsey and the Burdened Breath, Darcie Little Badger
  • Afterword, Nisi Shawl

The Ruin of Kings by Jenn Lyons: Chapter 3

$
0
0

Debut author Jenn Lyons has created one of the funniest, most engrossing new epic fantasy novels of the 21st century in The Ruin of Kings. An eyebrow-raising cross between the intricacy of Brandon Sanderson’s worldbuilding and the snark of Patrick Rothfuss.

Which is why Tor.com is releasing one or two chapters per week, leading all the way up to the book’s release on February 5th, 2019!

Not only that, but our resident Wheel of Time expert Leigh Butler will be reading along and reacting with you. So when you’re done with this week’s chapter, head on over to Reading The Ruin of Kings for some fresh commentary.

Our journey continues….

 

 

3: The Black Brotherhood
(Kihrin’s story)

I’d ask how you could know what I was thinking that night, but… never mind. 

My turn? How generous of you, Talon.

Where was I? Ah, yes.

 

After the auction, I was sick and injured enough, that my new owners reached the sale room first. They waited for me like a trio of judges for the dead in the Land of Peace. They were silent shadows, with robe hoods pulled so far down by all rights they should have been blind.

The figure on the right was female; tall for a western Quuros, but average for most Doltari, or eastern Quuros. The figure on the left was tall—very tall. He or she towered above the others, at least a half-foot taller than the next tallest person (which was me). The center figure, the one who seemed hunched and old, hobbled forward toward my escort, a Kishna-Farrigan eunuch slave master named Dethic. The stooped figure held out its hand, gloved in black silk.

For a moment, no one spoke.

“The gaesh,” the smallest figure demanded.

I startled at the voice, so distorted it didn’t seem real. That voice was the harsh rasp of glacial ice breaking apart mountains, the tossing of waves against sharp rocks.

All things considered, that voice was a bad sign.

Dethic swallowed. “Yes, of course. But… the house rules. You understand. Payment in full before transfer of goods.”

“Yes, I’d like to see this,” Relos Var said as he walked up to the gathering. “I find it unlikely they can pay in full.”

The figure on the left side (the tall one) reached inside its cloak. It removed a necklace from a black velvet pouch and held it up with two fingers. The value of the gold chain paled in comparison to the twelve gems attached. Each diamond was the size of a fingertip, pear shaped and midnight blue with a flaring white star in the center.

I felt even more lightheaded. A necklace of star tears. How many such gems even existed? Twelve star tear diamonds? Of equal size and coloring?

Dethic was stunned. “Star tears! Gods. Those are priceless.”

“So is the boy,” the harsh voice snapped.

“You broke the auction record.” Dethic was giddy thinking of his percentage.

Lord Var said, “Make sure it isn’t counterfeit.”

At this interruption, the figure looked sharply at Lord Var, before it reached up and flipped back the hood from its face.

I should have known from the height: he was vané.

Before this, I had seen damn few vané, all of them flower-colored Kirpis. He was different, resembling a vané who had played in too many fires. His skin was a field of dark ashes, his long hair matte black, his eyes shadowy emeralds. He possessed all the prettiness of the vané race, but was a creature of angles and sharpness. His beauty was that of the razor and not the flower.

I couldn’t guess his age. For all I knew, he’d witnessed the founding of the Quuros Empire. He only looked a few years older than me, but that meant nothing. The vané are an ageless race.

My Quuros ancestors probably needed no more reason than that to hate them, to push the Kirpis vané out of lands we claimed as our own. Confronted by Emperor Kandor’s invading armies, the Kirpis vané had folded, fled their forest homes, and watched in horror as Kirpis became yet another Quuros dominion.

Then again, this was not a Kirpis vané.

To the south of Quur lay the other vané kingdom, the Manol. The Manol vané—dark jewels in contrast to Kirpis’s bright flowers—had not been so easily conquered. Quur’s unstoppable expansion had come to an abrupt and unexpected halt with Emperor Kandor’s death, by Manol vané hands. The fabled Quuros sword Urthaenriel—better known as “Godslayer”—ended up lost somewhere on a jungle floor, along with a generation of Quuros men. Quur would conquer two more dominions through later Emperors, but it never recovered its momentum.

The Manol vané went right on ignoring us after that; we were no threat to them.

“The star tears are real, Relos Var. But you don’t think I’m stupid enough to let you handle them, do you?” The Manol vané raised one eyebrow.

A faint smile played across the wizard’s lips. “One can always hope.”

“You. You check the necklace.” The Manol vané man thrust the necklace and its bag at me.

Dethic looked perplexed. “But sir…”

“It’s all right,” I murmured, not taking my eyes from the black-skinned vané. “I have experience appraising gems.”

I was going to lie about the necklace. I was Quuros; he was Manol vané. Whatever he wanted with me couldn’t be good. The fact that he was paying for me with a necklace of star tear diamonds wasn’t just excessive, it was creepy. I’d heard about that necklace my whole life. To me, those diamonds were as infamous as the sword Urthaenriel or the Crown and Scepter of Quur.

Suddenly, I knew which side to root for: this Relos Var fellow seemed very much the lesser evil. I held the diamond necklace up with shaking fingers, moving the stones back and forth so they caught the light.

“You know your gems? Excellent.” Dethic’s expression turned to a thoughtful frown. “No lying now. Tell me true. Are those star tears?”

I repressed a sigh. It all might have ended right there. I would have lied and told him the stones were fake, taken my chances with Relos Var. But Dethic held my gaesh, held a piece of my soul trapped in the metal charm in his hands. That only meant I had to obey his spoken commands. Like most gaeshed slaves, I followed a slew of orders which were perpetually in effect; I was forbidden to escape, kill my owner, or disobey commands from my owner (although that last seemed redundant). I wasn’t under any obligation to anticipate my owner’s needs or look out for their interests. Loopholes could be exploited.

This whole sordid tale would have crashed to an early end if I hadn’t been ordered to tell the truth.

I looked at the diamonds again. They were flawless, perfect, cut into refracting shapes by ancient, skilled hands. It was as if you stared at a real star, captured and trapped in diamond.

I opened the velvet bag. Everyone heard the necklace hitting the bottom with a clink of chain. No one noticed the copper bangles no longer hung around my wrists.

I am very good at hiding things.

“They’re real.” I handed the bag to Dethic. I scratched at the nape of my neck as far as the shackles allowed. I used that motion to hook the stolen jewels to my own necklace, hiding the mass under my hair.

There. As long as Dethic didn’t discover my deception, I’d just been sold to the Brotherhood for the cost of a few copper bracelets.

It’s not that I don’t think my soul is worth more, but I was damned if I wouldn’t make metal off my own sale.

Lord Var addressed my new owners. “Members of the Brotherhood, we have always had good relations. Don’t jeopardize our friendship over one slave.”

The vané was expressionless as he replied, “You have nothing we want.” He said to Dethic, “You’ve been paid. Hand over the gaesh.”

“Don’t give him the gaesh,” Relos Var ordered.

Dethic hesitated.

The Manol vané said, “This is no longer your concern.”

“I want the young man,” Relos Var said.

The vané sneered. “Perhaps you should send courtship gifts first.”

The air simmered between the two men. I wondered if the Black Brotherhood had bought me for no other reason than to keep me out of Relos Var’s hands. That option seemed likely unless they knew who I really was, knew about the Stone of Shackles around my neck.

Unless… That “unless” was all too plausible. My stomach knotted. The last thing I needed was to be the middle of a power play. Gods, more politics. I was sick to death of politics. If only I could leave. I didn’t dare use the word “escape,” even in the quiet of my thoughts. The gaesh would tear me apart for thinking about escape.

Var said, “Do you have any idea with whom you speak?”

The vané smiled. “I used your name, didn’t I?”

“Then you should know better than this insolence.”

The vané shrugged. “He’s not yours and he never will be. Why don’t you go back to looking for Yorish virgins? There must be a fast eight-year-old somewhere in the mountains who’s escaped the attention of your minions.”

A sound like granite rocks being scraped against one another issued from the cowled robe of the smallest Brotherhood member: he or she or it was laughing.

Dethic reached forward, hesitantly, holding the hawk medallion containing a piece of my soul in his hand. Both men facing him stared at the pendant as if either one would grab it away from the slave-trader, sale or no sale.

“You’ve made a serious mistake, young vané,” Relos Var cautioned. “I’ll remember you.”

The vané grinned, sharp and feral. “Not ‘young vané,’ please. Mortal enemies should be on a first-name basis.”

“That’s what you think you are? My mortal enemy? Suckling at Thaena’s teats has made you so hungry for a short, ugly death?” Relos Var seemed to find that thought amusing. “What is your name then?”

“Teraeth.” The vané’s eyes glowed , mocking satisfaction played across his features. I didn’t know why the vané hated this man so much, but he was emphatic. I started to back away, not to escape, but simply to stay out of the splatter zone.

“Teraeth?” Relos Var said. “You have not the coloring of that line, unless…” His eyes widened in triumph. “Not just arrogant, but foolish. Your father Terindel isn’t here to save you, vané child, and you are no match for the likes of me.”

“Terindel isn’t here,” the vané with the terrible voice said, “but I am. And I’ll protect my son, wizard.”

The mage looked at the figure, his forehead creased with anger and then recognition. “Khaemezra. Clever. Very clever.”

“It has been some time, Relos.” The words might have been friendly save for the harsh iciness of the voice.

“We could help each other, High Priestess. Our goals are not so different.”

“Poor child, you think so? Foolish—but then, you always confused death with annihilation.”

The man’s eyes narrowed. The expression on his face verged on a growl. “You, of all beings, should understand inevitability.”

“Perhaps the real problem is I understand it better than you.”

There was no way for Relos Var to make eye contact with the old woman, who had never pulled back her hood, but I imagined the two were staring at each other. Relos Var seemed intent on a contest of wills, and his gaze never left her.

He shuddered and looked away.

A tsking sound emanated from underneath her hood, chasing down a dry chuckle and gobbling it whole.

Relos Var glanced back at Teraeth. “This isn’t over between us.”

“I sincerely hope not,” Teraeth agreed. He wore a wolf’s grin, showing no fear.

Relos Var turned to me.

His expression wasn’t what I expected: not frustration, pity, lust, or even resignation. Hate raged in those dark eyes. His malice burned. His eyes held no promise of rescue, no offered salvation. Whatever his interest in purchasing me, that interest circled around a core of malevolence.

He was not my friend. “I have found you now,” he told me in a whisper. “I have seen the color of your soul.”

A dozen snappy comebacks thought about crossing my lips, but under that baleful stare they all huddled at the back of my throat.

Relos Var turned on his heel and walked out of the room.

Even amongst the members of the Black Brotherhood, there was an almost visible release of tension as he left, as if the clouds parted to reveal the sun.

The seconds crawled by as no one spoke.

Teraeth shook off the dread first. He snatched the medallion from Dethic’s shaking fingers. “Take those things off him.”

“I… what? Things?” Dethic stood blinking in the direction of the door. He had a look of horror on his face—the terrible fascination nor.mally reserved for the damage path of a rampaging demon.

Teraeth pinched the eunuch’s shoulder. “Shackles, Dethic. Shackles. A gaeshed slave has no need to be in irons.”

Dethic jumped out of his reverie. “What? Oh yes, sorry. Right away.” He fumbled the keys from his belt pouch and unlocked me.

I winced as the shackles fell away. I had been in chains so long their release was simply a different kind of pain.

“Relos Var isn’t angry at you, Dethic. Stay out of his way for a while and he’ll soon forget,” Teraeth cautioned. “See if your masters will let you take a leave of absence.”

“Right, right.” Dethic still looked dazed. “I’ll fetch your carriage.” He stumbled as he ran from the room.

The three members of the Black Brotherhood turned their attention to me.

“Who are you people?” I asked.

Teraeth snickered. “You weren’t paying attention?”

“I heard names. Black Brotherhood. It doesn’t mean anything to me.”

The third figure finally spoke with a silky female purr. “If you’re in Quur and want something stolen, or someone beaten, there are plenty you may hire for the task. But if you want someone dead, quietly and without fuss, and you wish to be sure they will stay that way…” She left the end of the sentence hanging in the air.

I was weak and upset, but I felt argumentative. “The priests of Thaena might have something to say about whether someone stays dead.”

The hooded old woman pulled at the robe covering her neck, revealing an amulet: a rectangular black stone, framed with red roses and ivory—the symbol of Thaena’s disciples.

I felt a chill. There are those who don’t think of the Second Veil as a diaphanous shroud, but an unknowable portal to Thaena’s realm. A final portal one never enters, only exits; a journey most only Returned from to start the cycle over as a mewling babe. The church of Thaena boasted the fewest devout worshippers, but was universally respected to either avoid its attention or beg the favor of its mistress. Bring my baby back to me. Return my family. Give me back the people I love.

Such prayers go unanswered. Thaena is a cold goddess.

And Relos Var had called Khaemezra her “High Priestess.”

“Thaena’s priests—and priestesses—do influence who stays dead,” Teraeth explained. “For some reason, the Pale Lady rarely agrees to Return those we have taken.”

“But Thaena’s priests wear white, not black…”

Okay, I admit it: as arguments go, it wasn’t my best work.

Teraeth’s only answer was harsh laughter.

Khaemezra turned away from me without comment and raised her arms. She flicked her fingers outward and strands of light spun out from her fingertips and coalesced into a large round portal made up of complicated skeins of glowing magic. The lights shimmered, then shrank. Through the opening I saw a yellow, twisted land with steam erupting from vents in the ground and bilious fog hugging the dank earth.

I waited, but Khaemezra didn’t step through. Teraeth walked forward, but stopped when she raised her hand. The old woman ticked off a dozen or so seconds on her fingers, then grabbed at the air like pulling a curtain closed. The portal collapsed and vanished.

Teraeth turned to her. “Why aren’t we using the gate?”

“Because Relos Var is expecting us to.” Khaemezra addressed the third Brotherhood member. “Kalindra, once we’re gone, take the coach and lead Relos Var’s dogs on a chase, just in case he decides to protest the sale. Meet up with us later.”

The woman bowed. “As you wish, Mother.” She, too, turned and left.

The Manol vané who held my gaesh, Teraeth, looked me over. He wasn’t happy with what he saw. “You don’t blend in, do you?”

“When was the last time you looked in a mirror?”

He scowled, and then unfastened the front of his robe. Underneath he wore black trousers and a cross-tied tunic of thin silk that was almost, but not quite, a Quuros misha.

Teraeth handed me his robe. “Can you walk with that wound on your ankle?”

“If I have to.” Even as I said the words, I felt myself fighting to keep my balance.

The vané gave his mother an exasperated look. The tiny figure hobbled over to me and placed her hand on my leg.

The pain and the fever faded.

That quickly, the wound on my leg and the whip marks on my back healed. A number of minor scrapes and bruises I’d suffered during the three-month voyage from Quur to Kishna-Farriga also vanished. My head cleared of fever and my vision returned to normal.

“I… Thanks.”

“Save your thanks. You’re no good to us hobbled.”

I scowled. “Where did you find that necklace? It can’t have a twin…”

Teraeth grabbed my arm. “I will only explain this once. That man, Relos Var, doesn’t want you as a toy in his seraglio, and he doesn’t care who owns you. He wants you dead. He will do whatever he has to—kill whoever he has to—to make that happen. Being near you puts all our lives in danger.”

“Why? I’ve never met the man. I don’t understand!”

“And I don’t have time to explain. So I need you to follow my orders without question.”

“You’re holding my gaesh. I don’t have any choice.”

He stared at me for a moment as if he had forgotten what the silver hawk he clenched between his fingers meant, then grimaced. “Good. Let’s go.”

 

Excerpted from The Ruin of Kings, copyright © 2018 by Jenn Lyons.

Reading The Ruin of Kings: Chapter 3

$
0
0

Happy Hallows Eve Eve, Tor.com! And welcome back to another installment of Reading ROK!

This blog series will be covering the first 17 chapters of the forthcoming novel The Ruin of Kings, first of a five-book series by Jenn Lyons. Previous entries can be found here in the series index.

Today’s post will be covering Chapter 3, “The Black Brotherhood”, which is available for your reading delectation right here.

Read it? Great! Then click on to find out what I thought!

There’s a loooot of narrative construction going on in this chapter, which is good because we’re at the point where we would appreciate a little more explanation about just what the heckity heck is going on here. Or at least I’m at that point, and I’m the one writing this thing, so nyah.

Sooo Vané are ageless and come in various improbable colors: not destroying my “they’re totally elves” theory any. Also, the newly introduced Manol vané seem to be fulfilling the “deeply badass” square on the They’re Totally Elves bingo card, even if the Kirpis version are not (I’m presuming the vané in the previous chapter that got soul-gemmed was Kirpis; not exactly detracting from the picture of them so far as mostly victims).

Also, something tells me I should figure out how to create a keyboard shortcut in Word for the é character, because this “insert symbol” bullshit is getting old fast. But I digress!

I’m a little unclear on whether the Black Brotherhood are all vané, or if it just happens that this semi-family unit are (I’m also unclear on whether Kalindra is also Khaemezra’s offspring along with Teraeth, or if she used “Mother” as a title. Calling a high priestess “Mother” is fairly common, after all). Either way, they seem to be a secret assassin branch of a religious sect Kihrin is more generally aware of, the priests of Thaena. Assassin cults: always tons of fun.

I’m vaguely surprised that vané—who, like many versions of elves, to all appearances are not fans of humans (and why should they be, we suck)—still participate in the same basic belief system. This would seem to indicate that worship of the three goddesses (Thaena and, uh, the other two I’m too lazy to go track down the names of right now) is near-universal on this world.

Relos Var: Apparently he’s Kind Of A Big Deal. What kind of human can be both powerful and long-lived enough to sneer at an elf for being a young whippersnapper, I wonder? (Can I say, though, that for some reason I really dislike the name “Relos Var”? It just is not aesthetically pleasing to me. Fortunately, it’s probably a pseudonym anyway. At least I hope so.)

Either way, not someone you want with a vendetta against you. Yet more proof that Kihrin has the most shit life ever, not that we needed any.

Which is probably why it’s all the more delicious that he has the sheer balls to steal this world’s equivalent of the “Heritage in Bloom” necklace right in front of a group of extremely powerful people who either want him dead or are literally holding his free will in their hands. Sheeeit, man. Then again, I guess it’s not like he has that much to lose, either, but still, lesson learned: don’t let Kihrin handle things you want to keep.

Although, Kihrin is lucky his initial ballsiness re: being willing to lie about the necklace didn’t work out, otherwise he’d be very dead by now. Or maybe worse than dead, since “dead” seems to be something of a negotiable (and varied) state for these people. Like, are you “dead” if your body’s gone but your soul is trapped in a gem? Or is that way worse? Inquiring minds would really rather not know!

Meanwhile, snarky footnotes continue to snark:

The vané’s eyes glowed3

3 One presumes not literally.

*snort* Thanks, Thurvy. (Then again, this is actually a world where that might need clarification, so.)

“I want the young man,” Relos Var said.

The vané sneered. “Perhaps you should send courtship gifts first.”

The air simmered between the two men. I wondered if the Black Brotherhood had bought me for no other reason than to keep me out of Relos Var’s hands. That option seemed likely unless they knew who I really was, knew about the Stone of Shackles around my neck.

This is an interesting remark from Kihrin. I’m not sure whether it indicates that Kihrin actually has some idea of who he actually is (since come on, he’s obviously not just some rando street urchin thief), or if by “who I really was” he only means “the rando street urchin thief who stole the Stone of Shackles”. In other words, does he think it’s him who’s the prize, or the prize he stole?

If the latter, I bet he’s a lot more confused about it now.

[Relos Var:] “We could help each other, High Priestess. Our goals are not so different.”

[Khaemezra:] “Poor child, you think so? Foolish—but then, you always confused death with annihilation.”

Well, that’s not ominous at all. Let’s just say, I like a guy whose goals apparently include “annihilation” even less than I like the name “Relos Var”. Could be we have found our Big Bad for the novel, hmm?


And that’s what I got for this one, kids. Whaddaya think? Tell me in the comments, and come on back next week for Moar!

A Memory Called Empire Sweepstakes!

$
0
0

A Memory Called Empire by Arkady Martine

We want to send you a galley copy of Arkady Martine’s A Memory Called Empire, available March 26th from Tor Books!

Ambassador Mahit Dzmare arrives in the center of the multi-system Teixcalaanli Empire only to discover that her predecessor, the previous ambassador from their small but fiercely independent mining Station, has died. But no one will admit that his death wasn’t an accident—or that Mahit might be next to die, during a time of political instability in the highest echelons of the imperial court.

Now, Mahit must discover who is behind the murder, rescue herself, and save her Station from Teixcalaan’s unceasing expansion—all while navigating an alien culture that is all too seductive, engaging in intrigues of her own, and hiding a deadly technological secret—one that might spell the end of her Station and her way of life—or rescue it from annihilation.

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 10:30 AM Eastern Time (ET) on October 30th. Sweepstakes ends at 12:00 PM ET on November 3rd. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

The Most Important Planet in Brandon Sanderson’s Books is Named After Jane Yolen

$
0
0

Many of Brandon Sanderson’s works take place in a single “Cosmere” universe. You can visit Roshar in the Stormlight Archive, or Scadrial in Mistborn, but readers have yet to see the most important planet in the Cosmere…

Somewhere out there is a planet that breeds trouble, that produces scholars, that has seeded different worlds with different types of magic. Sanderson has yet to reveal that planet and its story, but we do know one thing: it’s named after Jane Yolen, author of Finding Baba Yaga and numerous other fantasy works!

The planet Yolen has yet to appear in any of Sanderson’s published works, but on his blog and elsewhere he has referenced Dragonsteel, an unpublished work set on Yolen that acts as a sort of prequel to the rest of the Cosmere series.

In 2016, Sanderson revealed that this planet is indeed named after the author Jane Yolen. It turns out that Yolen’s Pit Dragon Trilogy, specifically the first book Dragon’s Blood (1982), was one of the first books he ever read, and it had a profound inspirational effect on the young author.

The story of Dragon’s Blood mixes epic fantasy and science fiction—a planet settled as a penal colony develops its own society over centuries, adapting to the planets harsh environment. Humans capture and tame a species of dragon, breeding them as livestock and for entertainment in the fighting pits.

The blending of science fiction and fantasy is echoed in many of Sanderson’s novels—it feels all too appropriate that the Cosmere’s magic and stories can all be traced back to a planet named for her.

It all begins with Yolen. In more ways than one.

An earlier version of this article was published in November 2016.

All the New Fantasy Books Coming Out in November!

$
0
0

Finally: sweater weather! Also known as books-and-hot-cocoa weather (or hot toddies, depending). November’s fantasies range from Jane Yolen’s fractured fairytales to a new translation of Aladdin; from an omnibus edition of Daniel Abraham’s Long Price Quartet to Tasha Suri’s debut fantasy Empire of Sand. And, of course, a little book from George R.R. Martin … (no, not that one, sorry!)

Keep track of all the new releases here. Note: All title summaries are taken and/or summarized from copy provided by the publisher.

 

WEEK ONE

Breach—W.L. Goodwater (November 6, Ace)
When Soviet magicians conjured an arcane wall to blockade occupied Berlin, the world was outraged but let it stand for the sake of peace. Now, after ten years of fighting with spies instead of spells, the CIA has discovered the unthinkable… the wall is failing. While refugees and soldiers mass along the border, operatives from East and West converge on the most dangerous city in the world to either stop the crisis, or take advantage of it. Karen, a young magician with the American Office of Magical Research and Deployment, is sent to investigate the breach in the Wall and determine if it can be fixed. Instead, she discovers that the truth is elusive in this divided city–and that even magic itself has its own agenda.

Nothing to Devour (Motherless Children #3)—Glen Hirshberg (November 6, Tor Books)
Librarian Emilia is alone in a library that is soon to close its doors forever. Alone save for one last patron, his head completely swathed in bandages, his hands gloved, not one inch of skin exposed. Today, he sees, really sees, Emilia. What he does to her then is unspeakable. Thousands of miles away, another victim rises. Sophie is determined to protect the people she loves best in the world—but she is a monster. To Jess, it doesn’t matter that Sophie was once as close to her as her own daughter. It only matters that Sophie is a vampire. Aunt Sally loved all the monsters she’d created in the hundreds of years since she died and rose again. When her existence was exposed to the human world, she didn’t hesitate to destroy her home, and her offspring, to save herself. Herself, and one special girl, Aunt Sally’s last chance to be a perfect mother. These people are drawn together from across the United States, bound by love and hatred, by the desire for reunification and for revenge. In their own ways, they are all monsters. Some deserve to live. Some do not.

Dreaming (Lovecraft Squad #3)—Stephen Jones (November 6, Pegasus)
In his house at R’lyeh dead Cthulhu waits dreaming.The Armies of the Night are rising. Such clandestine cults as the Olde Fellowes and the Esoteric Order of Dagon, who worship a group of ancient deities called the Great Old Ones, are harnessing occult powers to open the doorways to the Dreamscape and other dimensions beyond space and time.Now something big is coming, and only the agents of the Human Protection League stand between this rising tide of evil and the enslavement and eventual destruction of the human race itself. The dedicated members of the Lovecraft Squad battle supernatural threats all across the world—and from beyond the stars. Featuring original contributions by: Stephen Baxter, Brian Hodge, Sean Hogan, Lisa Morton, Kim Newman, Reggie Oliver, John Llewellyn Probert, Lynda E. Rucker, Angela Slatter, and Michael Marshall Smith.

How to Fracture a Fairy Tale—Jane Yolen (November 5, Tachyon)
Fantasy icon Jane Yolen (The Devil’s Arithmetic, Briar Rose) is adored by generations of readers of all ages. Now she triumphantly returns with this inspired gathering of fractured fairy tales and legends. Yolen breaks open the classics to reveal their crystalline secrets: a philosophical bridge that misses its troll, a spinner of straw as a falsely accused moneylender, the villainous wolf adjusting poorly to retirement. Each of these offerings features a new author note and original poem, illuminating tales that are old, new, and brilliantly refined.

 

WEEK TWO

The Long Price Quartet—Daniel Abraham (November 13, Tor Books)
Omnibus. The aggressively expansionist Galt empire has already conquered lands across a huge continent. The cities of the Khaiem resist Galt’s power with the andat creatures of magic with godlike powers. But magic and treacherous politics have brought a bitter harvest of violence and sorrow. Otah Machi, caught between ancient wonders and a modern empire, has survived more than most men endure in two lifetimes. He is the culmination of a complex inheritance, and his own existence is the fulcrum around which the wheels of epic history rotate through achingly poignant cycles of life and death, love, and betrayal. Now, when the world seems utterly lost, all depends on Otah, and the lost loves and found family he has desperately hoped to protect from the tragedy that beckons. If they can summon the courage and power to forgive and resist darkness, all their hopes could be salvaged—along with their world.

Vita Nostra—Sergiy Dyachenko & Maryna Shyrshova-Dyachenko (November 13, Harper Voyager)
While vacationing at the beach with her mother, Sasha Samokhina meets the mysterious Farit Kozhennikov. The teenage girl is powerless to refuse when this strange man with an air of the sinister directs her to perform a task with potentially scandalous consequences. He rewards her effort with a golden coin. As the days progress, Sasha carries out other acts for which she receives more coins. As summer ends, her domineering mentor directs her to move to a remote village and use her gold to enter the Institute of Special Technologies. Against her mother’s wishes, Sasha leaves behind all that is familiar and begins her education. The institute’s “special technologies” are unlike anything she has ever encountered. The books are impossible to read, the lessons obscure to the point of maddening, and the work refuses memorization. Using terror and coercion to keep the students in line, the school does not punish them for their transgressions and failures; instead, their families pay a terrible price. Yet despite her fear, Sasha undergoes changes that defy the dictates of matter and time; experiences which are nothing she has ever dreamed of … and suddenly all she could ever want.

A Rising Moon (Sunpath Cycle #2)—Stephen Leigh (November 13, DAW)
Orla Paorach’s life was overturned for the first time when her mother Voada was beaten senseless, and Orla was taken by Bakir, a minor Mundoan army officer, as his second wife. Now her world is shattered a second time: Bakir has died in battle, and so has her mother, now known as the Mad Draoi of the Cateni. Orla flees northward to Onglse, the island home of the draoi that is the center of the Cateni rebellion against the Mundoa. She becomes quickly embroiled in battle as well as deceptions from both sides of the conflict, as everyone expects that she’s come to take up her mother’s mantle. Those who knew her mother offer their help, but can she trust any of them? Can she avoid becoming the Mad Draoi herself, lost in the magic her mother once tried to wield?

The Winter Road—Adrian Selby (November 13, Orbit)
The Circle—a thousand miles of perilous forests and warring clans. No one has ever tamed such treacherous territory before, but ex-soldier Teyr Amondsen, veteran of a hundred battles, is determined to try. With a merchant caravan protected by a crew of skilled mercenaries, Teyr embarks on a dangerous mission to forge a road across the untamed wilderness that was once her home. But a warlord has risen in the wilds of the Circle, uniting its clans and terrorizing its people. Teyr’s battles are far from over…

Bedfellow—Jeremy Shipp (November 13, Tor.com Publishing)
It broke into their home and set up residence in their minds. When the … thing first insinuated itself into the Lund family household, they were bemused. Vaguely human-shaped, its constantly-changing cravings seemed disturbing, at first, but time and pressure have a way of normalizing the extreme. Wasn’t it always part of their lives? As the family make more and greater sacrifices in service to the beast, the thrall that binds them begins to break down. Choices must be made. Prices must be paid. And the Lunds must pit their wits against a creature determined to never let them go. It’s psychological warfare. Sanity is optional.

Empire of Sand—Tasha Suri (November 13, Orbit)
The Amrithi are outcasts; nomads descended of desert spirits, they are coveted and persecuted throughout the Empire for the power in their blood. Mehr is the illegitimate daughter of an imperial governor and an exiled Amrithi mother she can barely remember, but whose face and magic she has inherited. When Mehr’s power comes to the attention of the Emperor’s most feared mystics, she must use every ounce of will, subtlety, and power she possesses to resist their cruel agenda. Should she fail, the gods themselves may awaken seeking vengeance…

Creatures of Want and Ruin—Molly Tanzer (November 13, John Joseph Adams)
Amityville baywoman Ellie West fishes by day and bootlegs moonshine by night. It’s dangerous work under Prohibition—independent operators like her are despised by federal agents and mobsters alike—but Ellie’s brother was accepted to college and Ellie’s desperate to see him go. So desperate that when wealthy strangers ask her to procure libations for an extravagant party Ellie sells them everything she has, including some booze she acquired under unusual circumstances. What Ellie doesn’t know is that this booze is special. Distilled from foul mushrooms by a cult of diabolists, those who drink it see terrible things—like the destruction of Long Island in fire and flood. The cult is masquerading as a church promising salvation through temperance and a return to “the good old days,” so it’s hard for Ellie to take a stand against them, especially when her father joins, but Ellie loves Long Island, and she loves her family, and she’ll do whatever it takes to ensure neither is torn apart.

 

WEEK THREE

Lies Sleeping (Rivers of London #7)—Ben Aaronovitch (November 20, DAW)
The Faceless Man, wanted for multiple counts of murder, fraud, and crimes against humanity, has been unmasked and is on the run. Peter Grant, Detective Constable and apprentice wizard, now plays a key role in an unprecedented joint operation to bring him to justice. But even as the unwieldy might of the Metropolitan Police bears down on its foe, Peter uncovers clues that the Faceless Man is executing the final stages of a long term plan. A plan that has its roots in London’s two thousand bloody years of history, and could literally bring the city to its knees. To save his beloved city, Peter’s going to need help from his former best friend and colleague, Lesley May, who brutally betrayed him and everything he thought she believed in. And, far worse, he might even have to come to terms with the malevolent supernatural killer and agent of chaos known as Mr Punch….

City of Broken Magic—Mirah Bolender (November 20, Tor Books)
Five hundred years ago, magi created a weapon they couldn’t control. An infestation that ate magic—and anything else it came into contact with. Enemies and allies were equally filling. Only an elite team of non-magical humans, known as sweepers, can defuse and dispose of infestations before they spread. Most die before they finish training. Laura, a new team member, has stayed alive longer than most. Now, she’s the last—and only—sweeper standing between the city and a massive infestation.

A Cathedral of Myth and Bone—Kat Howard (November 20, Saga Press)
Kat Howard has already been called a “remarkable writer” by Neil Gaiman and her “dark and enticing” (Publishers Weekly) debut novel, Roses and Rot, was beloved by critics and fans alike. Now, you can experience her collected shorter works, including two new stories, in A Cathedral of Myth and Bone. In these stories, Howard expands into the enchanted territory of myths and saints, as well as an Arthurian novella set upon a college campus, “Once, Future,” which retells the story of King Arthur—through the women’s eyes.

The Grave Thief (Twilight Reign #2)—Tom Lloyd (November 20, Gollancz)
Scree has been wiped from the face of the Land in a brutal demonstration of intent. While those responsible scatter to work on the next step in their plan, the stakes are raised—all the way to the heavens—as the Gods themselves enter the fray. Returning home to a nation divided by fanaticism, Lord Isak is haunted both by the consequences of his actions in Scree and by visions of his own impending death. As the full extent of Azaer’s schemes become clearer, he realises prophecy and zealotry must play their part in his battle-plans if there is to be any chance of surviving the coming years. As a white-eye, Isak has had to embrace the darker parts of his own soul, but now the savage religious fervour sweeping his nation must also be accepted and turned to purpose, in the name of survival. With the battle lines vague and allegiances uncertain, the time for heartless decisions and ruthless action has come. Two figures oppose Isak and his allies: the greatest warrior in history, who dreams of empire and Godhood, and a newborn baby whose dreams have no limit.

Fire and Blood—George R.R. Martin (November 20, Bantam)
Centuries before the events of A Game of Thrones, House Targaryen—the only family of dragonlords to survive the Doom of Valyria—took up residence on Dragonstone. Fire & Blood begins their tale with the legendary Aegon the Conqueror, creator of the Iron Throne, and goes on to recount the generations of Targaryens who fought to hold that iconic seat, all the way up to the civil war that nearly tore their dynasty apart. What really happened during the Dance of the Dragons? Why was it so deadly to visit Valyria after the Doom? What were Maegor the Cruel’s worst crimes? What was it like in Westeros when dragons ruled the skies? These are but a few of the questions answered in this chronicle, as related by a learned maester of the Citadel and featuring more than eighty all-new black-and-white illustrations by artist Doug Wheatley.

Gunsmoke & Glamour—Hillary Monahan (November 20, Fireside Press)
Marshall Clayton Jensen’s job is to fix things for the people too weird for the government to touch—witches, fairies, monsters. When Clay finds himself on the receiving end of a witch’s curse following a breakup from the love of his life, a fairy named Cora, Clay enlists the help of his best friend Doc Irene and his ex-girlfriend’s promiscuous sister Adelaide to search for a cure before time runs out.

Dragonshadow (Heartstone #2)—Ella Katharine White (November 20, Harper Voyager)
The Battle of North Fields is over—or so Aliza Bentaine, now a Daired, fervently wants to believe. But rumors are spreading of an unseen monster ravaging the isolated Castle Selwyn on the northern border of the kingdom. When she and Alastair are summoned from their honeymoon by the mysterious Lord Selwyn, they must travel with their dragon Akarra through the Tekari-infested Old Wilds of Arle to answer his call. And they are not alone on this treacherous journey. Shadowing the dragonriders is an ancient evil, a harbinger of a dark danger of which the Worm was only a foretaste. And soon Aliza realizes the terrible truth: the real war is only beginning.

 

WEEK FOUR

The Last Unicorn: The Lost Journey—Peter S. Beagle (November 26, Tachyon)
Peter S. Beagle first imagined his beloved heroine when he was twenty-three, half a decade before she sprang into the world. Now the Last Unicorn’s fantastical origins are recaptured in this lovely commemorative hardcover.In this wonderfully strange adventure, a brave unicorn leaves her solitary life behind, determined to discover if she is the last of her kind. She is forewarned by a forlorn dragon and befuddled by a chatty butterfly; her unfamiliar traveling companion will be an exiled demon with a split personality and a penchant for philosophy. Here you will discover the 85-page genesis of Beagle’s masterpiece, his own wry musings upon his early career, charming original illustrations, and tributes from modern fantasy legends Patrick Rothfuss and Carrie Vaughn.

Rowankind (Rowankind #3)—Jacey Bedford (November 27, DAW)
What do you do with a feral wolf shapechanger who won’t face up to his responsibilities? How do you contain magical creatures accidentally loosed into Britain’s countryside? How do you convince a crew of barely-reformed pirates to go straight when there’s smuggling to be done? How do you find a lost notebook full of deadly spells while keeping out of the clutches of its former owner? How do you mediate between a mad king and the seven lords of the Fae? Ross and Corwen, she a witch and he a shapechanger, have several problems to solve but they all add up to the same thing. How do you make Britain safe for magic users? It’s 1802. A tenuous peace with France is making everyone jumpy. The Fae, and therefore Ross and Corwen at their behest, have unfinished business with Mad King George, who may not be as mad as everyone thinks—or if he is, he’s mad in a magical way. The Fae have left mankind alone up to now because they don’t care to get involved with mortals, but don’t be fooled into thinking they’re harmless.

The Mortal Word (Invisible Library #5)—Genevieve Cogman (November 27, Ace)
When Irene returns to London after a relatively straightforward book theft in Germany, Bradamant informs her that there is a top secret dragon-Fae peace conference in progress that the Library is mediating, and that the second-in-command dragon has been stabbed to death. Tasked with solving the case, Vale and Irene immediately go to 1890s Paris to start their investigation. Once they arrive, they find evidence suggesting that the murder victim might have uncovered proof of treachery by one or more Librarians. But to ensure the peace of the conference, some Librarians are being held as hostages in the dragon and Fae courts. To save the captives, including her parents, Irene must get to the bottom of this murder—but was it a dragon, a Fae, or even a Librarian who committed the crime?

Aladdin: A New Translation—Paulo Lemos Horta, editor; Yasmine Seale, translator (November 27, Liveright)
Long defined by popular film adaptations that have reductively portrayed Aladdin as a simplistic rags-to-riches story for children, this work of dazzling imagination—and occasionally dark themes—finally comes to vibrant new life. “In the capital of one of China’s vast and wealthy kingdoms,” begins Shahrazad— the tale’s imperiled-yet-ingenious storyteller—there lived Aladdin, a rebellious 15-year-old who falls prey to a double-crossing sorcerer and is ultimately saved by the ruse of a princess. Aladdin has been capturing the imagination of readers, illustrators, and filmmakers since an 18-century French publication first added the tale to The Arabian Nights. Now, translator Yasmine Seale and literary scholar Paulo Lemos Horta offer an eminently readable rendition of Aladdin in what is destined to be a classic for decades to come.

Choices (Valdemar)—Mercedes Lackey, editor (November 27, DAW)
The Heralds of Valdemar are the kingdom’s ancient order of protectors. They are drawn from all across the land, from all walks of life, and at all ages—and all are Gifted with abilities beyond those of normal men and women. They are Mindspeakers, FarSeers, Empaths, ForeSeers, Firestarters, FarSpeakers, and more. These inborn talents—combined with training as emissaries, spies, judges, diplomats, scouts, counselors, warriors, and more—make them indispensable to their monarch and realm. Sought and Chosen by mysterious horse-like Companions, they are bonded for life to these telepathic, enigmatic creatures. The Heralds of Valdemar and their Companions ride circuit throughout the kingdom, protecting the peace and, when necessary, defending their land and monarch. Now, 23 authors ride with Mercedes Lackey to her magical land of Valdemar, adding their own unique voices to the Heralds, Bards, Healers, and other heroes of this beloved fantasy realm.

How Le Guin’s A Wizard of Earthsea Subverts Racism (But Not Sexism)

$
0
0

This week, Saga Press releases a gorgeous new omnibus edition of Ursula K. Le Guin’s Books of Earthsea, illustrated by Charles Vess, in celebration of A Wizard of Earthsea‘s 50th anniversary. In honor of that anniversary, this week we’re running a different look at Earthsea each day—starting with the first book in the series.

“A great many white readers in 1967 were not ready to accept a brown-skinned hero,” Ursula Le Guin wrote in 2012 in an afterword to A Wizard of Earthsea, forty-four years after the seminal novel—the first in the Earthsea cycle—was published. “But they weren’t expecting one,” she continued. “I didn’t make an issue of it, and you have to be well into the book before you realize that Ged, like most of the characters, isn’t white.”

That Ged, the novel’s protagonist, was nonwhite did, however, create consternation for the book’s cover, as Le Guin noted in her afterword. It was one thing to write a brown character; it was another to have the audacity to request one appear on the cover. Perhaps out of the fear that seeing a brown figure would deter readers—African-American sci-fi writers were similarly told, for decades, that there was no market for their work, as black people, their publishers presumed, did not read sci-fi, and white readers might similarly be turned off—Ged was repeatedly depicted as “lily-white” on many of the book’s covers. To Le Guin’s joyous relief, the book’s original cover features an illustration by Ruth Robbins, in which Ged, faintly resembling a figure from either a medieval painting or Art Deco, has a soft “copper-brown” complexion. It was “the book’s one true cover,” she said fondly.

A Wizard of Earthsea was riveting, yet conventional—except in the important way that its main characters quietly subverted one of British and American fantasy’s most notable tropes, in which white, often Europeanesque figures are the presumptive standard. Heroic characters in sci-fi or fantasy who looked like me—brown or black, hair tightly curled—seemed strange, impossible, like the dreams of a forgotten circus tent. While the novel’s female characters left something to be desired—as Le Guin herself acknowledged in the afterword—its embrace of brown and black figures as protagonists was revolutionary for its time, particularly in a decade in which a fiercely divided America found itself embroiled in tense, often bloody debates over civil rights for black Americans.

I came to the Earthsea series late. The first book surprised me in its elegant simplicity. At the time, I had read SFF by some writers of color already, from earlier efforts, like W. E. B. Du Bois’ short story “The Comet,” to works by Octavia Butler, Nalo Hopkinson, Samuel Delany, and others, as well as graphic texts featuring a diverse cast of characters, like Brian K. Vaughan and Fiona Staples’ series Saga. A Wizard of Earthsea both reminded me of them and was unlike them, all the same, in the way that it told such a standard but gripping narrative for its genre. I breezed through it in bed, on the rattling subway, on a weekend trip with my partner. It felt enriching to enter a world where people whose skin resembled mine were the majority, the norm, the foundation of a world. It felt surprising and courageous, too, when I remembered the date of its publication.

A Wizard of Earthsea tells a classic tale—“conventional enough not to frighten reviewers,” in Le Guin’s words. It begins with Ged as a boy learning that he may have the ability to use magic from a duplicitous witch; Ged’s powers, raw but potent, save his village from an attack by barbarians. Ged ventures to a wizarding school, where he learns the greatest key of magic: that knowing the true name of something gives one control over it. From his early days in the school, however, another boy, Jasper, repeatedly provokes Ged, looking down upon him for his humble bucolic origins. When the two decide to see who possesses the greatest magical ability, Ged naively and arrogantly claims he can raise the dead. He does—but at great cost, as an evil, monstrous shadow is let loose into the world from his casual rending of the boundary between the living and the dead. The shadow attacks Ged; he is only saved from it devouring his soul by the quick appearance of a mage from the school, who scares it off. After the assault, Ged is left near death and with almost all his power gone, and the rest of the book sees him attempting to both regain his powers and finally face down the shadow. The shadow is the result of his inexperience, his hubris, his braggadocio—but it is also the perfect foe for Ged, who eventually learns that he can never fully escape his shadow, for it also represents Ged himself. The past is never dead, as Faulkner tells us; our shadows never quite disappear, even when we think they do.

From the start, Le Guin flips the genre’s standard racial dynamics. “The principal characters [in fantasy] were men,” she said in the afterword, and “the hero was a white man; most dark-skinned people were inferior or evil.” But in her novel, the first antagonists Ged encounters are “a savage people, white-skinned, yellow-haired, and fierce, liking the sight of blood and the smell of burning towns.” In the final third of the book, Ged, shipwrecked by the sinister shadow on a desolate bit of reef, reflects that he “is in the very sea-roads of those white barbaric folk.” The novel does not go as far as to suggest that lightness of skin is bad, a sign of inferiority or inherent iniquity; instead, it simply and naturally, without drawing attention to itself, reverses the racial dynamics so common in American and British fantasy, wherein I’m so accustomed to seeing someone with skin like mine or darker as the casual, callous villains.

 

Fantasy (and, to a lesser degree, sci-fi) is at once far removed from our world and, often, an echo of it all the same—and that echo is not always pleasant. For all the pomp and imaginativeness of its worlds, a great deal of fantasy of A Wizard of Earthsea’s era skewed conservative at its core, able to imagine orcs and dragons but scarcely able to envision relationships that defied the tropes of a heterosexual nuclear family.

While the foundations of a fantastical world are up to the author, it is telling when even the realms we can invent, almost from scratch, so closely resemble the simple foundations of a non-liberal weltanschauung, embodied in the traditionalistic landscapes of a vague medieval Europe so common in certain fantastical tales; there may be war and bloodshed and political upheaval, but little to no political subversion in how gender or sexuality are represented. The males desire and pursue the females; in some cases, fantasy tales simply replicate the white American nuclear family dynamic of the 1950s. When humans or humanlike beings appear, they are often white if good and darker-skinned if bad; men were overwhelmingly heroes, while women were usually relegated to being beauteous damsels in distress or deceitful seductresses, the latter often crass symbols of Orientalism or simply of misogyny.

A Wizard of Earthsea can’t be praised for its depiction of women. To her credit, Le Guin was aware of this failing. She chides fantasy of Earthsea’s era for having women—if women were present at all—who were usually merely “a passive object of desire and rescue (a beautiful blond princes); active women (dark witches),” she continued, “usually caused destruction or tragedy. Anyway, the stories weren’t about the women. They were about men, what men did, and what was important to men.”

Ironically, so is A Wizard of Earthsea. “It’s in this sense,” she acknowledged, “that A Wizard of Earthsea was perfectly conventional. The hero does what a man is supposed to do….[It’s] a world where women are secondary, a man’s world.” Though I’m happy Le Guin could admit this failing, it’s frustrating to read a book that seems so quietly surprising in one way—its natural reversal of racial dynamics in fantasy—and so hackneyed in another—its portrayal of women as little more than beautiful or deceiving objects. The world is heavily male; the narrator refers frequently uses male pronouns as a way of suggesting general or universal truths. Women appear only on the margins, and when anyone distaff does appear, she is merely an object of beauty or a deadly, deceiving lure for Ged.

Just as Le Guin worried about centering nonwhite characters in A Wizard of Earthsea, the idea of female protagonists in fantasy and sci-fi has a long history of controversy. When L. Frank Baum wrote The Wonderful Wizard of Oz—sometimes considered the first genuinely American piece of fantasy—Baum received resistance from readers unnerved by the idea of a little girl as the hero. (Of course, this conception had already appeared in Lewis Carroll’s Wonderland books.) Similarly, as Justine Larbalestier has explored in The Battle of the Sexes, early sci-fi fans—who were predominantly male—engaged in vituperative arguments about whether or not women should appear in sci-fi stories at all.

Isaac Asimov smirked at the idea. “When we want science fiction, we don’t want any swooning dames,” he said in one of his many letters on the subject to a sci-fi magazine, in which he argued with other letter-writers who called for better representation of womanhood in science fiction. After a man named Donald G. Turnbull wrote a letter to Astonishing Science Fiction in 1938 to argue that “[a] woman’s place is not in anything scientific,” Asimov called for “[t]hree rousing cheers on Donald G. Turnbull for his valiant attack on those favoring mush.” “Notice, too, that many top-notch, grade-A, wonderful, marvelous, etc., etc., authors get along swell without any women, at all,” Asimov wrote in 1939 in another letter about sci-fi. For all the swirling beauty of his imagination, Asimov was scarcely able to imagine something more down-to-earth, dull and sublunary: that women could be autonomous beings, in or out of sci-fi.

Ironically, Le Guin herself would be one of the titans in attempting to complicate how we present gender in sci-fi and fantasy, perhaps most of all in her magisterial novel The Left Hand of Darkness. And more recent texts, like N. K. Jemisin’s The Fifth Season or Marjorie Liu’s Monstress graphic novels, feature women at their center; Monstress goes so far as to quietly make women the majority of the characters in its world, never drawing attention to this fact but simply presenting primarily women as its heroes, antiheroes, and villains. Mackenzi Lee’s historical SFF, The Gentlemen’s Guide to Vice and Virtue and the more recent The Lady’s Guide to Petticoats and Piracy, center queer men in the former and a variety of women in the latter, the most notable being Felicity Montague, who fights against sexist seventeenth-century assumptions that women should not practice medicine (or science more broadly), and appears to be on the asexual spectrum—a resonant move, given how infrequently asexual characters appear in literature.

In a more foundational sense, fantasy has long had a problem with race that goes beyond its frequent centering of white characters. The genre gives us carte blanche to create the cosmos anew, yet many of the classic texts of the genre simply replicate old racialist ideas, trying to hide them by making them appear different on the outside; at worst, certain texts become a kind of minstrelsy Halloween parade, where minstrels wear the costumes of orcs, gods, and goblins. What is it, if not racialism, when certain groups of sentient beings all share the same traits, not unlike old bigoted theories from European and American colonists about how all black people, supposedly, shared the same deficiencies?

In this cultural moment, we need narratives that subvert the old assumptions of a genre. To be sure, a white American writer incorporating black characters isn’t the same as a black American writer doing so, as the latter has long had to struggle harder for any baseline form of acceptance. That Le Guin was white doubtless made her book slightly more palatable to certain readers (even those prejudiced against her for daring to write as a woman). And Earthsea’s power did not make things much easier for black writers in the same genres like Octavia Butler, Nalo Hopkinson, or N. K. Jemisin; it is telling that Jemisin, at the Brooklyn Book Festival this year, revealed that she had been accused by an unnamed person of being “uppity” when she gave her tremendous Hugo acceptance speech on the occasion of her third successive win.

But for all its flaws, it’s hard not to enjoy A Wizard of Earthsea—and to think of it, fondly, in a world where characters who look like me are finally starting to seem less rare, less marvelous than finding wisteria on the moon, and the simple magic of seeing someone so different as the main character comes to feel almost as incredible as all of Ged’s feats of goodness and gramarye combined.

The Books of Earthsea omnibus is available October 30th from Saga Press.

Gabrielle Bellot is a staff writer for Literary Hub. Her work has appeared in The New Yorker, The Atlantic, The New York Times, Tin House, Guernica, Slate, New York Magazine’s The Cut, Electric Literature, HuffPost, and elsewhere. Find her at gabriellebellot.com.

Get Brandon Sanderson’s The Stormlight Archive Books 1-3 for $2.99 Each!

$
0
0

New York Times bestselling author Brandon Sanderson’s monumental Stormlight Archive series invites you to an epic fantasy unlike any other—and this week, you can enter the world of The Stormlight Archive through a special deal. From October 30 through November 5, the first three books (The Way of KingsWords of Radiance, and Oathbringer) are on sale for $2.99 each at your preferred ebook retailer!

 

The Way of Kings by Brandon Sanderson

The opening novel of Sanderson’s bold and masterfully epic Stormlight Archive series introduces a world in which ten armies fight against a single powerful foe over artifacts from a mystical ancient order… and the three individuals poised to uncover its lost history.

The Way of Kings Brandon Sanderson The Stormlight Archive

 

Words of Radiance by Brandon Sanderson

The Stormlight Archive returns to the land of Roshar as its heroes take on challenging new roles and struggle to master new skills that intertwine their lives with the survival of their entire world.

Words of Radiance Brandon Sanderson The Stormlight Archive

 

Oathbringer by Brandon Sanderson

In the third novel of The Stormlight Archive series, humanity faces a new threat even more destructive than the War of Reckoning, forcing the nations of Roshar to either set aside their blood-soaked past or face the end of civilization entirely.

Oathbringer Brandon Sanderson The Stormlight Archive


A Primer on Charles Stross’s The Laundry Files

$
0
0

The Laundry Files are a long-running series of stories and novels I’ve been writing since roughly 1999. Today marks the publication of The Labyrinth Index, the ninth novel in the sequence.

This is your five-minute orientation briefing before Human Resources take over for your induction paperwork. Please try to pay attention: there won’t be an exam, but your life may depend on it.

The “Laundry”—or, more formally, X-Division of the Special Operations Executive—is the British government organisation responsible for defending the nation against emergent magical threats. As a branch of applied mathematics, magic was practiced on an ad-hoc basis prior to its systematization by Alan Turing in the 1940s. Wartime efforts combined the approach of GCHQ (cryptanalysis, applied computational demonology) and SOE (sabotage operations, combat philosophy) and led to the establishment of the post-war secret agency documented in these classified publications.

Members of staff assigned to Active Operations are required to maintain a journal describing their operations, so that in event of their death or assimilation by an extradimensional nightmare their knowledge is not lost to the organization. As a new recruit you are encouraged to familiarize yourself with these classified sources: they’re an invaluable learning resource and the following reading list may prove helpful.

Getting started: what’s this all about, anyway? We suggest the early diaries of Robert “Bob” Howard, from his early years as an IT technical support specialist to his engagement in active operations. These are collected in The Atrocity Archives, The Jennifer Morgue, The Fuller Memorandum, and The Apocalypse Codex and may give you some idea of the scale of threats an agent is expected to face, from counting concrete cows in Milton Keynes (with explosive consequences) through being held prisoner on a mad billionaire’s yacht as he tries to use the ghost of a dead monster to take over the world, to uncovering a cult of worshippers of one of the Elder Gods so erroneously described by H. P. Lovecraft, a narrator almost as unreliable and self-deluding as Bob Howard himself.

Along the way, Mr Howard learns about CASE NIGHTMARE GREEN, the Laundry’s plan for managing the impending Lovecraftian Singularity caused by the proliferation of computing machinery (including human brains) eating holes in the structure of reality. This is a runaway positive feedback loop, for as it proceeds magic becomes easier to practice, and an increasing number of uncontrolled magical phenomena intrude into our world, from amateur sorcerers discovering hitherto untapped powers, to the emergence of godlike alien intelligences out of legend and nightmare.

Monsters: threats or opportunities? Bob discusses the military applications of unicorns in “Equoid” and confirms that vampires don’t exist (at least, not as far as people with your security clearance are concerned) in The Rhesus Chart. In The Annihilation Score, Bob’s long-suffering wife Dr Dominique O’Brien describes her assignment to tame the menace of uncontrolled superheroes on behalf of the Home Office by setting up and managing the Transhuman Police Coordination Force—a vital look at the senior civil service management approach to interfering civic volunteerism and mad science. And in The Nightmare Stacks Dr. Alex Schwartz vividly describes the psychology (inarguably psychotic) and military doctrine (lamentably effective) of Elves, with specific reference to the combined-arms force that invaded West Yorkshire in 2014.

Politics and the New Management: the loss of a major city and several airliners surpassed the ability of the Laundry to maintain the veil of secrecy, and resulted in a full Parliamentary enquiry and the adversarial restructuring of the agency. As a mid-level executive Mr. Howard had a close-up view of the ensuing disaster, which he documents grippingly in The Delirium Brief, including the agency’s response to the Prime Minister’s ire (install a more thaumaturgically aware Prime Minister). With contributions from other operatives (including Dr. O’Brien, Dr. Schwartz, Ms. Persephone Hazard, and Ms. Murphy from Human Resources) Mr. Howard provides a solid account of the crisis leading up to the establishment of the New Management.

Finally we come to the most recent report, The Labyrinth Index. In this document Mhari Murphy—newly elevated to the House of Lords in order to chair the Select Committee on Sanguinary Affairs—describes what it is like to work for a government of national survival in a time of crisis. Assigned a special project—determining what exactly has overcome the United States of America, and what to do about it, at least insofar as another government ought to get involved—she gives a unique personal view of our new Prime Minister’s genius in action. She also provides valuable insights into life as a vampire (urban fantasy yarns turn out to be a terrible guide), the true magnitude of CASE NIGHTMARE GREEN, and the US administration’s drastic approach to managing the Lovecraftian Singularity.

These documents were formerly covered by a top secret codeword classification. However, they have been declassified and published (subject to redaction of still-secret details) by order of the New Management, in order to assist interested members of the public in understanding the necessity of the coming sacrifices. We hope you will enjoy them, or at least find them a valuable use of your remaining time before the stars come right and the rest of the Elder Gods return to eat our souls.

All glory to the New Management!

Long may the Black Pharaoh reign over us!

Rule Britannia!

Iä! Iä!

Charles Stross was born in Leeds, England, in 1964. He has worked as a pharmacist, software engineer, and freelance journalist, but now writes full-time. To date, Stross has won three Hugo Awards and been nominated twelve times. He has also won the Locus Award for Best Novel, the Locus Award for Best Novella, and has been shortlisted for the Arthur C. Clarke and Nebula Awards. The Labyrinth Index, the latest novel in the Laundry Files series, will be available from Tor Books and Tor.com Publishing in October 2018. You can visit his blog, follow his Facebook page, or find him on Twitter at @cstross.

“A Tale Both Old and New”: Finding Baba Yaga by Jane Yolen

$
0
0

This is the story of Natasha. It is not the story of the beautiful Vasilisa and her charming prince, although they might claim otherwise. Nor is it the story of the Baba Yaga, or at least not in the way you think. No, this is about Natasha and how she became herself by becoming someone else.

For Natasha, home is hell. Her father is abusive and angry, her mother fearful and beaten down. When she can stand no more, she flees into the woods. She brings nothing with her but her will to survive. Eventually she stumbles upon a house standing on chicken legs tended by an old woman calling herself the Baba Yaga. She is a “mighty force” of a woman with an unreadable face and a mouth full of iron fillings. Most girls would be afraid of the crone with an iron nose and blunt disposition, but Natasha is not like most girls. Natasha moves in and is put to work. Life is hard, but she’s happy there, glad to be useful and thankful to be respected. All the things her father hated about her, the crone enjoys.

Everything changes when Vasilisa arrives. She is all that Natasha is not, and while their contrasts at first act as complements, soon they become conflicts. And when Vasilisa meets her handsome prince, Natasha’s feelings for her best friend get as tangled as the weeds in Baba Yaga’s garden. Buried between the lines, Yolen hints at Natasha’s growing feelings toward Vasilisa and the unexpected sense of betrayal she feels when the man comes around. But like much of this novella, Yolen leaves the investigation and interpretation up to the reader.

Vasilisa and her prince escape the clutches of Baba Yaga, as they are wont to do. This is a folktale, after all. The princess always runs away and the crone always chases after her. Natasha could flee like her companion, but she finds power and peace under the old witch’s roof. The chicken leg house isn’t a waystation in a larger quest or a chapter in a book but the ending and the beginning all rolled into one.

Now, I’m not one for poems. I don’t dislike poetry, but I don’t especially like it either. There’s no real reason for my disinterest; poetry just isn’t my jam. So it’s a testament to my admiration for Jane Yolen that despite knowing Finding Baba Yaga was written entirely in verse, I still desperately wanted to read it. And now, having circumnavigated it thrice over, I’m so glad I did.

Although it took me a few verses to settle in to the storytelling methodology, once I did everything clicked. I could see what Yolen was pushing, what she left unsaid, and what was left for me to discover on my own. The poems were short but not abrupt, intricate but not delicate, layered but not inexplicable. Yolen reveals so much in just a few brief lines. There’s a whole world in a single stanza.

Peace.
There is no peace
in this house,
only strips of paper,
tatters of cloth,
slivers of glass,
slit lips and tongues.
I pick up the shards
and put me to bed
every night.

Jane Yolen is one of the all-time greats. She is one of the biggest voices in young adult fiction and has helped guide and shape it into the juggernaut it is today. Her books are creative, unique, and deeply moving. So too is her latest YA novella Finding Baba Yaga. With a bit of verse, Yolen weaves a remarkable folktale about finding the power within and becoming the person you want to be. In the Foreward, Yolen explains how she was inspired to write this novella after discovering a website featuring Lonely Hearts posts written from the perspective of Baba Yaga, one of her favorite characters from folklore. Some of these poems you may have seen published elsewhere, but they work much better as a whole than individually.

Finding Baba Yaga is like a forest in a snowstorm: harsh, bleak, romantic, and breathtaking. Obviously Yolen knows her Russian folktales because this feels very, very Russian in the best possible way. I hope this isn’t the last time Yolen mixes young adult fiction, folktale adaptations, and poetry. Read it, then read it again.

Finding Baba Yaga is available from Tor.com Publishing.

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.

Doing Buffy One Better: Sawkill Girls and the Subversion of Genre Tropes

$
0
0

Decades of dead girls. Poor girls and rich girls. Black and brown and white girls. All of them Sawkill girls.

Hello, let me tell you about Sawkill Girls by Claire Legrand, how much I loved it and how it tramples on a number of minor and major tropes like a boss. A horror YA novel, Sawkill Girls is about tradition, survival and death. It has four major viewpoint characters who are given equal footing in the story.

Plain and awkward new girl Marion moves to the small town of Sawkill Rock, a remote island with a close-knit community where everybody is nice to each other but also where dark secrets are kept. Along with her mom and sister, Marion is grieving the recent death of their father. Marion has always been close with her sister, but their relationship has grown fraught with the untold weight of their grief, which each family member handles in her own way. Their mother has become remote and unavailable; her sister, a party animal; and it is down to a tired, sad Marion to keep them together and to take care of them.

Upon arriving at Sawkill Rock, Marion befriends Zoey, the local pariah (nobody likes Zoey; she’s too mouthy) and daughter of the local sheriff. Zoey is grieving too: her best friend Thora disappeared and is presumed dead. She just broke up with her boyfriend, Grayson, a guy she really loves and who loves her back, and the two are attempting to remain friends. They broke up because Zoey came out as asexual and she thinks this is a problem for Grayson. (It isn’t.) Meanwhile, obsessed with Thora’s’s disappearance, Zoey finds out she was not the first one. Other Sawkill Girls have disappeared mysteriously, going back decades. And nobody seems to give a damn.

Val, the local rich and beautiful queen bee and mean girl, knows everything about the disappearances: they are actually her family’s fault. Back in the day, her great-great-grandmother made a pact with a demon and since then the women of her family have served said demon by handing over girls for him to consume. The demon gets stronger and stronger with each death (and will eventually be able to break away from needing human aid) and in exchange, Val and her family get long life, health, power, vitality, and safety. Her mother is the current favourite, but soon it will be Val’s turn to serve the demon completely. For now, all she has to do is help kill the girls. And the next one the demon wants is Marion’s sister.

And then we have the Rock itself. It knows it has a demon from another dimension—The Collector—on its shores. And it has been waiting for the right girl to come and get rid of it for a long time.

Sawkill Girls is a horror YA novel, and it would be easy to say that it’s laden with genre tropes. But Claire Legrand looks at these tropes with clinical eyes, exposing them, facing them, and effectively subverting them. This novel is in conversation with a lot of beloved stories, but mostly, I saw a lot of Buffy the Vampire Slayer here—both as homage to its successes and a confrontation of its failures.

(From this moment, on, spoilers ahoy!)

Girl victimhood is not new in the horror genre, and girls are the victims in this novel in different ways. From a supernatural point of view, they are the preferred victims of the specific demon that lives on Sawkill Rock, a demon who takes the appearance of men and who has a taste for young, pretty girls. On that same supernatural front, it is eventually revealed that there is a mysterious cult of self-proclaimed Knights (all male, of course) who operate around the globe, combating these demons from different dimensions with the aid of three Special Girls—three extraordinary girls that are given supernatural powers to fight the demons. Much like the Watcher’s Council in Buffy, The Hand of Light have existed for a long time and they use this triad of girls to do the fighting for them— to bleed to death for them. But here they go a step further: they use the girls’ blood to vanquish the demons themselves to earn all the glory.

But, Legrand shows us, this setup only works because these Special Girls are also victims of rape culture and the patriarchal society we live in: they too disappear and die and no one really cares because, after all, girls disappear and die all the time.

Girls, no matter how special or extraordinary, are truly and wholly expendable objects. They are special to the extent they serve a purpose. Once that purpose is met, often determined by things outside of their control, they are no longer needed,

When Marion, Zoey, and, to everybody’s surprise, Val start to develop amazing powers, they are amazed by it and ready to fight. They are sick and tired of seeing girls die. Zoey wants to avenge her best friend. Marion wants answers to her sister’s disappearance. Val wants freedom. But then they learn they are expected to literally fight each other to death and sacrifice themselves in order to let the male Knights defeat The Collector with the girls’ blood. They are told this in no uncertain terms: this is history, tradition, this is how things are done.

There is another trope here, another narrative tradition that Legrand is showing for the nonsense that it is: the Knights rely on that long-held belief that girls are always competing with each other and on the idea of the Cat Fight. And these men, these Knights, stand around these girls, watching them with a perverse and twisted thirst that borders on sexual and blood lusts.

But our girls rebel. They take control of their own power and they say No. They say ”We’ll hunt the fucker down. Together.” As such, we don’t have The Chosen One or the Final Girl. We have three girls who work together through their differences.

“Girls hunger. And we’re taught, from the moment our brains can take it, that there isn’t enough food for us all.”

Speaking of their differences, there are many. Zoey distrusts Val because she knows Val is responsible for the death of her best friend. Zoey and Marion also have a fight halfway through the novel, as Marion says something incredibly offensive about Zoey’s asexuality, and is immediately called on it by Zoey and Grayson. On top of everything else Sawkill Girls is doing, it also offers this type of welcome conversation about sexual identity, and it shows a super great romantic relationship between Zoey and Grayson as they try to navigate their feelings for each other. In another trope-defying moment, Grayson leaves all the violence to the girls and concentrates his energy on researching, cleaning, and baking for them.

But the character of Val and how she is developed is perhaps the biggest surprise in the novel, the biggest subversion of tropes—and there are many connected to this one character.

We have a character who is well and truly a villain to start with: Val is not only a Cordelia, an Alpha Bitch (the wealthy influential character who controls all of her clique), but more importantly, Val has been responsible for the actual death of Sawkill Girls by luring girls she befriends to be killed by The Collector. This always happens in front of her and she is responsible from collecting body pieces and making them disappear (this book does not shy away from full-on violence and following up on its own bloody premise).

But Sawkill Girls asks: is she willingly complicit or another girl victim? Born into a family that has been connected and subjected to the Demon for decades, it is all that she has ever known. Val has been tortured, subjugated into making hard choices that allow her to continue to live. When she meets Marion and falls in love (more on this later), when she starts to feel empowered by the supernatural boost she is given, she starts to question—and to feel more and more guilt.

The novel, through Val, investigates who gets to be redeemed and who doesn’t. Going back to Buffy, two of its main characters are villains turned redeemed anti-heroes: Angel and Spike. A lot of that show was focused on these characters’ redemption arcs, but I don’t think I have ever seen a narrative so fully on take a girl villain and redeem her without killing her. Val lives on at the end of this novel, but still has a lot to atone for, having to live with the guilt of what her family has done.

I was blown away by many things in this novel but primarily by Val’s arc, especially when seen in conjunction with two other related tropes. Val is queer (no labels are offered), Marion is bi, and they fall in love with each other. They even have sex. AND NO ONE DIES. There is no sign of Death by Sex, Dead Lesbians Syndrome or Psycho Lesbians here. (I love Buffy to bits, and I truly think that show subverted a lot of tropes itself, but boy, Tara’s death still stings.)

At the beginning I said that this is a novel about tradition, survival, and death, and that is true. But thinking more and more about it, Sawkill Girls is primarily a novel about what and who we value. Val is worth saving and worth of being kept around. So are Marion and Zoey. And so is every Sawkill Girl.

Ana Grilo is a Brazilian who moved to the UK because of the weather. No, seriously. She works with translations in RL and moonlights as a Book Smuggler along with her partner in crime Thea James. When she’s not at The Book Smugglers, or hogging their Twitter feed, she can be found blogging over at Kirkus with Thea or podcasting with Renay at Fangirl Happy Hour.

Sleeps With Monsters: Brilliance and Fire

$
0
0

Let’s talk palace intrigue and high fantasy with a side order of young queer women whose fates are in terrible peril and yet! by the end of the novel, still aren’t dead. Because that’s Natasha Ngan’s Girls of Paper and Fire, out this November from the new Little Brown YA imprint “Jimmy Patterson Presents.”

Lei is a daughter of the Paper caste. The Paper caste are fully human, without the part-demon animal-like appearance and strength of the Steel caste, or the even more pronounced animal-like appearance and strength of the Moon caste. Very few Paper caste families are members of the aristocracy: even fewer have any influence at the court of the Demon King, the despotic ruler of the kingdom in which Lei lives. Once, long ago, the castes had mutual respect and peace between them, but since the first Demon King conquered his way to pre-eminence, the Paper caste has become more exploited and despised with every passing year.

The daughter of a maker of herbal remedies, Lei has very little knowledge of court politics, but she knows she hates the Demon King, whose soldiers kidnapped (and presumably murdered) her mother when she was a child. But her life changes when she’s dragged away from her family and forced to become one of the Demon King’s Paper Girls—palace concubines who serve for a year at the king’s pleasure, and whose fates thereafter are in the king’s hands. Lei doesn’t want to belong to the Demon King, but with her life and her family’s lives on the line, she doesn’t see that she has any choice. Her life is placed in even greater peril by the relation she begins to forge with fellow Paper Girl Wren, the daughter of one of the last aristocratic Paper families, a young woman with secrets of her own. If they’re caught, both of them may die.

But Wren is secretly the lynchpin of a plot to assassinate the Demon King and bring down the current oppressive regime. And when Lei discovers this, she demands to help. When things go wrong, and their relationship is betrayed to the Demon King, Lei is left as the last, desperate hope for actually carrying out the assassination—and more than her own life is at stake.

This is an explosively tense and immensely deft novel, that doesn’t shy away from the spectre of sexual violence at the centre of its premise but doesn’t dwell on it, either. Ngan has written a very accomplished work, and I’m really looking forward to the sequel.

Even if I do feel that I’ll probably spend just as much time with that sequel thinking PLEASE NICE QUEER GIRLS DON’T DIE HORRIBLY as I did with this one.

Amy Rose Capetta’s The Brilliant Death is a little easier on the nerves. Teodora di Sangro is a strega, able to transform people into objects and objects into different objects. She doesn’t understand her magic, but that doesn’t keep her from using it to rid her family of its enemies. When an assassination attempt on her father leaves him clinging to life, Teo’s path leads her to the court of the Capo of Vinalia—and crosses with a mysterious shapeshifter, Cielo, who’s boy and girl by turns (as well as mice, clouds, and gusts of wind: Cielo’s powers of transformation aren’t particularly limited). Teo’s magic has always transformed others, not herself, but if she’s to succeed in her self-appointed quest at the Capo’s court and find an antidote for the poison that’s laid her father low, she will have to pass as a boy. Fortunately, Cielo’s on hand to help. Unfortunately, the two of them together will discover hidden truths about the nature of their magic, the Capo, and their respective parents—and Teo will find herself forced to choose whether her loyalties lie with her family, or with the freedom to be herself.

The shapechanging, gender-bending, unapologetically nonbinary characters (and romance) at the heart of this story is enormously touching, and it’s an awful lot of fun. I recommend it if you want a shot of something light and sweet (with assassination, murder, and Dark Secrets).

What are you guys reading lately?

Liz Bourke is a cranky queer person who reads books. She holds a Ph.D in Classics from Trinity College, Dublin. Her first book, Sleeping With Monsters, a collection of reviews and criticism, was published in 2017 by Aqueduct Press. It was a finalist for the 2018 Locus Awards and was nominated for a 2018 Hugo Award in Best Related Work. Find her at her blog, where she’s been known to talk about even more books thanks to her Patreon supporters. Or find her at her Twitter. She supports the work of the Irish Refugee Council, the Transgender Equality Network Ireland, and the Abortion Rights Campaign.

A Mask Without a Face: The Monster Baru Cormorant by Seth Dickinson

$
0
0

Three years on from The Traitor Baru Cormorant, a first novel so clever and subversive that it bore comparison to K. J. Parker’s best and most messed-up efforts, Seth Dickinson is back at last with a book that’s bigger, if not necessarily better, than its imperiously powerful predecessor. Its setting marks a substantial expansion from the several isolated isles explored in these pages before; its dramatis personae takes in a whole new cast of characters in addition to the scant survivors of Dickinson’s devastating debut; and there’s certainly a lot more going on in the story: so much more, as a matter of fact, that the manuscript of The Monster Baru Cormorant had to be cleaved in two. Saying that, size isn’t everything—a sentiment I’m sure The Masquerade’s embattled protagonist would echo if she weren’t so busy bloodily betraying her every belief.

Baru’s betrayals begin from the first chapter of the narrative, when, on the shore of the Elided Keep she now commands, she has her closest confidante chained to a drowning-stone, and watches as the tide takes her. Better this end, she tells herself; better even this dreadful death than the appalling alternative, which is to allow the Falcresti aggressors she ostensibly represents to take Tain Hu as a hostage whose health and welfare would be weighed against Baru’s every bid to “[disembowel] the empire from within.”

It haunts her, this dark deed she’s done. But it also adds fuel to the fire that burns in her breast, and allows her to let go of “the girl who watched Masquerade chanters coming down the reefs of Taranoke, and wondered why her fathers were afraid.” Her sacrifice, and likewise her lover’s, gives Baru license to be a better weapon than “the brilliant furious young woman who accepted the Masquerade’s bargain: join Tain Hu’s rebellion, gather all our enemies together, and betray them to us,” all to surround herself with the promise of power. It allows the Baru of this book to become a so-called “cryptarch” with Agonist as her mantle, and as “a secret lord of the Imperial Throne” she may finally be able to make all of her betrayals mean something. Somehow.

The how of it—how she’ll turn her hard-earned influence back on the Masquerade—is a mystery for us and Baru both for the entire opening act of The Monster, and unless you’ve read or reread The Traitor recently, or spent some time studying this rather excellent refresher, that missing link is likely to turn the first section of the text into a test. Here we have a host of new characters to keep track of, not to mention a few familiar faces, each with motivations and machinations of their own; here’s a huge world in motion from the get-go, positively throbbing with peoples and politics and particulars; here’s a healthy handful of things that have either happened or are happening, all with a presumed role to play in the whole; and here too is Baru, without the slightest clue what to do. “She lived now in a thick fog, and the lights of her hopes seemed very far away.”

To take the long view, much of what Dickinson does in the first third of The Monster is assuredly worth doing. Among other things, his efforts serve to connect The Masquerade’s loosely-placed locations into one lucid landscape whilst providing crucial context for the actions of those individuals whose loyalties are tried in the text. It’s important work, in other words, but Dickinson does it all at once at perhaps the worst possible point in his new novel, frontloading The Monster with the weight of the world when our anchor point is processing the pickle she’s in privately.

It’s only when the Elided Keep has fallen—like all of the territories our apparently appalling protagonist rages through appear destined to—that Baru’s enigmatic handler Cairdine Farrier spells out the significance of what’s to come. He believes that “the next ten years will decide the future of all human life,” that “the course of history will be set [by] the confrontation between Falcrest and the Oriati Mbo, and the choices made as a result.” And that gets Baru thinking: maybe this is how she’ll finally undermine the Masquerade.

She had her opportunity. She could at last point to a single ultimate goal for her work. She would draw Falcrest into war with Oriati Mbo; she would coax and unite and convince the Stakhieczi to invade from the north. And as these two wars destroyed the trade engine that turned in the Ashen Sea, she would secure the absolute annihilation of the Masquerade’s power. The Mask would leave Taranoke. The Mask would leave Aurdwynn.

And if their works were all undone with their departure… if the secrets of inoculation were lost, and the great roads overrun by banditry, and plague left to sweep the world, and babies abandoned in the wind, and the winter given to scurvy, and a portion of the good and great taken each year by a simple tooth abscess… then so be it.

The end. The ruin of everything. A great jet of blood across the face of history. Wasn’t that what she’d promised Tain Hu?

Without her determination to drive the early parts of narrative, without a destination against which we might measure the merits of the journey, The Monster gets off to a deliberate and demanding start, but from this point in the novel on, with the busywork of worldbuilding and whatnot behind him, Dickinson truly lets loose.

A great many pieces of the puzzle come together, ramping up in parallel towards a crushing conclusion that betrays no hint of its origin as the midpoint of the manuscript the author submitted originally. As a character, Baru herself continues to impress, though her development in The Monster is somewhat stunted. By the end, “she’d been taken from her home, sent to a distant province, seduced by a glorious woman, compelled to betray and execute that woman for promotion into a world of betrayal and intrigue,” but much of this is true of Baru at the beginning of the book, too.

Markedly more remarkable in terms of their growth over this story’s course are supporting players like Apparitor, Baru’s delightfully disagreeable fellow cryptarch; his seemingly obeisant boy Iraji, who’s keeping a deeply distressing secret; and Tau-Indi of the Oriati Mbo, whose customs and coming of age we’re treated to by way of a few fascinating interludes. There’s even a surprising amount of appropriately elaborate and accordingly rewarding action, which isn’t half bad for the sequel to a novel about the economy.

The Traitor Baru Cormorant was much more than that, of course. It told a sublimely sinister story that I wrote Dickinson was “in complete and total control” of. Here, though I hate to say it, he lets his grip slip a little, but beyond the bumps in the road I’ve been banging on about, it’s back to business as usual—and in these books, business as usual boils down to heart-breaking, brutal, shrewd and often shocking storytelling. A fiendishly clever psychological thriller with sharp speculative edges, The Monster Baru Cormorant is morally abhorrent, yet massively satisfying.

The Monster Baru Cormorant is available from Tor Books.

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.

Explosive Action Meets Religious Horror in the Giant Demonic Fireball that is End of Days

$
0
0

1999 was a weird year. Plenty of people believed that Y2K was a thing that would kill us all, and there was a fascinating spate of gritty, strangely lit films that either used sci-fi to tell us Reality Is A Lie (Existenz, Thirteenth Floor, The Matrix) or horror to tell us that Ghosts And/Or The Devil Are Real (Sixth Sense, Stigmata, Omega Code, Dogma, End of Days).

Of these, End of Days was the only film that attempted to merge my two favorite subgenres: bombastic ‘80s action thrillers, and religious horror. Some might say it tried too many things, but I say, if you’re going to fly, aim straight for the sun.

End of Days begins like a typical religious horror film: deep within the Vatican, worried priests note that a comet fulfills an end-times prophecy. Meanwhile in Manhattan, a placid nurse whisks a newborn away to a secret hospital wing. [NB: Hang on. Before we get started, I just want to make it clear that while I’m willing to accept a shadowy Vatican conspiracy, there is no way a 1970s-era New York City hospital wouldn’t notice that extra, unused wing. There would be a half a dozen bleeding Warriors extras in that wing at all times. OK, on with the review.]

Anyway, Udo Kier feeds the child rattlesnake blood while chanting in diabolical Latin—and weirdly, the baby seems fine with the blood? I spent some time working in a daycare, where my job was basically trying to get kids to eat, and I find the child’s enthusiasm for blood a little unrealistic. But then! Just as you’re getting used to a standard religious horror extravaganza, we’re suddenly knee-deep in the squalid life of one JERICHO CANE.

JERICHO CANE, a 1980s action movie cop currently struggling through the ’90s, is played by Arnold Schwarzenegger. He once had a beautiful wife and a loving daughter. But they’re both dead, which we know because occasionally JERICHO CANE stares poignantly at a broken music box. We know that this has left JERICHO CANE an emotional wreck because we’re introduced to him as he’s pressing a Glock to his forehead. Luckily Kevin Pollack shows up to pick him up for his job as a private security specialist before he pulls the trigger. Otherwise we wouldn’t get to see his breakfast shake: deli coffee, half a bottle of Pepto Bismol, a splash of bourbon, two cartons of leftover Chinese food, and, I AM NOT MAKING THIS UP, a slice of pizza that he peels off the floor.

Pollack, to his credit, winces as Arnold drinks this.

As you might imagine, This film has several plots! None of them make any sense, but here goes: Jericho Cane has to protect his rich client, played by Gabirel Byrne. Said client is possessed (seemingly at random?) by Satan Himself. Then Jericho has to protect the girl we met as a blood-drinking baby, who is now destined to be Satan’s wife, and is played by a woefully underused Robin Tunney. In the one tiny mercy the film grants us, there is no romance plot between Jericho and Ms. Tunney. In a third plot, the Vatican totally has a prophecy on tap about the Devil kickstarting the end of days, and then dicks around not preventing said End of Days for twenty entire years, then sends assassins out to try to kill either the Devil (who isn’t killable) or the girl (who has no idea what’s going on).

Actually no one has any idea what’s going on for most of the film, which leads to Jericho repeatedly running up to random Catholic priests and asking the greatest question in all of cinematic history:

Do you know a priest named Thomas Aquinas?

If you study religion, or Medieval history, or any level of Western philosophy, or even watch Jeopardy occasionally, this question becomes funnier each time he asks it. Cause, yeah. Yeah we know a priest name Thomas Aquinas. It’s this guy:

Carlo Crivelli, St. Thomas Aquinas, 1476, via The Yorck Project (2002)

And he’s one of the most famous thinkers in Catholicism, and the fact that no one calls Jericho on this makes me laugh so hard I have to stop the movie.

Since this film has no idea what it is, it crams every cliché from both of its genres into every scene. Jericho tries to dick-slap the Devil the same way he would any generic action film scumbag, which leads to Arnold Schwarzenegger screaming, at the Devil, “YOU ARE A FUCKING CHOIR BOY COMPARED TO ME!”

I can’t tell you how many time my friends and I rewound the tape to hear that line. I can’t tell you how many times we have screamed it at each other in the years since we first saw this film. I’m pretty sure I’ll be hearing that line as I die, and I will not be mad about that.

The film also gives us a lovely snapshot of pre-9/11 filmmaking, as in the scenes where Jericho goes to NYPD headquarter (which for some reason looks as grand and spacious as Grand Central Terminal?) and Jericho, an ex-cop, remember, is able to walk into the armory and pack his belt with a half dozen rockets, and tuck Glocks in both sleeves, shoulder a rocket launcher, and walk out the door.

They don’t even make him sign a rental form.

When End of Days chooses to be a throwback to ‘80s action movies we get: assassination attempts on FDR Drive; Jericho hanging by a cable from a helicopter and, as the helicopter swoops over Manhattan, Jericho tries to pluck a fleeing perp right off the sidewalk; an inexplicably furious Black police chief (this time it’s a woman! The fabulous C.C.H. Pounder!); giant fiery explosions roughly every ten minutes; a young woman in a tiny silk bathrobe fighting off attackers; AND the inevitable scene where a small army of armed goons burst into Jericho’s home and slaughter his wife and child—because he testified against a bad guy and then wasn’t there to protect them.

When it chooses instead to be religious horror we get: multiple scenes of Vatican hit men trying to assassinate a young woman so she can’t become Satan’s bride, thus saving her soul from damnation; Gabriel Byrne making extremely reasonable offers to mortal men; Gabriel Byrne seducing every woman he meets; Gabriel Byrne sleeping with a mother and daughter simultaneously (Which, ICK, MOVIE, WHAT THE HELL); seemingly human Satanic nurses who turn out to have literal claws(???); Udo Kier’s razor-sharp cheekbones; priests saying “We must have faith” about literally everything; and Rod Steiger kickin’ some heathen ass.

Kevin Pollack at least seems to know the film is ridiculous, and uses eyebrow quirks and forehead-furrowing as a kind of Morse code to communicate a secret message to the audience. The secret message is “Please understand that this film is a comedy, and don’t judge me. Everyone has to eat.” Even with that Pollack somehow manages both of the two dramatically affecting moments in the film.

All of this is fine. (Except the mother/daughter thing, what the hell, movie.) It’s when the two films attempt to Voltron themselves into a single, larger film that it all goes literally and figuratively to hell.

I’ll give you an example. The Devil is the Devil, with plenty of evil-yet-seductive powers. But then you stick him in an action movie, and you have the Devil slinking into a restaurant, groping a woman right in front of her husband—and she seems pretty into it?—but then as he leaves the restaurant, the entire building explodes.

Why? How? And why isn’t New York City on instantaneous terrorist lockdown?

This is the literal devil. He doesn’t need to do this kind of shit, he can just drop a tiny suggestion of murder in someone’s mind and the whole restaurant would slaughter each other while he laughed. But End of Days has to tick off some requisite action movie boxes.

In a similar act of cinematic Mad Libs, End of Days takes the time honored plot point where a cop’s family is murdered to punish the cop for busting a crime ring, and turns it into The Last Temptation of Jericho Cane. The Devil comes to visit Jericho and shows him the life he could have, with his wife and child restored to him, happily celebrating Christmas. When Jericho resists the illusion the Devil replays what really happened: the daughter sadly asks her mom why Daddy’s never home, the mom assures her daughter that Daddy loves both of them, he’s just really busy, and then black-clad thugs burst into the apartment and mow both of them down while Jericho screams in anguish.

And why? Why were they killed?

The Devil taunts him by reminding him: “You had to be an honest cop. You had to testify!”

“I wasn’t here!” Jericho sobs. “I should have been here!”

So the Devil, who has all the tortures of hell at his disposal, resorts to taunting Jericho like a henchman in a Shane Black script, and our hero doesn’t have the spiritual fortitude to defend himself from even this level of demonic attack.

And of course the biggest problem/greatest strength is that faced with chanting Satanists, occult tattoos, creepy priests, and church basements full of conspiracy theorists all using high-tech computer equipment to avert the apocalypse, Jericho’s solution to every single problem is to wave a gun at it. He waves a gun at the undead. He waves a gun at Robin Tunney before he realizes that she’s the real victim here. He waves a gun at Kevin Pollack, and he waves a gun at the hallucination of the goons who murdered his family. He waves a gun at Satan. He waves a gun at Rod Steiger, apparently not knowing that Rod Steiger could bend the gun in half.

The most telling moment for me, comes when Rod Steiger tells Jericho that the world will end in 1999 because if you flip the nines upside down they’re sixes (again, not making this up) and also, that Satan will consummate his relationship with Robin Tunney midnight. Tunney seems displeased, but rather than dealing with her feelings, Jericho draws on all the wealth of action movie quippery and replies: “Is that Eastern Standard Time?”—but Steiger does not have a comeback. If this was a full religious horror film Steiger would simply glower him into submission. If it was a full action movie he’d have an equally snarky comeback. But here it seems like the action hero isn’t taking the horror plot seriously enough, and the horror icon is just confused about why they’re all here.

Did I mention the army of dead people yet? Satan resurrects a bunch of people who die throughout the film and sends them after Jericho in a shuffling horde. Also, Jericho gets crucified on the side of a building!

Obviously the film culminates in a Catholic church, on New Years Eve, the whole place ablaze with candles and leftover Christmas poinsettias. Jericho positively vibrates with lapsed Catholicism—as though interacting with the literal Devil might not make you put your grudge against God aside until after you defeated the forces of evil—because the film suddenly decides that the only thing that will save the world is if Jericho regains the faith he never mentioned having in the first place.

But you know what he does have? A rocket launcher. And he comes charging into the church and finds the Devil laying poor underused Robin Tunney on the altar, an Anti-Christ gleaming in his eyes.

And then they have the requisite huge, multi-part battle, with Robin Tunney hiding behind pillars, occasionally being possessed and walking back toward the Devil against her will, bullets flying everywhere, more possessed people beating the doors of the church in, and then finally Jericho shoots the Devil with a rocket launcher and he turns into a skeleton dragon???

But just as it looks like action clichés will win the day, Jericho catches up with the writers’ intentions and realizes he can only defeat Satan with FAITH! so suddenly the camera whips us through rapid-fire close-ups—Jericho! Jesus! Jericho!! Jesus!! And it looks like evil’s gonna win this time, but then the filmmakers pull out the biggest gun. Not a rocket launcher, but a scene that blatantly rips off the climax of the all-time religious horror classic, The Exorcist.

Except they make it even more bad-ass. How about if, instead of a distraught priest inviting the devil into his soul and then committing suicide, thus possibly damning himself, all to save a tortured child, we have a jacked former cop ripple his jaw muscles in stoic grief, glare at a crucifix for a second, and then impale himself on a fucking sword?

Oh gosh this movie makes me so happy.

I should say, in all fairness, that Gabriel Byrne is fantastic as the Devil. He’s oily and dead-eyed and occasionally pisses out black oil and then lights it on fire to kill people, and he almost makes me wish this movie had just committed to being horror.

But then we’d lose that helicopter chase, and at least a couple of explosions, and I’m not willing to give them up. End of Days puts every gorgeous cliche it can find into a blender, peels a slice of stale action off the floor, and hits pulse—and all of you deserve it in your lives.

Leah Schnelbach hope that when the end comes, it comes not with a bang, but with a GIANT DEMONIC FIREBALL. Come talk about floor-pizza with her on Twitter!

Naomi Watts to Play a Socialite with a Dark Secret in Game of Thrones Prequel Series

$
0
0

Game of Thrones logo title credits HBO

HBO’s untitled Game of Thrones prequel series from Jane Goldman and George R.R. Martin has found its first lead: Naomi Watts has signed on to play a character described only as “a charismatic socialite hiding a dark secret,” Variety reports. The news comes after the pilot, one of originally five in contention at HBO, was greenlit in July.

It would seem that Watts’ socialite will lead a larger ensemble of characters, based on what HBO president of programming Casey Bloys told Deadline in July: “There are very strong female characters but it’s an ensemble, there is men and women. Jane is a very good writer, we don’t want to limit her to writing female leads. There are a lot of very complicated leads in [the pilot].” Seeing as the series seems to cover the Long Night in some form (judging from Martin’s suggestion of that as a title), perhaps the pilot will establish an ensemble of characters each touched by this horrific winter in a different way.

At any rate, what we do have to go on is the official logline from HBO:

Taking place thousands of years before the events of Game of Thrones, the series chronicles the world’s descent from the golden Age of Heroes into its darkest hour. And only one thing is for sure: from the horrifying secrets of Westeros’s history to the true origin of the white walkers, the mysteries of the East, to the Starks of legend… it’s not the story we think we know.

“Jane did not go into that wanting to answer anything about Game of Thrones; it was the story that spoke to her,” Bloys also said back in July. “It will feel very different because it’s 8,000 years before, it’s a very different setting, a very different time in Westeros, It will feel different but still Game of Thrones.

The pilot is expected to go into production in early 2019, perhaps as early as January. In the meantime, Game of Thrones will return for its eighth and final season in early 2019.


Meet the A.I. Gods: Revealing Ada Hoffmann’s The Outside

$
0
0

Yasira Shien didn’t mean for her science to tear holes in reality…

We’re excited to reveal the cover for The Outside, a new mind-bending science fiction novel publishing in June 2019 with Angry Robot. Check out the full cover by artist Lee Gibbons below, plus get author Ada Hoffmann’s thoughts on Lovecraft, mysticism, and her new novel!

Yasira Shien didn’t mean for her science to tear holes in reality. Or for her new reactor to kill a hundred people. But that’s what happened. The AI gods who rule the galaxy want answers. They could execute Yasira for her heretical crimes. Instead, they offer mercy—if she’ll help them hunt down a bigger target: her own mysterious, vanished mentor. With her homeworld’s fate in the balance, Yasira must choose who to trust, the ruthless gods she was taught to obey without question, or the rebel scientist whose unorthodox mathematics could turn her world inside out.

The Outside is a beautiful, stark reclamation of unknowable horror. Hoffman layers thoughtful worldbuilding and rich prose to build a stunning story of power, ambition and personal agency. I couldn’t put The Outside down for fear of what might happen while I was looking away.” –Sarah Gailey, Hugo Award-winning author of River of Teeth

“The Outside is a fresh and mind-bending mix of cosmic horror and space opera, a compelling story that spans from the deeply personal to the vast mysteries of time and space. Unsettling and gorgeous, this is like nothing I have read before and the book I have been longing for without knowing it.” –Karin Tidbeck, award-winning author of Amatka and Jagannath

“The Outside is spooky, high-stakes, mind-bending Science Fiction.” –Kelly Robson, Nebula Award-winning author

 


On the cover of The Outside, a tiny human in an orange spacesuit stands atop an immense, shifting spaceborne structure.

The tiny human is Yasira, the book’s protagonist; the structure is the Alhazred, a spaceship owned by the heretic Dr. Evianna Talirr.

The Alhazred is named after Abdul Alhazred, a fictional Arab poet featured in H.P. Lovecraft’s Cthulhu mythos as the author of the Necronomicon. Dr. Talirr worships unknowable entities which are similar in many ways to Lovecraft’s Outer Gods.

The name of the ship is no Easter egg, as The Outside is a sideways take on the role of cosmic horror in science fiction.

H.P. Lovecraft had a fantastic imagination and became an immense influence on the science fiction, fantasy, and horror that was written after him. He was also a virulent racist. Much of the horror in Lovecraft’s stories arises from the idea that people like him—ostensibly humans, but really, able-bodied white Englishmen—were not the center of the universe. That they could be overrun at any time by strange, foreign, horrifying people and beings who did not especially care about them.

Lovecraft’s racism has been rightly challenged, and authors—including Ruthanna Emrys, Victor LaValle, and Silvia Moreno-Garcia, to name a few—have done amazing work subverting the racial aspects of his fiction in recent years.

There is also the aspect of mysticism.

Lovecraft wrote his cosmic horror stories in response to the reduced role of religion in 20th century Western society. Stories about demons and devils were no longer effective if most people didn’t believe in these creatures.

But science was also speeding ahead in the early 20th century. Without religion, cosmological science showed that there was a vast universe, infinitely bigger than what humans could imagine, and that humans and their world were tiny.

It is this sense of tininess, and inability to comprehend the larger matters of the universe, that fuels the best of Lovecraft’s work.

But the idea that humans are not at the center of the universe—that we are tiny, and that the things that matter in a cosmic sense are far vaster than ourselves—is also at the heart of many of humans’ oldest mystical traditions.

If one does not expect to be at the center of the universe, to be able to “rationally” assimilate everything that happens there, then this truth is not necessarily horrible.

Yasira lives in a SFnal future in which AI have taken over religion. Everything she was raised to believe is clear, mechanistic, explainable—even the afterlife, which the AI use to punish and reward their followers.

Dr. Talirr breaks away from this AI religion because it cannot account for her own inexplicable experiences. Outside, as she calls it, is more genuinely transcendent, more all-encompassing, more true than the way she was raised. But it is also alien, irrational, maddening and deadly.

Is following your truth more important than ensuring your own safety? The safety of others?

Yasira is faced with a choice between the AI’s and Talirr’s worldviews—or, perhaps, with the opportunity to create a third choice for herself.

ADA HOFFMAN is a Canadian graduate student trying to teach computers to write poetry. Her acclaimed speculative short stories and poems have appeared in Strange Horizons, Asimov’s, Uncanny, and two year’s best anthologies. Ada was diagnosed with Asperger syndrome at 13, and is passionate about autistic self-advocacy. She is a former semi-professional soprano, a tabletop gamer and an active LARPer, she lives in southern Ontario with a very polite black cat.

Announcing The Gurkha and the Lord of Tuesday: A New Novella from Saad Z. Hossain, Author of Djinn City

$
0
0

Tor.com Publishing is proud to announce that it’s acquired World English rights to Saad Z. Hossain’s The Gurkha and the Lord of Tuesday.

When the djinn king Melek Ahmer wakes up after millennia of imprisoned slumber, he finds a world vastly different from what he remembers. Arrogant and bombastic, he comes down the mountain expecting an easy conquest: the wealthy, spectacular city state of Kathmandu, ruled by the all-knowing, all-seeing tyrant AI Karma. To his surprise, he finds that Katjmandu is a cut-price paradise, where citizens want for nothing and even the dregs of society are distinctly unwilling to revolt.

Everyone seems happy, except for the old Gurkha soldier Baan Gurung. Knife saint, recidivist, and mass murderer, he is an exile from Kathmandu, pursuing a forty-year-old vendetta that leads to the very heart of Karma. Pushed and prodded by Gurung, Melek Ahmer finds himself in ever deeper conflicts, until they finally face off against Karma and her forces. In the upheaval that follows, old crimes will come to light and the city itself will be forced to change.

Said acquiring editor Jonathan Strahan:

Last year I was reading Mahvesh Murad and Jared Shurin’s wonderful anthology, The Djinn in Love. It had a handful of great stories, some by names I knew, and some by names I didn’t, I fell for the story “Bring Your Own Spoon” by a Bangladeshi writer, Saad Z. Hossain. I’d not heard of him so I ordered his novel, Djinn City, which I also loved. The stories were not only smart, but thrilling and engaging at the same time. I knew I had to work with him if I could, so I asked him if he’d like to work on a novella. He came back with this incredible idea about a cranky old djinn and an astonishingly dangerous Ghurka wreaking havoc in a future Kathmandu governed by Karma. It had to happen. The team at Tor.com Publishing agreed, and then Saad delivered something incredible that exceeded all of my expectations. I can’t wait for everyone to read because I know you’re going to fall in love with Melek Ahmer and Gurung, the best team-up in science fantasy since I can’t remember when.

Said the author:

I wanted to create a story of old powers meeting the new, of an ancient, arrogant djinn waking up to a brand new world and trying to navigate it. It was supposed to be a grand fight: Djinn king versus cutting edge AI. At every turn, however, the human sub-characters kept intruding and hijacking the story until it became something else altogether. I don’t write outlines, or plots, so, in the end, this story surprised me too.

Saad Z Hossain is the author of two novels, Escape from Baghdad! and Djinn City. He lives in Dhaka, Bangladesh.

The Mandate’s Song

A Farewell to Kings: The Fall of Númenor

$
0
0

Wherein the Last King of the Númenóreans Assumes Control, Puts Númenor First, Keeps His Enemy Close, and Defies Death In the Worst Way Possible

In the first half of the Akallabêth, we learned what made Aragorn’s ancestry so special. The Edain backed the right horse during the War of Wrath and so were rewarded with being damn near Elf-level good at just about everything, and then were given the wondrous island of Númenor to hang out on. They should have lived happily ever after. But see, these so-called enlightened Men on their high horses have been looking the Valinorean gift horse in the mouth. They’re at the top of their game, yet can’t stop themselves from daydreaming about the Undying Lands, a place where they’re sure they won’t get any older, and they won’t ever die—oh, and the one place they’re expressly forbidden to go.

In this half of the tale, we’ll see why Middle-earth still can’t have nice things, and why there aren’t a bunch of Númenóreans still walking around in the time of The Lord of the Rings. The unrest that’s taken root in their proud hearts has already divided them into two polarized political factions: the ever-growing King’s Men and the Faithful. It’s only going to get worse. So let’s get to it. I promise I’ll try to cool it with the horse-related expressions.

Dramatis personæ of note:

  • Ar-Pharazôn – Man, the last King of Númenor, a real horse’s ass
  • Sauron – Maia, successor to the World’s Greatest Asshole
  • Amandil – Man, lord among the Faithful, responsible adult
  • Elendil – Man, Faithful son of Amandil, responsible adult
  • Isildur – Man, Faithful son of Elendil, uncommon fruit thief
  • Manwë – Vala, King of Arda who has a Men problem

Akallabêth, Part 2

Something is rotten in the island of Númenor.

Which seems strange, right? Weren’t these people augmented by the Valar, made more gifted than any other mortals? They’re the most powerful, long-lived Men in the world. But if you ask them, that’s not good enough. When they get old, they…die! Now, in the good old days, they were wiser, they were friendly with the Eldar, and treated others with respect. They remembered where they came from. And when great age was upon them at long last, they would surrender to it. Death, they trusted, wasn’t a punishment. Quite the contrary: it was a ticket to Ilúvatar’s after-party!

But the fear of death grew ever darker upon them, and they delayed it by all means that they could; and they began to build great houses for their dead, while their wise men laboured unceasingly to discover if they might the secret of recalling life, or at least of the prolonging of Men’s days.

So their brightest minds delve for secrets to revive the dead. Like, zoinks! To revitalize dead tissue, basically! Sadly, Tolkien moves too swiftly past this delightful little Frankenstein part of the story. I have so many questions. What did they try? We’re talking attempted necromancy here, aren’t we? Who’s the Herbert-of-the-West trying to reanimating Dúnedain corpses? Suddenly it’s little wonder that three such Númenóreans over on Middle-earth already leapt at the promise of sorcery and immortality and joined the ranks of the Nazgûl.

But man, is that a suck-ass trade: long, vital life with an eventual finality in exchange for “unendurable” yet “unending life.” There is a fine distinction between the two, and the latter cannot be pleasant!

“Nazgûl Bowing Before Sauron” by Kip Rasmussen

Still, all the island Númenóreans accomplish is getting good at mummifying and interring their dead. And while they lived, they lived in decadence and wealth, always wanting more.

Now, under the twenty-fourth king, Tar-Palantir (“He who looks afar,” à la the palantíri—the Seeing-stones!), the immoral trajectory of Númenor had been checked…a little bit. He was a good king, doing his best to roll back some of the evils committed by the kingdom’s most recent top brass. In his time, the White Tree that flowered in the courtyard—Nimloth the Fair, that was given to Númenor by the Eldar of Tol Eressëa—was tended again. The Faithful, the true Elf-friends, were able to breath once more. And his daughter, Tar-Míriel, is next in line for the sceptre. Good. There’s hope yet for Númenor!

But then comes along Pharazôn, the son of old Tar-Palantir’s jerkface brother, Gimilkhâd, who was himself leader of the King’s Men. Pharazôn decides he should be in charge and that the path to kingship is through Tar-Palantir’s daughter—yeah, Pharazôn’s own cousin. (Who does he think he is—Maeglin?) And, no, it’s not legal to marry your close relative here, but if you aim to be the King of Númenor unlawfully then I guess that’s not stopping you. And so upon her father’s death, Pharazôn “took her to wife against her will,” which, frankly, really sets the fittingly sleazy stage for this bastard in king’s clothing. Now he’s got his cousin (ew) and the sceptre.

Which means he’s got the throne now.

“Ar-Pharazôn and Tir-Míriel” by Nemanja Bubalo

Does anyone have a problem with this? No, he didn’t think so.

Thus the incestuous bastard becomes Ar-Pharazôn, twenty-fifth King of Númenor—which way too many people are apparently okay with, because it benefits the powerful and numerous members of the King’s Men party. But ugh, way to change horses midstream, Númenor. Míriel is even assigned a new and Adûnaic name, Ar-Zimraphel. None of those frou-frou Elf-names for the property wife of Ar-Pharazôn the Golden.

This guy now sits on the throne of the most powerful mortal nation on Arda, but he’s not content to just rule an island. He’d already won lands on Middle-earth, and had found none who could withstand him. But it’s not like he’s got all the lands yet. As if Númenor was just some one-horse town and he has ambitions to be both sheriff and mayor of the whole West. He’s the goddamned King of the Land of the Star. Isn’t that enough?

Well, no. And say, what about that Sauron fellow lurking over on Middle-earth in some mountain-bordered volcanic plain, who yet presumes to govern everyone and has been expanding his power ever since Ar-Pharazôn himself came back over the Sea? And doesn’t Sauron resent and fear Númenor? Yeah, well, he should.

And then one day Sauron crosses a line, a big red line, in the book of Ar-Pharazôn’s pride. Not only has he been “pressing down” on the coastal cities under Númenor’s “protection,” but now Sauron declares himself King of Men. Such a vainglorious title! It should be his, damn it, not used by some second-rate Dark Lord. And worse, reports are coming in that Sauron intends to drive all the Númenóreans off the coasts of Middle-earth…and then maybe, just maybe, even seek to destroy Númenor itself thereafter.

Sauron really does hate these Men. Even the long-lived Númenóreans might not be able to properly grasp the simmering anger of a Maia scorned. But we (those of us with access to the timeline in Appendix B of The Lord of the Rings) know that for some fifteen hundred years now—ever since the reign of Tar-Minastir—Sauron’s been hemmed in from the East by those meddling Elves in Lindon and Eregion, but especially by the intrusion of the Númenóreans, who’ve been throwing their weight around up and down his coasts. But now Sauron’s got the One Ring, Mordor itself, his tower of Barad-dûr, great armies of Orcs and Men, and an insatiable need to dominate everyone and be the tremendous asshole he knows he can be if he just believes in himself.

“Sauron” by Kenneth Sofia

He’s been shunted off by those blowhard Númenóreans, and he’s not gonna take it anymore.

But wait! A reader fresh from a read of The Lord of the Rings might wonder: if Sauron’s already got his Ruling Ring, why can’t he just “cover all the lands in a second darkness” like Gandalf warns will happen if he gets it back in the Third Age? Doesn’t it make him way more powerful? It does. But here in the Second Age, Sauron still faces too much opposition to make a clean sweep of his foes. The Elves aren’t as few or as diminished (there are still some mighty Calaquendi among them, too!), and the Númenóreans themselves are a force to be reckoned with. Which is why he dares to reckon with them now.

In any case, Sauron’s blustering has reached Númenor, and Ar-Pharazôn isn’t having it. He heard that some other spoiled little boy has the toy he wants. That is, he wants to be the King of Totally All Men now. Ar-Pharazôn’s plan is not to try to destroy Sauron, but rather to subjugate him, to bring this so-called Dark Lord under his fealty. So he sails to Middle-earth with a massive fleet, goes ashore at the haven of Umbar and then marches inland with his army.

With narcissistic fanfare, he makes camp, sets down a throne on a big hill, and officially demands that Sauron come forth and swear fealty to him: To Ar-Pharazôn, king of this hill and, by extension, everything else.

If he was just like his old master, Sauron would dig in his heels and tell these upstart Númenóreans to bring it. He’d wait in his Dark Tower in Mordor and let the siege come. And then, if he failed and Ar-Pharazôn dragged him out in chains, then and only then would he would abase himself and do as the OG Dark Lord did. But no, Sauron doesn’t just run blindly with every move from Morgoth’s playbook. He’s got his own style. Hell, he’s the goddamned “master of shadows and of phantoms” and “a sorcerer of dread power,” has been since the First Age. Only now he’s the bigger fish.

Sauron is therefore proactive with his deception, not reactive. This isn’t the time for brute force. Númenóreans are no joke, so this is the time for silvered words and string-pulling. And knowing that if he sends even his biggest monsters out before him they’ll only get creamed, Sauron bids farewell to his Nazgûl and his minions, tells them not to wait up, and goes alone to Ar-Pharazôn’s hilltop camp. He’s using his fair disguise again, as he did with his ringmaking project some years back. He maxes out his Charisma score and swallows his pride, willing to let the sinister end justify the humiliating means.

Therefore he humbled himself before Ar-Pharazôn and smoothed his tongue; and men wondered, for all that he said seemed fair and wise.

Ar-Pharazôn has a big head but he’s not actually stupid. He can’t just trust spoken oaths and sail away with Sauron’s fealty only on paper. What’s to say the guy won’t renege as soon as the Númenórean ships are out of sight? Nope, better if Sauron goes under lock and key. Better if Ar-Pharazôn keeps a close eye on him personally, as a hostage. Bring the fox right on into the henhouse; that’s the ticket! Sauron only pretends to resist, since this presents the best opportunity to corrupt his enemies from within.

So here’s an obvious question: does Sauron have the One Ring with him when he’s taken to Númenor? Tolkien gives no definitive answer (only hints), neither here nor anywhere else, and so fans are often divided. But I am inclined to think he may have it. (1) He certainly wouldn’t want to be without it, (2) I don’t think Ar-Pharazôn knows about the Ring (he’s not exactly in the loop with the Elves of Eregion) and Sauron can probably render it unseen, and (3) most importantly, the Ring gives him greater mastery over the wills of others. How better to dominate? That was its whole point. But, to be clear, it’s not definitively known whether the Ring joins its master on this Second Age side quest.

Sauron is truly wowed by the sights of Númenor when he gets there. So this is the glorious land that the Valar gave to these teacher’s pets among Men! The island’s capital of Armenelos really impresses him. And that’s saying something, really. Sauron, long before gothing up and getting all ringsy, was one of the participants in the Music of the Ainur and witnessed the creation of the universe. Granted, he’s been Arda-bound for a long time now, but still, it shouldn’t be easy to astound him. Yet all it does is make him envious and hateful of the Children of Ilúvatar.

He keeps his malice under wraps, just as his master had in his parole days in Valinor. So honeyed are Sauron’s words and so foul is his wisdom that in only three years he goes from political hostage to (I assume) model prisoner and then finally to “closest to the secret counsels of the King.” Ar-Pharazôn really comes around on him. I mean, gosh, this Sauron really knows stuff. And soon all the councilors are in his sway, too.

“Sauron, Priest of Númenor” by Nemanja Bubalo

Well, most of them. One dude, Amandil of the Faithful, upstanding member of the house of Elros, renowned mariner and captain, and a childhood friend of Pharazôn, definitely doesn’t like what he’s seeing. Incidentally, this Amandil is the granddad of Isildur, who at this point in time is a strapping young lad in his 50s (which is young by Númenórean standards!)

Indeed, Amandil’s concerns for his country are well-founded, for that shadow that had fallen over Númenor years ago—the noontide that Manwë saw—really takes hold under Sauron’s devious administrations. The Maia’s evil and persuasive whispers begin a deep and seemingly irreversible cultural transformation. It’s gradual, this Sauron-tainted slippery slope that won’t truly incriminate him until it’s way too late. Amandil knows things are rotten, but he can’t advise his old friend Pharazôn anymore, not even if he tried. He’s been dismissed, you see; or to put it another way: the King’s stinking adviser fired him.

So what’s this change? For starters, many of the Faithful start to scoot when everyone starts calling them rebels—you know, as if they’re the traitors. Fortunately, there is that haven of Pelargir on Middle-earth where they lie low. Meanwhile, Sauron gainsays, bit by bit, all the wisdom of the Valar that has been passed down through the generations of Númenor. He points out that there are more lands out there that can be claimed. Should be claimed. And not just in the faraway realms to the east but also to the west, places of “wealth uncounted.” And sure, you’ll eventually reach the edge of all lands and come to an edge, a Darkness. But, Sauron explains, it’s from that Ancient Darkness that the world itself was made. And it is, in fact, worthy of worship—and there is a Lord within it who can use it to make yet more worlds. Wouldn’t Númenóreans be the perfect inheritors for such lands? Why be confined to just one pretty island? There can be so much more…

This really is the itch that Ar-Pharazôn wants to scratch, and so behind closed doors he digs for more about this mysterious Lord of the Darkness. See, Sauron knows what’s really going on. He knows that the Valar have deceived Men with their lies; that Eru Ilúvatar isn’t even real, just a “phantom” they made up to control the likes of Ar-Pharazôn and his people, and that the one who lies in the Darkness can be Men’s true savior. That one has a name, and it’s Melkor, Lord of All, Giver of Freedom, and he can “make you stronger than they.”

Melkor! Now, the name Morgoth may have been recorded, or be vaguely remembered by the loremasters of Númenor. He was that Dark Lord whom their ancestors fought against, alongside the host of the Valar more then three thousand years ago. But this…Melkor? A total unknown. Never heard of him before, which is what makes him so intriguing to Ar-Pharazôn. There’s no one around the King to connect the dots between that ousted tyrant of old and this awesome-sounding liberator in the Dark, whom the Valar have apparently been doing a cover-up on, clearly. It’s a conspiracy!

Sauron is too smart to make himself the alleged messiah. See, he’s just the messenger. Ar-Pharazôn falls for the ruse, and in secret he begins to worship the Dark itself and its Lord. The sacred mountain of Meneltarma with its shrine to Eru is now abandoned, and it becomes forbidden for anyone to even go up there. Sauron even tries to persuade the King to cut down that stupid White Tree as well, since it’s a symbol of the Eldar and the Valar. A symbol of oppression! Only superstition keeps Ar-Pharazôn from complying right away.

“Sauron, High Priest of Melkor” by Nemanja Bubalo

These dark days for the Faithful are only getting scarier. Amandil knows Sauron has it in for Nimloth, the White Tree, and so after telling his son and grandsons about their importance among the Faithful—and about the Two Trees of Valinor, to which Nimloth is a spiritual homage—Isildur is inspired to act. He goes to Armenelos in secret, now playing the part of a true rebel.

For Rings readers, it’s easy to define Isildur by that one screw-up he’s famous for, but the truth is, he’s a pretty heroic guy. He may falter one day there at Mount Doom, but so, too, will Frodo. Were it not for Isildur, a great many other good things would not have come to pass. And it starts here: Isildur sneaks unlawfully in the dark of night into the courts of the King, cuts a fruit from the White Tree, and barely escapes with his life after the guards discover and set upon him. He’s terribly wounded in the effort, but when Amandil plants the fruit in a secret place, it sprouts a new seedling of its own—along with some tiny shred hope for Númenor.

Discovering that some anonymous, I daresay Zorro-like outlaw has broken into the King’s courtyard, Ar-Pharazôn consents now to the destruction of the White Tree. Sauron then prompts the building of a great silver-domed temple, where the first thing consigned to the sacrificial flames is fair, white-barked Nimloth. Noxious smoke issues from this vile temple, lingering and fouling up the air of Armenelos for days before dispersing into the West.

“Armenelos” by Nemanja Bubalo

And then things get worse. With Sauron pulling the strings like some ignoble high priest, the sacrifices just keep on coming as Men beseech Melkor to “release them from Death.” It’s a parade of cruelty and torment as the bloody altar is fed. Most of the victims are Elf-friends condemned on trumped-up charges. Hate begets hate. It’s all-around ugly, as the wronged respond with violence, becoming outlaws in truth. If, for example, one of Sauron’s acolytes were to sacrifice the son of a longshoreman working on the docks of Armenelos who happened to be a member of the Faithful, it’s easy enough to imagine the grieving father responding with violence or plotting revenge. So then he‘s fed to the fire.

Surprisingly, the many blood sacrifices to Melkor don’t appear to be staving off death. Like, at all. Maybe the Númenóreans didn’t read the fine print on the “Melkor, Giver of Gifts” tracts that Sauron was handing out. And, in fact, sickness and pestilence creep into the land and old age comes sooner than it used to. What gives?! This, in turn, makes the people even more fearful of death; they become testy and blade-happy, turning on one another over the slightest infractions; killing one another. Sauron’s already got devoted servants actively going around “setting man against man,” scoffing at the wise, and probably spreading vicious office rumors, too!

Within, Númenor is a mess. Its people are divided, hostile, and fearful. Yet, without, it’s never been so strong. Sauron turns out to be an excellent strategist, helping them expand their empire, advance their technology in war. It’s an arms race against…no one really, just themselves. The rich have grown richer, Ar-Pharazôn grows mightier still, and as his people continue to sail back to Middle-earth, they’re not just bullying and demanding tribute anymore. They’re hunting lesser Men, taking slaves, and sacrificing them in fortress temples. The legendary Sea-kings are a nightmare now, a people greatly feared, worse now than the former evil Men under Morgoth’s shadow.

Something’s got to give, right?

No one can challenge the King of Númenor, and nothing can stop the madness except, well, itself. Despite all the advice Ar-Pharazôn has taken from his new BFF and all the power it’s given him, there’s one thing even the erstwhile Sauron cannot stop: Ar-Pharazôn’s expiration date. The King feels age creeping up on him, and it makes him all the more paranoid, fearful, and angry. What to do? Well, Sauron has the only solution.

And he said: ‘The Valar have possessed themselves of the land where there is no death; and they lie to you concerning it, hiding it as best they may, because of their avarice, and their fear lest the Kings of Men should wrest from them the deathless realm and rule the world in their stead.’

In other words, the Valar have the antidote, so go and get it! Take it from them by force. Who is greater than Ar-Pharazôn, King of Kings, “mightiest of the sons of Earth, to whom Manwë alone can be compared, if even he”? You want something? Take it.

Sauron, assistant to the World’s Greatest Asshole, is really coming into his own, isn’t he? He knows that pride and machismo is going to win over this puppet king he’s got wrapped around his finger. He knows what Ar-Pharazôn with his cruel, tormented eyes wants to hear. He’s intoxicated with temptation and fear, and Sauron is giving him an out, a means to immortality. Why should Ar-Pharazôn not use his mighty kingdom to try and achieve it?

So Númenor begins preparations for war, this time against the Powers of Arda, those so-called Lords of the West.

“Ar-Pharazôn In Armor” by Nemanja Bubalo

Amandil and the Faithful know this is rock bottom. Amandil consults with his son, Elendil, and decides to pull an Eärendil. That is, he’ll sail to the West—yes, breaking the ban himself but hoping to beseech the Valar on behalf of his people. He’ll suffer the penalty if he must, not just because Númenor has become such a dumpster fire but because he seeks deliverance from its spiritual cancer and the one who cultivated it. Sauron the Deceiver is the asshole spider in the middle of this web, and Men can’t overcome so great a foe on their own. And war aginst the Valar? Not only can that surely not succeed, but how screwed up is the world going to be even in the trying?

Amandil tells his son not to meddle with Ar-Pharazôn’s mustering but to gather what Faithful he can—prepare to depart quietly, prepare for exile, and be ready to give everything up. And as for Amandil himself, he won’t be missed; he’ll depart in secret, sail east and then circle around the island when no one’s looking. He does this, and departs with three companions as Eärendil once did…and then he exits the tale entirely. Does he make it to Valinor and simply get ignored, or does he not make it at all? All we’re told is:

Men could not a second time be saved by any such embassy, and for the treason of Númenor there was no easy absolving.

I, for one, like to think Ulmo plays a part in Amandil’s fate. Just because. Yet it’s supposed, but not confirmed, later in the text that he might have reached Valinor and given Manwë a helpful heads-up about what was coming (not that Manwë couldn’t already see, but it’s the thought that counts). But enough said about that. Elendil follows through. The Faithful salvage their lives, crowding into their ships with their families and heirlooms and whatever goods they can. But don’t miss this bit:

Many things there were of beauty and power, such as the Númenóreans had contrived in the days of their wisdom, vessels and jewels, and scrolls of lore written in scarlet and black. And Seven Stones they had, the gift of the Eldar; but in the ship of Isildur was guarded the young tree, the scion of Nimloth the Fair.

Aww yeah, our first official glimpse of the palantíri, which the Faithful have kept safe. These are very likely the stones made by Fëanor himself. They’re far from being Silmaril-level masterpieces (probably just something he worked up on some idle weekend back in his youth), but they’re incredible by Second Age standards and will be put to use on Middle-earth in days to come.

Under stormy skies and a hell of a lot of foreboding weather, Elendil and his boys, Isildur and Anárion, ready themselves. Nothing to see here, just a bunch of Elf-friends prepping their boats for some…fishing…with all their loved ones and best possessions aboard. Naturally!

Ar-Pharazôn, meanwhile, is still on track to pick a fight with the Valar. And every which way he looks, there are portents against it. Not only is the weather getting ominous, on some evenings huge clouds gather above the western horizon in the shape of goddamned eagles with lightning spitting down beneath their wings. Thunder and rain rocks the land. Manwë isn’t joking around, and he’s not even trying to be subtle. This is a really Bad Idea, Ar-Pharazôn.

“The Eagles of Manwë” by Ted Nasmith

These omens reach a divided demographic. Some repent for a while, but many “harden their hearts” and shake their fists instead. It supports the King’s Men narrative to interpret the eagle-clouds as an attack.

‘The Lords of the West have plotted against us. They strike first. The next blow shall be ours!’ These words the King himself spoke, but they were devised by Sauron.

And who knows? Maybe like a certain cantina-loitering scoundrel, Manwë really does shoot first. Lightning intensifies and actually starts to skewer and slay assorted Númenóreans! No mere warning shots from the King of the Valar, but actual examples being made. Yikes! A bolt even hits the Temple to Melkor, breaking apart its dome. Sauron stands there, defiant and unharmed, “and in that hour men called him a god and did all that he would.” So when earthquakes start to rumble and volcanic smoke fumes out of the top of the mountain Meneltarma, the people just ignore it. Arm up! To war! It’s time for Ar-Pharazôn to set sail, lead his armada into the West, and make short work of their immortal antagonists.

As with the great battles in the Quenta Silmarillion, Tolkien’s writing in these moments is more than expositional: it’s poetry in paragraph form. Relish it, reread it, read it aloud if you dare. It’s so good.

In that time the fleets of the Númenóreans darkened the sea upon the west of the land, and they were like an archipelago of a thousand isles; their masts were as a forest upon the mountains, and their sails like a brooding cloud; and their banners were golden and black. And all things waited upon the word of Ar-Pharazôn; and Sauron withdrew into the inmost circle of the Temple, and men brought him victims to be burned.

“Ar-Pharazôn” by O.G. (steamy)

A host of actual Eagles now comes swooping out of the red-glowing west in their own aerial fleet, not actually attacking but presenting themselves like a final warning. Ar-Pharazôn hops into his own flagship, not taking the wheel like a defiant warrior-mariner but sitting upon a throne like the entitled megalomaniac he is. His trumpets blast, resounding across his fleet, and it “outrang the thunder.” Which…damn.

Insolent and imperious, Ar-Pharazôn in truth commands the mightiest force Middle-earth has ever known among Men; sure, Fingolfin’s armies of Noldor might have been stronger in their heyday, but this is the Second Age, and Númenor is the biggest fish in the bowl now—at least, this side of Eldamar.

We don’t get this bit until the end of the chapter—because Tolkien prefers a more dramatic chronology, but once Ar-Pharazôn does depart, Sauron actually sends his goons out to fetch Elendil. Why? So he can roast him on his altar! What a different story The Lord of the Rings might have been had he or his sons been barbecued right there in that temple. But no, Elendil evades capture, keeping his kids and his friends safe as they hide out on their ships on the eastern side of the island.

Meanwhile, it takes thousands of oars and a hell of a lot of elbow grease—with no help from Manwë!—to fill the sails of the Númenórean fleet but eventually they push their way past all the DO NOT ENTER buoys and the “deceits and snares” of the Shadowy Seas. They surge right around Tol Eressëa and the port of Avallónë, giving the Eldar living there a seriously sobering sight. The Ban of the Valar has been officially broken. Which…DAMN. Like hot-tempered Fëanor in ages past, for all his crimes, Ar-Pharazôn cannot be accused of being lily-livered. The dude’s got guts.

Then they drift up toward the shores of Aman itself. At last, the Blessed Realm, the Undying Lands. Valinor proper is really just a stone’s throw away now. Yet everything is utterly quiet and still and, to his credit, Ar-Pharazôn pauses for a moment, sobered by what he’s done. He might even have swallowed. He almost turns back.

His heart misgave him when he looked upon the soundless shores and saw Taniquetil shining, whiter than snow, colder than death, silent, immutable, terrible as the shadow of the light of Ilúvatar. But pride was now his master, and at last he left his ship and strode upon the shore, claiming the land for his own, if none should do battle for it.

Yeah, screw it. Ar-Pharazôn has a very good brain, and has the best words, and has the best people. He alone knows what’s best for Númenor.

And while his soldiers set up a war camp around the hill of Túna, that high green hill upon which the city of Tirion sits, the Eldar make themselves scarce. If Ar-Pharazôn himself had a moment of disquiet when he first drew near this land, so, too, do the Elves of the Undying Lands. It’s seriously awkward as hell now. This wasn’t ever supposed to happen! What are they, the Firstborn Children of Ilúvatar, supposed to do? This possibility wasn’t in any of Manwë’s or Varda’s memos. The Eldar used to go and visit their Númenórean friends on their splendiferous island and bring them fruit baskets and whatnot—even White Tree saplings and Fëanorean stones! But now Ar-Pharazôn’s gone and made it weird; they’re not supposed to be here.

All this time we’ve been keeping up with Númenor and haven’t read much about the Valar’s reactions. But for a moment, the narrator zooms out to the highest of POVs. Truth is, Ar-Pharazôn has placed the Valar in an especially difficult position. Yeah, they could probably trash this host from Númenor (they do have a Tulkas!) but that’s clearly never been a real option. And even if they did, the repercussions would be devastating on all levels. Not to mention the fact that the mightly Númenóreans could probably do some real damage here.

A lot of people like to give Manwë grief because he’s at the top of the hierarchy and it was ultimately his call—driven by mercy and compassion—that allowed Melkor to darken Valinor and trouble Middle-earth a second time. But this trespass of the Númenóreans—the descendants of those honorable Edain, for crying out loud—is a real grief to him. He knows that the land itself can burn these mortals up right quick and he’d hoped the ban would have kept them away. It hadn’t.

So what if the Valar, Maiar, and Eldar just backed off and let Ar-Pharazôn’s army traipse around for while? Couldn’t that be an option? Then they’d see exactly what living among the deathless will do the them. They’d be as “moths in a light too strong and steadfast,” just as Manwë’s messengers had explained to them. The bodies and spirits of Men just weren’t meant for that. It’d be lighting a candle at both ends, then tossing the whole thing right into an incinerator.

Manwë doesn’t want to make this call. For all his wisdom, neither he nor any of the Valar had anything to do with the creation of the Children of Ilúvatar. Moreover, Men in particular have always been different, and not subject to fate and the Music in quite the same way as all other denizens of Arda. Manwë knows more than anyone about the mind of his maker, which is why it’s been clear to him that simply giving the Númenóreans a beating isn’t what Ilúvatar would want. And at the end of the day, this call is above his pay grade. So he lifts up this conundrum to Eru himself: collectively, the “Valar laid down their government of Arda.”

And for all they know, maybe for good. I like how the Tolkien Professor, Corey Olsen, explains it:

In a sense, they’re submitting themselves to judgement. They’re just appealing this case to the higher court. And clearly submitting to Ilúvatar as well. Laying down their government. Now, apparently, Ilúvatar gives them their government back again. If this is a letter of resignation, Eru doesn’t accept it…

Well, Ilúvatar enacts his solution and it seems to surprise everyone. (Though I bet that know-it-all Mandos suspected and said nothing!) If the marred world and all its spiritual scar tissue has led to this—well, then the world must change. So Ilúvatar changes it. He doesn’t unmake or remake—not yet, not like the Second Music to which the Ainulindalë alluded. He just alters it, reshapes it.

It starts by pulling the plug. Opening the drain. A ginormous chasm beneath the sea is formed, and down swirls a heck of a lot of water. Even Ulmo might be freaking out for a minute there. His domain goes topsy turvy—even as Aman and Eressëa is removed from it almost entirely. Tethered still, maybe, but drifting apart. You’re going to need way more than a just a bigger boat to get there now.

Arda is flat no more! We can finally start using the word “global.” And up on the cold celestial highways, Eärendil has GOT to be slack-jawed at the sight of it. What in creation is going on down there?!

“Sailing Around Middle-earth” by Lourdes Velez

The whole of Ar-Pharazôn’s fleet, which is still in the Bay of Eldamar, gets sucked down into the maelstrom while Ilúvatar does his changing of the “fashion of the world.” They are donezo. While drowning in such a dramatic way is probably scary as hell, it’s not like they didn’t see the warning signs; moreover, staying put on Aman would have invited the gift of death very soon, anyway.

Those Númenóreans who’d already set foot on land, like Ar-Pharazôn himself, are not swallowed up by the watery abyss. They’re instead entombed by collapsing hills from around the mountain-walls of Eldamar. Entombed but not slain. They’re called the Caves of the Forgotten, where “it is said” they’ll remain, possibly in some kind of stasis, “until the Last Battle and the Day of Doom.” Which means we’re talking about whatever apocalypse will entail the actual end of Arda. Ar-Pharazôn is going to be there for quite a while. He has achieved a kind of immortality in the Undying Lands, after all. Ar-Pharazôn chose…poorly.

Now, things happen faster in this reshaping of Arda than they did at the sinking of Beleriand. The physical island of Númenor itself is utterly drowned—and we’re told this ruin occurs thirty-nine days after Ar-Pharazôn set out on his warpath. The land’s foundations are ripped apart, the mountain of Meneltarma erupts with smoke like a volcano, and the whole shebang—that microcosm of the best and the worst of Mankind—just slides down into the abyss. The Númenóreans themselves, encompassing a whole spectrum of good and evil, are thus ushered all the sooner to whatever Ilúvatar has planned for Men beyond the Circles of the World.

The last to witness the overwhelming waters is the Queen, who tries in vain to hurry to the top of the fire-spouting holy mountain. But it’s a no-go for her, too…

for the waters overtook her, and her cry was lost in the roaring of the wind.

“Queen Tar-Miriel and the Great Wave” by Ted Nasmith

Many other good things are, of course, lost in the ruin of Númenor. Books, scrolls, treasures, tapestries, knowledge. Totally lost to the world, except maybe in the memory of those few who survive…

Which is Elendil and his sons Isildur and Anárion, and enough of the Faithful to fill nine ships. It’s a rough voyage and a perfect storm indeed that sees them reach the shores of Middle-earth safely, but only just. Even the coasts of Middle-earth are eroded by the geological changes happening across the globe. (Yes, globe!)

I bet Círdan the Shipwright was standing out on a jetty in Lindon at the time and had to move back a few steps as the surf washed in around him. Again. And we’re not just talking a slightly higher tide. Up and down Middle-earth’s western seaboard, the shorelines are redrawn. Seas intrude on the land, some isles are swallowed up, and new isles emerge, It’s a good time to be in the Middle-earth cartography business!

“The Ships of the Faithful” by Ted Nasmith

Of course, Elendil and his sons have a big part to play in what remains of the Second Age. They’ll found some kingdoms—not so great as Númenor was, but still pretty glorious by Middle-earth standards. They’ve certainly not seen the last of Sauron, either, who we last saw shutting himself up inside his Temple of doom on Númenor. Hah, sucks to be him! But oh, he’s a Maia, isn’t he? Can a collapsing island and drowning really do him in?

Nope. Remember that time when Morgoth changed out of his fair form and assumed his Dark Lord of Utumno get-up to impress Ungoliant, and then in fueling her up with some of his evil Valar power so she could suck out the light of the Two Trees, he actually lost the ability to change shapes ever again or go into spirit-form? Well, that’s kind of what happens to Sauron here. If he came to Númenor as a “hostage,” he probably had a Plan A or a Plan B in mind, depending on how well Operation Corruption went. But he definitely didn’t have a plan for what really ended up happening. I mean, yeah, it was a victory for him, but he also didn’t expect Ilúvatar to overreact so much and break the world. Which adds a little bitterness to his sweet triumph over the Númenóreans.

Yeah, it turns out Sauron’s the one who goes down with the ship, in a manner of speaking, and therefore “was robbed of that shape in which he had wrought so great an evil.” He goes all wraith-like, rising out of the maelstrom and soaring back to Middle-earth “as a shadow and a black wind.” So about the Ring of his, is he carrying it? In a letter, Tolkien addresses it without answering:

Though reduced to a ‘spirit of hatred borne on a dark wind’, I do not think one need boggle at this spirit carrying off the One Ring, upon which his power of dominating minds now largely depended.

Either way, he’s back in Mordor, picking up where he left off there, and now really putting his Ring to use again. He works up a new form, “an image of malice and hatred,” and it earns him his new Eye of Sauron the Terrible monicker.

And there we have it: the Akallabêth is complete, the downfallen have earned their name. When they turn the pages of history, when these days have all passed, will they read of Númenor with sadness, or for the seeds that it let grow?

Well, one little consolation: somewhere out in the Outer Void, Morgoth is still impotently drifting, and he knows nothing about the folly and ruin of Númenor. Dude doesn’t even know it existed in the first place. He doesn’t get to enjoy one little dark chuckle at the expense of Men. Boo-hoo.

And across the world, Men might still desire to travel ever westward, but no longer will they have the temptation to seek lands not made for them. Ilúvatar’s changed the whole ball of wax. In his letter to editor Milton Waldman, 1951, Tolkien explained the situation:

Thereafter there is no visible dwelling of the divine or immortal on earth. Valinor (or Paradise) and even Eressea are removed, remaining only in the memory of the earth. Men may sail now West, if they will, as far as they may, and come no nearer to Valinor or the Blessed Realm, but return only in the east and so back again; for the world is round, and finite, and a circle inescapable – save by death. Only the ‘immortals’, the lingering Elves, may still if they will, wearying of the circle of the world, take ship and find the ‘straight way’, and come to the ancient or True West, and be at peace.

There is now only a Straight Road, as the narrator calls it, by which Elves alone can sail to Valinor, and it’s not on anyone’s map. (Well, I bet Círdan’s marked it on one of his private maps.) It’s a watery path that leaves the curvature of the planet altogether but does not extend beyond Arda, for Aman still exists within the Circles of the World. As the years go by, Men put forth legends that by some grace or fortune it’s possible that some mortal mariners might chance upon the Straight Road, but if they ascend it even they will only get a glimpse of the deathless shores…before dying.

Yup. For Men (or former Elves who get counted among them, like Lúthien and Arwen!), the final fate is that great after-party Ilúvatar’s been putting together since forever.

In the next installment, we’ll turn at last to the final part of The Silmarillion, “Of the Rings of Power and the Third Age,” where Tolkien really lays all his cards on table and assumes you’ve already read the Extended Edition of his little Hobbit sequel.

 

Top image from “Ar-Pharazôn” by O.G. (steamy).

Jeff LaSala is as much a Rush fan as a Middle-earth fan, in case it isn’t obvious. Tolkien geekdom aside, Jeff wrote a Scribe Award–nominated D&D novel, produced some cyberpunk stories, and now works for Tor Books. He sometimes flits about on Twitter.

 

Here’s Your First Look at Henry Cavill as Geralt of Rivia in Netflix’s The Witcher

$
0
0

The Witcher first look Henry Cavill Geralt of Rivia

Netflix has marked the start of production on The Witcher, its television adaptation of Andrzej Sapkowski’s fantasy series, with the first official photo of star Henry Cavill as Geralt of Rivia. Considering that the casting caused some controversy among the fans who weren’t sure about Cavill in the role… well, they may remain unconvinced.

Aside from the fact that he more resembles the Highlander, that wig does not seem to be impressing anyone. A sampling of Tor.com office Slack reactions:

“he’s got lego snap-on fantasy hair”

“they didn’t even try to blend it at the hairline, even Legolas didn’t look this wrecked”

“i have no faith in this man’s vineyard running abilities”

“good god maybe they’ll photoshop it out and he’ll just be weirdly bald”

There’s also an unintentionally hilarious potion-drinking screen test:

Lest you think we’re just commenting on Cavill-as-Geralt, there’s also some casting news! Joining the ensemble are Eamon Farren (Twin Peaks: The Return) as Cahir, Joey Batey (Knightfall) as Jaskier, Lars Mikkelsen (House of Cards) as Stregobor, Royce Pierreson (Wanderlust) as Istredd, Maciej Musiał as Sir Lazlo, Wilson Radjou-Pujalte (Hunter Street) as Dara, and Anna Shaffer (Hollyoaks) as Triss. They join Freya Allan (The War of the Worlds, Into The Badlands) as Ciri and Anya Chalotra (The ABC Murders, Wanderlust) as Yennefer, among others.

The official synopsis, from Netflix:

The Witcher is an epic tale of fate and family. Geralt of Rivia, a solitary monster hunter, struggles to find his place in a world where people often prove more wicked than beasts. But when destiny hurtles him toward a powerful sorceress, and a young princess with a dangerous secret, the three must learn to navigate the increasingly volatile Continent together.

The Witcher is expected to premiere sometime in 2019.

Viewing all 32711 articles
Browse latest View live