in Current Fantasy and Science Fiction.
I picked up this little anthology at Helsinki’s WorldCon, from Luna Press. I’d not heard of them before but I was and remain intrigued by their doing these non-fiction anthologies.
Yes, Helsinki was two years ago. Yes, I just got around to reading it.
As the name suggests, the essays deal with both issues of gender and of sexuality, primarily in fiction but also – and I loved it – in an analysis by Juliet E McKenna on the place of female-identifying authors across time in the publishing world. “The Myth of Meritocracy and the Reality of the Leaky Pipe and other obstacles in Science Fiction and Fantasy” made me think of Joanna Russ (as do so many of these sorts of conversations) and is well researched, persuasively argued, and did not – surprise! – leave me feeling completely hopeless. It’s a fascinating way to open the anthology.
Some of the essays meant more to me than others because in some I am familiar with the material, and with others less so. Kim Lakin-Smith’s “Doll Parts: Reflections of the Feminine Grotesque in France Hardinge’s Cuckoo Song and Neil Gaiman’s Coraline,” for instance, was truly fascinating but I couldn’t feel it as deeply as I might because I’ve not read either of the works (the Hardinge exactly because it’s billed as being horror). And it turns out I am even less up to date with fantasy than I thought, because AJ Dalton’s “Gender-identity and sexuality in current sub-genres of British fantasy literature: do we have a problem?” referenced sub-genres and authors I’ve not heard of. The essay itself was very interesting, don’t get me wrong, but I was unable to reflect on it meaningfully.
Of course, some essays I had little problem accessing. Both Jyrki Korea’s “What about Tauriel? From divine mothers to active heroines – the female roles in JRR Tolkien’s Legendarium and Peter Jackson’s movie adaptations” and Alina Hadîmbu’s “Newly added female chapters to blockbuster franchises: gender balancing in otherwise male-dominated fictional worlds or a greater purpose?” hit on issues and franchises very dear to my heart, and I greatly enjoyed reading the explorations of Tauriel and Arwen and Rey.
Let us not forget that this anthology includes an essay about Magic: The Gathering! Which is not something I would have thought was very interesting a year ago, but now I do! Rostislav Kurka (their name is meant to have a circle above the ‘u’ but my symbols don’t seem to include that one…) has helped me realise just how much more is going on in the fiction about M:TG than I realised, and how the cards’ art reflects and helps that too. So I also love that Luna Press saw M:TG as a legitimate topic for inclusion here; the essay absolutely fits the theme, and of course both the game and the fiction are a part of the speculative fiction world.
Other essays, I should point out, are more interested in a broad summary, rather than focusing on one genre or set of texts. Cheryl Morgan’s “Tipping the Fantastic: How the Transgender Tipping Point has influenced Science Fiction” was (as expected) a throughout examination of how trans characters have been presented in various stories, and what that means both for trans and cis readers and general diversity/understanding. Anna Milon’s “Bikini armour: women characters, readers and writers in male narratives” also made me think of Joanna Russ, and made me cranky, as you may imagine some of what is discussed from the title (it’s a good essay; it’s a frustrating topic).
Overall I think this is a great little anthology – and it is little, at 236 pages in about an A5 package. Obviously there is plenty more to be said, and part of me hopes that Luna does another one… although of course there are lots of other topics to cover, and they’ve got one on Evil and one on African fantasy and science fiction, so those are both excellent topics, too.
This is my first GGK and… I really don’t know what to make of it.
I mostly really liked it as I read, although there were some odd narrative quirks – like the omniscient narrator occasionally breaking in with prescient predictions about a character later reflecting on something as the end of childhood – that didn’t seem to have pay-off or point in the narrative. But those things aside I largely enjoyed the story as a whole… until the very end when something very weird and out of place happened that made me feel a bit ick about the whole thing.
Anyway, before that: Ned is in France with his photographer dad; meets another visiting American and has a weird encounter with a dude which then leads to more weird encounters and a progressively weirder journey around bits of France. There’s a love triangle ranging over enormous sweeps of time, eternal enmity, races against the clock, family secrets and family discoveries, and some slightly dubious mashing of history.
In general, I found the story generally enjoyable. I’ve no idea how accurate the geography of France is; apparently it was written while Kay was there, so hopefully there wasn’t too much licence taken? Overall the characters were interesting and plausible enough, and the pacing generally wasn’t too bad. It’s not a book to think too much about, though; the history aspect in particular is a bit silly and there are a few narrative holes that made me shake my head.
Also I hate the title. And I’m a bit bemused about it winning the 2008 World Fantasy Award for Best Novel. I don’t recognise the other nominees, but this … seems like an odd choice.
The big thing that irks me, though… (spoiler…)
I am reminded, perhaps obviously, of Zombies vs Unicorns, the Justine Larbalestier and Holly Black anthology from several years ago. It’s the same sort of idea: which trope is better? Which sort of close-to-but-not-human species can authors have the most fun with, do most with, and so on? But more than zombies and unicorns, the authors in this anthology make powerful statements in their afterwords for why both robots and fairies can and do have such enduring power in our narratives. They are like us, but unlike. Robots are made by us; fairies live in parallel; both can be imagined to have legitimate grievances with humanity; both can potentially blend into humanity… and so on. Max Gladstone suggests robots are the future, and fairies are our roots.
So there’s a lot to explore in an anthology inviting authors to choose one of these archetypal features of our speculative fiction.
What surprised and amused me the most in this set of stories was the number of times authors decided to play with both. Seanan McGuire starts the ball rolling, and Catherynne M Valente finishes it; along the way, there are a couple of variations on Pinocchio that I didn’t always pick up – it’s not a significant story for me – as well as A Midsummer Night’s Dream; and other ruminations on how robots and fairies might be seen to fade into one another, one way or another. I really, really liked this aspect.
In fact, I liked this anthology in general. The stories are generally very well written, and there’s a marvellous balance of fun and heart-wrenching or somewhat horrifying, as well as often having significant points to make about humanity and how we interact with our world. McGuire’s views on theme parks were great fun to read; Ken Liu’s story on automation was chilling and brilliantly written (unsurprisingly). Sarah Gailey also contributed a supremely chilling story that I really wasn’t prepared for, and Madeline Ashby’s was haunting and lovely, and Maria Dahvana Headley got me with a rocknroll and fairies story that was always going to push my buttons.
Themed anthologies can be a fraught business. This one gets it right.
Things to keep in mind:
1. I’m a total Leckie fangirl
2. Like, seriously.
3. This is nothing like the Ancillary books at all.
4. Not even genre, let alone anything else.
I received this book from the publisher, Hachette, at no cost. It’s out now WHICH IS EXCELLENT NEWS FOR EVERYONE LET THERE BE REJOICING.
I’ll admit that when I heard Ann Leckie was doing a fantasy novel I was… discombobulated. I do like fantasy but I’ve read a lot less of it recently for various reasons, and when I thought of how the author of the Ancillary books might translate to fantasy I started thinking of lush epic fantasy which is fine but not what I’m enjoying at the moment.
HOW WRONG I WAS. I mean, seriously. What was I thinking.
For starters: this is a standalone book. That’s right folks, you can read this book and not have to wait for a sequel. Which is great.
Ok, look, I actually read this without reading the blurb or knowing anything about it, just going on trust. And I really truly believe that this was the best option – having now read the blurb, it kinda gives you an idea of what’s going on but as so often happens, I think it sets up the wrong ideas in the reader’s mind. So if you trust me, and you trust Ann Leckie, just go find this and read it without reading anything else about it.
But if not, you can keep reading.
This trilogy isn’t quite your standard trilogy because it doesn’t follow the same main characters throughout. Although the focal character is in the next two, she moves to the background; and the same happens between the second and third books. I really like this as a tactic because it means Dyer gets to explore the world of Titan’s Forest in much more complexity than might otherwise be possible – the three characters have such different roles in the Forest societies, and different motivations and personalities and so on. They interact with other characters in utterly different ways. But I also like that the three characters are all connected to each other, so we get to see family dynamics at play, and understand people from multiple perspectives.
I also like that none of the three main characters are particularly likeable; certainly not all the time. Don’t get me wrong – they’re compelling characters, and I generally understand why they think they have to do what they’re doing. But I frequently got exasperated with them for being selfish, or narrow-minded, or blinded by anger, or… other reasons. And this is a good thing, because it really is a fine line to walk to make me have a reaction like that but still be enjoying the character and the story overall. Dyer walks that line beautifully.
If you haven’t read the series yet, stop right here and go and do so: you really want to if you like complex societies and gods who aren’t that great really and live among humans, and quandongs and Australian trees getting even bigger than we let them get here, quests and revenge and family drama. Spoilers ahead for the first two books!
I wouldn’t necessarily call myself a Scrooge, although others might; I don’t put up Christmas decorations, I don’t wear baubles for earrings, I don’t watch Christmas movies (ok, Alisa made me watch Christmas Chronicles, but IT STARS KURT RUSSELL so it doesn’t count).
I don’t deliberately go and read Christmas stories. But this is a Tansy story, and I’d heard it played with some jokes about Tasmania and weather, so I figured I’d give it a go.
(I guess I should say that both Tansy and the publisher are friends of mine… but if I didn’t like it, I just wouldn’t say anything….)
Lief is a weather reporter, and lives in Hobart, but her hometown is Matilda – where it always snows at Christmas. Now, for the non-Australians, this is hilarious. Australian weather is always a bit unpredictable, especially in Tasmania, but the idea of guaranteed snow in December is outrageous. It has been known to snow in the hills near Melbourne, for instance, on Christmas Day… but the next year it was in the mid-30s C. Tasmania is more ridiculous (from 38C to snow in 5 days in January, and that’s just what I – as a visitor – have experienced)… but the idea of confidently predicting snow, in December? Uh, no.
Anyway, this is understandably intriguing, but less understandably hasn’t been closely reported on. Until now, when Lief is forced to go home for Christmas with a far-too-bubbly camerawoman in tow. Matilda doesn’t like visitors: there are far too many secrets that need to be kept. And when there’s not one but a whole truckload of strangers, and then weird things start happening – like earthquakes – clearly things are going to get real.
This is a very fun, and very enjoyable, and very intriguing, novella. It’s written in that Tansy style that means there’s a lot of banter and snark, some surprising description that really works, and at a brisk pace that means there’s no time for dawdling HURRY UP. Thoroughly enjoyable, and not just a Christmastime read.
This novel (novella?) was sent to me to review by the publisher, Tor.com, at no cost. It will be out on 26 March, 2019.
Aside from King Lear, which I loathe, I probably dislike The Tempest more than any other Shakespeare play. I don’t know why; there’s nothing particular I can pinpoint. But I really, really dislike it.
It turns out, though, that stories of Miranda after the play are stories I can really get behind. So maybe this is part of the problem: in the play, I think Miranda is just a bit nothing. But For Meadows’ Coral Bones made me swoon for joy, and now Katharine Duckett’s Miranda in Milan similarly plays with the aftermath of Miranda’s return from the island – in a very different way from Meadows, but equally dealing with some of the issues that a young woman with such an upbringing might need to confront.
Here, Miranda is returned to Milan, and basically confined to the room – she’s only allowed out when wearing a veil, which she loathes. Her father is off reestablishing himself as duke, Ferdinand is in Naples, and she has no friends. Until suddenly she does develop a friendship, and she begins to discover some of what’s gone on in Milan that led to Prospero’s banishment – and, by extension, her own.
Nicola Griffith’s blurb is (unsurprisingly) apt: “Love and lust, mothers and monsters, magicians and masked balls…”. That’s about it. What is love and how do you know it, what makes a monster, and can magicians be trusted… Duckett writes about these things, and does it quite beautifully.
Sorry you have to wait til March to read it.
When I was looking through my ebooks and came across this one, I couldn’t for the life of me remember how I acquired it. Looking at the cover I thought it might be connected to Kathleen Jennings, but turns out it’s not her art – just similar. Then eventually I realised that it came in the Hugo packet, and I had run out of time to read it before voting was complete.
T. Kingfisher is, I discovered, a nomme de plume of Ursula Vernon. I’ve read some of Vernon’s short stories, but not enough to really have a sense of what her work is like. So I had no idea what I was getting myself in for with this story.
The answer is: whimsy, and delight.
Firstly, Summer is the main character, and that’s delightful. Secondly, she has a painful childhood, because her mother is needy and overly protective. I find this quite fascinating as a way of thinking about a parent in a fairytale-is story. Not absent, not careless, not hardhearted; but the sort of parent who makes their child feel bad for wanting independence, who needs constant reassurance, and who peculiarly demand their child to be more like the adult, offering comfort. So that’s an intriguing aspect that’s introduced immediately. Which is also something I like – this is aimed, I guess, at what Americans call ‘middle grade’ readers; Summer is 12 – and so there is little beating about the bush. The story proceeds at what would be well called a brisk pace. Indeed, and thirdly, Summer has met Baba Yaga and her chicken-legged house within three pages and is off on her adventure in Orcus in chapter 3, to find her heart’s desire. Summer’s not quite sure what her heart’s desire is, but assumes she’ll know it when she finds it.
Also, she has a talking weasel to accompany her.
I told you there was whimsy.
So there are talking animals and dryads and a land that’s kind of falling apart, dandy-ish birds and terrifying fortune-telling cheeses. People who are actively trying to destroy things and a wolf that’s not just a wolf, and Summer reflecting on whether her experience in Orcus will be like an experience in Narnia. And an antelope woman.
I loved it. A lot. Kingfisher’s prose is delightful, the characters are varied and only Reginald, the dandy bird, is faintly ridiculous. While it initially seems like it might be a relatively standard portal fantasy (which would have been fine), it reminded me more of Catherynne M Valente’s Fairyland books in their self-awareness than anything else. It’s also not completely standard in the way that Summer’s quest pans out, but no way am I spoiling that. Suffice to say it left me musing.
I really enjoyed the character interactions, and the places Summer visits. I liked that Summer wasn’t always sure what to do but that she was a resourceful and sensible girl – and sometimes that meant being quite scared, as was appropriate in some of the circumstances she found herself in. She deserves to have lots of people read about her adventures.
This book was sent to me by the publisher, Bloomsbury, at no cost. It came out in August; $16.99.
I read the first book in this series, The Edge of Everything and according to my review I largely enjoyed it – I have to say I’d mostly forgotten the book by the time the sequel arrived. If you liked the first one you’re likely to enjoy this one, I think. If you’re not sure, then I have one word for you:
Everything is DIRE and potentially life-altering and epic. X has gone; oh no! My friends are unhappy with me; oh no! etc. I did end up getting impatient with the book – mostly with the characters, but I wonder if it’s actually a pacing issue. Maybe I wouldn’t have had the time to roll my eyes at the melodrama if things had moved faster?
Spoilers for the first book
X is back in the Lowlands and of course things have changed because not only does he want to find his mother, but he also wants to be back with Zoe. Mild spoiler: I found the whole ‘searching for his mother’ thing overdone. There were definitely moments where I thought if he’d asked a different, obvious-to-me question, things would have been different. I also thought some of the revelations about the mother were a bit… meh. Unlikely, or unnecessary.
Zoe is still with her family but her house has been destroyed and she also has to be honest with her friends. I found some aspects of Zoe’s life believable but others not – there was veering between responsible and not that annoyed me.
Look, this isn’t a hard book to read, so it’s not like you’re devoting days of your life to it. I did end up skimming some sections because the conversations got a bit boring and I just wanted to find out how things resolved. But I am also not going to tell someone not to read it: it’s not terrible, it does have interesting and somewhat diverse characters (ish), and it has some interesting things to say about family and friendship that I largely liked. So I didn’t love it but I also didn’t loathe it. Ultimately it’s not really a book aimed at me – I am too old and have rarely enjoyed the sort of over-the-top drama this revels in, even when I was the age this is intended for – and that’s perfectly ok.
This book was sent to me by the Australian publisher, Text Publishing, at no cost. It’s out now; $22.99 for the paperback.
I’m torn. I really am. I read this in a Sunday, because it’s fairly well paced and most of the writing is quite lovely (which means kudos to Hildegarde Serle for the translation – there are a few clunky bits but I’m not sure whether that’s the translation or the translation, if you know what I mean). I really like the idea of the world – broken somehow, humans surviving on ‘arks’ that appear to floating (??) above the remnant of the Earth. And humans mostly have some sort of mind-powers, and there are ‘family spirits’ who appear to be the original settlers of these arks? or something, that’s not explored yet. (I haven’t read many reviews but I haven’t seen anyone compare it to NK Jemisin’s Broken Earth series yet – the books themselves are very different but there’s something of a parallel in what seems to have happened to the original Earth). I liked the main character, Ophelia – I’ve seen some dissing of her, and I get where most people are coming from, but I mostly enjoyed her and her flaws: her clumsiness has a cause, rather than being meant to be just an adorable trait, and she largely bears up under the weight of being pushed around by everyone. Yes, she’s often passive, but I sympathise with that in the context – she’s terrified, mostly alone, and kept ignorant. (There’s a similarity between her and Jupiter, from Jupiter Ascending.) Those things are others’ fault, not hers, and she does try some things to improve her situation. Also, she keeps regretfully thinking that she just doesn’t love her (arranged) fiancé, and I’m madly hoping she’ll be accepted as asexual and aromantic. There are some interesting other women in the book, but I can’t figure out how I feel about them mostly being various sorts of horrible, mostly revolving around being selfish.
So there are definitely good bits. But.
I do not agree with Elle, saying that this belongs on the same shelf as Harry Potter.
Firstly, pretty much everyone seems to have milky white skin. Not everyone’s skin tone is mentioned, so maaaaybe we’re meant to be that there’s not-white people? But that’s a pretty big stretch. And we’ve only been to two different arks so maaaaaybe there’s racial segregation? But that would also be problematic and it hasn’t been mentioned in this book and… yeh. It is disappointing to read this in a book today.
Then there’s the intended audience. This is being talked about as a YA but there’s a character who frankly declares his intention of seducing and ‘deflowering’ Ophelia because of being Thorn’s fiancé and… that’s not really called out. Sure, talk about sex in the book, and portray it as problematic even, but – that’s an adult man, a lot older than Ophelia, planning her seduction because that’s all he does with women. And that, friends, is gross.
On which topic: there is no romance in this book. Anyone who tells you otherwise read something quite different from what I did. I assume people are reading one of the characters as being a bit Mr Darcy, but… no.
I can’t help but wonder whether the people who are raving about this being something new, and unique, have read very much YA. The world is definitely lovely and intriguing but it’s not unique. The plot is a coming-of-age story – which I adore, but um is not unique. And so on. I’m not cautioning against reading this (unless the bit about the older man planning to seduce the young woman creeps you out which I would totally understand), but neither am I going to be seeking out the sequel.