This novella was sent to me by the publisher at no cost. It will be out on 31 January 2017.
What does it mean to go home?
What does home mean?
What does it mean to belong?
If others don’t accept you, can you belong?
Do genetics equal identity?
If you change, are you still yourself?
What makes people family?
Binti featured Binti leaving home and changing in some fairly drastic ways. Here, Binti goes home, for a bunch of complicated reasons, and is forced to confront the sorts of questions I’ve asked above. She’s forced to confront aspects of herself that have changed – and been changed – and, perhaps more difficult, how her family react to this. She’s also confronted with some unpleasant truths about home and family, all in (in my e-version) about 90 pages.
It’s a bold and striking story of humanity and tradition in the context of an alien-rich galaxy. It’s beautifully written (of course) and there’s a huge amount of tantalising detail that Okorafor just… doesn’t explain much. This in no way impacts on the story; it’s an indicator of rich Okorafor’s writing is. Binti is a wonderful character and I’m so glad to have another part of her story told. I suspect there may be at least one more story coming… .
Also, look at that cover! How awesome is that!
Highly recommended, likely to be on award ballots next year.
This was provided to me by the publisher.
This is not a straightforward novel. The plot is not linear, the characters are slippery, and so is the language sometimes. But it is engaging and haunting and (much as its trite to say) challenging.
1. The plot is not linear. The focal character, Demane, sometimes has flashbacks to his past experiences – and sometimes to the experiences of other people, and sometimes he’s simply reflecting on history. It’s not always clear when this is happening, which I think is a stylistic choice; it took me a little while to understand when that was happening, but once I left myself go with the flow it usually made sense. The only frustrating thing by the end of it was that I really, really wanted to know more about Demane’s history and that of the world he lives in, with its Towers and demigods gods who have gone back to the stars…
2. The characters are slippery: this is somewhat related to the lack of narrative linearity (did I mention this isn’t a problem? It’s not a problem, as long as you don’t mind having to work a bit). Demane is definitely not straightforward – he’s got one mammoth backstory that only gets revealed in dribs and drabs, and that’s nothing on Captain, whose life is like a picture that’s entirely in shadow except for one tiny bit where one spotlight hits. Again, not a problem, but it does make it hard to explain what you’ve just read: “There’s this guy who works with a merchant caravan at the moment but he’s had this amazing life in the past, where he was kinda taught magic except it’s not magic, and in the present he’s trying to keep everyone around him alive…”
3. The language is slippery too. I’m not referring to the dialogue here, which is written very much in a spoken style (I know nothing about Wilson but I presume he’s thought long and hard about the use of the n-word; I can’t imagine Tor leaving that in a book without it being very deliberate and considered, either); dialogue doesn’t bother me. I think the elusiveness of the language often related to the non-linearity of the narrative actually. It took me a few pages to get the hang of it anyway, and once I was properly immersed it flowed beautifully.
I will look out for more work by Kai Ashante Wilson. Well recommended.
I read this online at Subterranean, where it originally appeared.
I found it really hard to rate this story on Goodreads. Not that I don’t think it’s an utterly incredible story – I do. But I found the very end a bit disappointing, so not for the first time I found myself longing for half-stars. And I have absolutely no idea how I missed reading it last year; I must just have completely missed the name Ted Chiang. I’ve finally got around to it now because it’s on the Novella ballot for the Hugos – against two of my all-time favourite stories, “Troika” (Alastair Reynolds) and “The Lady who plucked Red Flowers from beneath the Queen’s Window” (Rachel Swirsky).
It’s told in alternating sections from the point of view of Ana, a zookeeper retrained in software, and Derek, who’s always found a living in animation. They both end up working for a company that is creating digients – sort of like digital pets, designed to run on a platform that is as far away from Second Life as Second Life is from chatrooms, but is that sort of idea. Digients are designed as well as bred, trained as well as written, groomed as well as engineered. But much more than being a story that follows the development of a new form of digital life, Chiang also chronicles the development of Ana and Derek and their society as well, because this story takes place over years. The timeline is one of the aspects that I found less convincing, because it didn’t really seem like Ana and Derek aged. Yes, they learned, but the story must take place over at least ten years, and I didn’t think there was a big enough difference in tone or attitude for characters who experienced that period of time.
Overall, though, this is a wonderful wonderful story, and it definitely deserves its place on the Hugos ballot.