THE DARK ABOVE by Jeremy Finley

The Dark Above
(William Chance & Lynn Roseworth Book 2)
By Jeremy Finley
St. Martin’s Press — July 2019
ISBN: 9781250147288
324 Pages — Hardcover


Sequel to “The Darkest Time of Night”, “The Dark Above” continues to answer questions from the first book while expanding the cast of characters and venturing further into the SF/paranormal. I wouldn’t recommend starting here if you haven’t read Finley’s debut novel. However, the two novels make for a satisfying whole and quick enough read, so starting now wouldn’t require much commitment beyond the norm.

For those who haven’t read “The Darkest Time of Night”, it begins with the disappearance of William, the seven-year-old grandson of a US Senator and his wife Lynn. With William at the time of his disappearance is his brother, who now in shock only speaks four words of what occurred in the woods between their house and their grandparent’s: “The lights took him.”

These words, along with circumstances and location of William’s vanishing lead Lynn to bittersweet and fearful memories from her past – taboos from her childhood growing up beside the woods, and work she did as a young wife as secretary for a secretive professor in the astronomy department at the University of Illinois. A past where she became involved with a group investigating reports of UFOs and alien abductions, stories that time and again spoke of beams of light.

Starting much like a conventional crime mystery / political thriller, “The Darkest Time of Night” soon reveals conspiracies and sci-fi elements strongly reminiscent of the The X-Files, a relation that the novel even references. “The Dark Above” continues that trend, with development of the SF themes into a further paranormal realm. In publicity and reviews, some have also referenced Stranger Things for comparison to this series. Yet, similarities to that more recent show go no further than use of ‘government conspiracy’ and characters with powers. Both also were in The X-Files though, and the tone of these novels remain closer to that than any of the real themes/setting of Stranger Things.

“The Dark Above” begins years following William’s recovery by his grandmother Lynn and her friend Roxy at the close of the first book. Now grown up, William still struggles to come to grips with his experiences, the missing memories, and the guarded, public revelations his grandmother has made amid remaining secrets and uncertainties. Failing to return to college, William has run off to escape media attention and find some distance from his family. But, he finds himself unable to run from nightmares, and knowing the dangers he represents according to what Lynn has learned.

Events soon expose William back to the world and into the sights of media, hostile government agents, UFO/alien conspiracy believers, and the clandestine group that his grandmother once worked for long ago. Other select individuals returned by the aliens begin to show signs of activation, unleashing global calamities. As William flees danger and tries to discern who he can trust, his connections to the others who have been changed by the aliens grows stronger, leading them together.

In the meantime, Lynn and Roxy want to find and help William, but Lynn’s daugher (William’s aunt), who has taken her father’s seat in the Senate places her in uneasy alliance with the government agencies who want to control William at any cost.

“The Dark Above” thus ends up reading like a Koontz-like thriller with fast moving action and intrigue alternating between the points-of-view of William, his grandmother, and his aunt. A key strength of the first novel was featuring a pair of elderly women as the main protagonists. While they are not lost here, the dominance of William in this half of the story removes that. Nonetheless, change can be nice, and the switch to a grown up William helps keep the schtick of Lynn/Roxy from getting worn.

The twists and turns as multiple groups hunt William works well, with him not clear if any of them are telling him the truth, lies, or somewhere in between. Things begin to slow, however, as William discovers the group that controlled Lynn’s work in the past. In one chapter, through a series of letters in the group’s possession, both William and the reader learn the facts behind the past, going back to his great-grandparents and Lynn’s childhood that briefly appeared in the prologue to the first book.

“The Dark Above” thus fills all the unresolved questions set up from the start of the book, and while it’s ending implies that more books could follow, it still nicely wraps the series up to satisfaction as a cohesive pair. I enjoyed, but didn’t particularly love “The Darkest Time of Night”. With the expanded cast and increased action/pace of “The Dark Above”, I actually prefer the sequel a little more. However, these novels really sit best together as a sum greater than their isolated parts.

The science part of the SF in the second novel becomes utterly ridiculous, so much that it might be better to call this fantasy with aliens. I was able to just suspend disbelief and enjoy the silliness of the plot and the attempts to ‘explain’ things paranormal by throwing in nonsensical statements about DNA and genetics. Partially this is because I’m used to doing this already as a fan of The X-Files. It’s also because there are other aspects to the novel I appreciate, such as its turn toward the apocalyptic genre, where the key people returned by the aliens serve as symbolic Four Horsemen.

Together, “The Darkest Time of Night” and “The Dark Above” end up being an amalgam of popcorn genres, from drive-in ’50’s UFO flicks to Kolchak: The Night Stalker. Fans of these kinds of genre elements looking for a thriller with some engaging characters and surprises – even amid the very cliched realm of UFO/alien lit – should enjoy these.


LAST ONES LEFT ALIVE by Sarah Davis-Goff

Last Ones Left Alive
By Sarah Davis-Goff
Flatiron Books — January 2019
ISBN: 9781250235220
288 Pages — Hardback


A friend and I have a disagreement each time The Road comes up in conversation. I find the novel overly sparse and dull, and its literary accolades frustrate me given that genre has done the same themes well for years (albeit also poorly). My friend explains that both the novel and movie resonate with him as a father, and I concede that’s a connection I wouldn’t have.

Last Ones Left Alive represents an opposite of The Road in a couple of respects. Davis-Goff employs a feminist focus where McCarthy wrote of masculinity, and she reverses the parent-child relationship and point-of-view so that it is the younger generation bearing the responsibility of care. For whatever reasons, although being male myself, I found Last Ones Left Alive‘s take on the post-apocalyptic setting and characters for more relatable and interesting.

Orpen has grown up living in relative isolation on an island off the coast of Ireland with her mother, Mam, and Mam’s partner Maeve. There are no reasons to travel off the island, and many reasons not to. Civilization has collapsed and zombie-like monsters called skrake prowl about, savage remnants of what used to be human. Mam and Maeve have raised Orpen to defend herself, but also to be extremely wary of both the unnatural skrake and natural dangers, including what the human male could present to a young woman.

Orpen has had no choice but to leave the island in search of survivors on the mainland, in the fabled Phoenix City, a bastion of peace protected by a class of warrior women called Banshees. As the novel begins, Orpen trudges on blistered feet, pushing Maeve in a wheel barrow, a dog at their side:

Around us the landscape changes constantly. The road shifts beneath me, twists and slopes, and every time I look up, the world presents me with something new and I feel fresh too. Despite myself, despite everything. The world ended a long time ago, but it is still beautiful.

We are moving.

Looking at her lying slumped in the barrow makes my chest feel like it’s collapsing in on itself. She is so small- “scrawny” is the word. She never used to be small. I look away, and twenty paces later I’m at it again, watching the closed-up face with the sweaty sheen.

We move. We rest again. The dog beside us, the nails on his paws clacking against the road. I can feel the hesitation off him. He’s asking me do I know what I’m doing and don’t I want to go home.

I do, I tell him. But I can’t.

Maeve’s lined skin is being burned by the sun underneath its grayness. I take off my hat and put it on her lightly, so most of her face is in shadow. I can pretend she’s asleep. I stop again and rearrange her so she’s facing forward, facing into whatever’s coming at us. She’d feel better that way. I feel better. Maeve wasn’t one for looking too often at me anyway, unless for a fight.

I’ve a new pain, then, the sun pounding down on one stop at the top of my forehead.

We move. My fear so big, so palpable, that it could be an animal walking beside us. I try to make friends with it.

pp. 2 – 3

Davis-Goff’s writing thus moves fluidly, a mixture of hopeful, imaginative descriptions punctuated with short, hard truths. She gives Orpen a voice of utter exhaustion, yet propped up from despair through resilience. Through the clouds of melancholy and fear poke shines of her faith and wonderment.

A short novel, Last Ones Left Alive has the feel of a perfect novella, though I don’t know its word count for where it technically falls. The pace starts off wonderfully, immersing the reader in Orpen’s world amid a struggle to figure out precisely what is going on. After a short time, action breaks out, and soon Orpen meets other humans. Things slow after the initial start, as Davis-Goff takes us both deeper into Orpen’s character and provides flashbacks into her life before on the island with Mam and Maeve. Falling onto the literary side of things, the novel is never really about action, and the skrake play minor roles in comparison to the focus on Orpen’s maturation and discoveries.

Last Ones Left Alive is a coming-of-age tale about a young girl’s self realization, but also evolving from what she has internalized from parental instruction to form her own perceptions of the world in its beauties and dangers. Her guardians and protectors lost, she rapidly learns to be this herself, for self and others.

Only one male character appears in Last Ones Left Alive, one of the people Orpen encounters while on her journey to Phoenix City. Based on what she has been taught of men, she nearly kills the man upon meeting him in order to protect herself, little different from if she ran into a skrake. However, the behaviors of the man soon show her the faultiness of a simple anti-male perspective. Unlike skrake, humanity is complex.

The novel ends with many questions unresolved, several possible futures for the fate of Orpen, secondary characters, and the role of the Banshees. While I was happy with the ending, I imagine some readers wanting more closure and answers could be disappointed. I do not know if a sequel is planned, but one could easily work. Though satisfied with where things sit, I would certainly not turn down more.


UNWELCOME BODIES by Jennifer Pelland

Unwelcome Bodies
By Jennifer Pelland
Apex Book Company — February 2008
ISBN: 9780978867683
247 Pages — Paperback


This impressive debut collection from a Nebula-nominated author features enough moments of stunning brilliance to make a reader yearn for more of Pelland’s imaginative writing. Over the last decade Apex published her novel, Machine, in 2012, but no further collections of her promising short work have appeared. Until that changes, if you are unfamiliar with the unsettling plots that she writes in a beautifully flowing prose, you should check out Unwelcome Bodies.

Each of the stories in the collection is accompanied by a short note discussing the seeds of its creation, usually a random ‘what-if?’ thought that Pelland runs with to develop into a character-driven story, often featuring a female protagonist. The collection dwells among the thematically dark, with a current of personal introspection running throughout. Characters struggle to discover themselves, to define themselves, set against worlds that highlight their imperfections, situations that entrap them with limitations.

The collection begins strongly, with two stories that subverted my expectations, after starting with plots that seemed familiar. “For the Plague Thereof Was Exceeding Great” is an alternate history where mutations in HIV have enhanced its transmissibility and lethality, resulting in a strain that is almost guaranteed to pass through the air or general contact. The point of view of two women, who will soon come into contact, provide two societal reactions to the pandemic. Here, Pelland portrays the power of mortal fear and the actions that people can be driven to when faced with horrible disease. The story at first seems to be a run-of-the-mill post-apocalyptic story of disease, but Pelland takes it through interesting angles within the confines of her characters. She produces something horrific, but also with undertones of humanity and compassion. This quality ends up permeating all of her work here.

The second story in the collection, “Big Sister/Little Sister” ended up being one of my favorites. It shocks and disturbs, while also still leaving the reader with tremendous empathy for the tale’s protagonist, despite her abhorred actions. Not all of Pelland’s stories include monsters, but even here with the most evil, there is something there broken and sad that the reader can see in pity, and a realization that we all have a bit of similar injury in ourselves.

The third story, “Immortal Sin”, led me to begin worrying that Pelland’s horror (like Stephen King’s) would be largely drawn from very negative experiences with religion. (The first story on HIV features a religious cult.) Taken on its own, this tale is actually a great little work of theological musing, portraying a disturbed man with a simplistic view of absolution. The irony of the ending is fantastic. Thankfully the remainder of the tales did end up showing that Pelland was not relying on cliches of extreme religious fervor as her sole horror (or speculative) fuel.

Later stories in the collection demonstrate that Pelland has a wildly inventive mind, that while going toward the dark side of things, isn’t always going to produce something that one might classify as ‘horror’. With “Last Bus” she even provides a touch of sweetness. Speculative elements of science fiction also feature into several of the tales, particularly the world of “Brushstrokes”, a longer story featuring world building that could easily form the foundation for deeper exploration. Depicting a dystopic, caste-separated society of humans who have been taken from Earth, it focuses on a forbidden romance between two men of different castes.

“Captive Girl” and “The Last Stand of the Elephant Man” might easily be episodes of The Twilight Zone, or Black Mirror, and both stories rank with my favorites in the collection. The first tells the story of a woman whose body has been cybernetically connected since childhood to serve as a monitoring system for possible alien attack. The story tackles issues such as disability, body image, power differentials in relationships, exploitation, and objectification all while telling a heartfelt tale of basic human emotions: needing to be loved, a desire to sacrifice or serve, devoted affection. These can be good, but taken to extremes they can step into the horrific. The second story – a novella – flips the disfigured ‘Elephant Man’ of history into a future Earth where he is traded a ‘normal’ body so that his can be used by the wealthy in a culture where disfigurement is a la mode, even a fetish. The irony in this tale is superb, and it paints a poignant picture of what society considers ‘beautiful’ through the ages, and the differences between what selfishness and human compassion might engender.

I could go on and write more about each specific story in the collection – or even more words about the ones already mentioned. But suffice it to say I loved the collection with the exception of “The Call”, which even the author seems to dismiss in her notes on the story, as an experiment on second-person written entirely in questions that she now never will have to want to do again.

Fans of horror, or even just simple fiction on the darker side will find much to love in Unwelcome Bodies. The stories almost all contain something uncanny and discomforting, yet Pelland uniformly portrays all of her characters with compassion, writing in a haunting prose that lingers sweetly through any fears.


This review is part of the Apex Book Company back catalog blog tour, all through the month of September 2019.

They are offering 25% off everything in the Apex store all month long with discount code SEPTEMBER. So order now to support a great company and discover more of their catalog.

NEXHUMAN by Francesco Verso

Nexhuman
By Francesco Verso
Translated by Sally McCorry
Apex Book Company — August 2018
ISBN: 9781937009656
228 Pages — Paperback


The discarded detritus of human civilization has overwhelmed the near future Earth, submerging society in kipple junk that many turn to scavenging for survival. This dystopic landscape of garbage has triggered further ecological misbalance, cultivating new endemic pathogens to menace humanity. Coupled with technological advances in bodily transformation and the expansion of immersive artificial realities, people are left disconnected from the natural world, and emotionally from one another.

Teenage Peter Payne lives with his mother and elder brother Charlie, but spends his time out working for Charlie by scavenging among the kipple, and running with The Dead Bones, a gang led by Charlie. Although his elder brother’s presence dominates his life, Peter doesn’t look up to Charlie with much respect. Sibling rivalry and Charlie’s abuse of Peter for personal gain span years, back to a horrific accident that left Peter with artificial limbs.

Whereas Charlie and other members of The Dead Bones look to the broken world and respond with further cruelty, Peter’s temperament eyes the world seeing the flashes of beauty that still remain, including a young woman, named Alba, who treats Peter with smiles, conversation, and a yearned-for general kindness that is otherwise absent from his existence.

However, one day that small spot of beauty in Peter’s life is savagely torn apart when Peter witnesses The Dead Bones take Alva and rip her into pieces. Peter realizes that Alba is a nexhuman, an advanced artificial human body that has had a human consciousness uploaded. Charlie and his gang have taken the one spot of beauty in Peter’s life to use for violent, carnal thrills, and ultimately profit from the sale of Alba’s parts. Society doesn’t consider nexhumans as really alive, and thus there is no murder, but Peter cannot see how this brutality could be any less heinous.

Peter sets out to recover Alba’s parts with the dream of restoring her to consciousness and life, to then profess his love and devotion to her. However this obsession places him squarely against his brother, alienates him from his mother and friends, and puts him at risk of more bodily harm.

Francesco Verso’s Nexhuman is thus a melange of Frankenstein and transhumanist cyberpunk, adopting the term kipple from Do Androids Dream of Electric Sheep? by Philip K. Dick. The plot is relatively straightforward, but the short length of the novel is packed with grand ideas of biology, transhumanism, consummerism, and human interactions. Sally McCorry’s translation of Verso’s Italian into English flows lyrically and brightly even through passages of dark violence to contrast with the dim, dank rubbish of the novel’s setting.

As a piece of speculative fiction set in the near future, Nexhuman contains both scientific and technological details to enrich the story. As a microbiologist I was ecstatic to see microbes mentioned repeatedly, where changes in the microbial communities that form the base of all life end up effecting the human characters in significant ways. While praising this inclusion I have to also criticize the errors in some of those details though. The text sadly conflates different groups of microbes: protists, bacteria, viruses, etc. To what degree the confusion between a bacteria and a virus here (for example) is due to translation or in the original I’m uncertain. But even with those errors I’m glad the subject is there, with changes in other organisms highlighted alongside the changes in human biology that the Nexhuman setting provides.

The overarching theme of transcendence amidst global ecological changes sits central to all aspects of Nexhuman. The increasing separation of humanity from the natural world and traditional human relationships drives people further into existences of distance and artifice. The ultimate expression of this is, of course, the uploading of a mind into the nexhuman form to live past death. To overcome that defining natural relationship of mortal fate. How diverged from the human body can one be while remaining ‘human’? Can virtual relationships supplant the absence of physical ones? Can existence in the world still proceed when no longer balanced with the rest of ecology? Can we transcend the biological when that foundational ecology it is built upon breaks apart under the weight of human impact?

Verso writes his characters dealing with these questions in largely non-judgmental strokes, leaving it up to the reader to see a mixture of both the promisingly good and disturbingly bad in Peter, secondary characters, or the world of the novel in general. There is much nobility in Peter, yet his obsession over Alba is also disturbingly intense and possessive, bearing little consideration over whether she would actually be grateful for his help, have any romantic feelings for him, etc.

Peter’s relationship (or really non-relationship) with Alba thereby illustrates the separation that has occurred between people in Nexhuman. Individuals have a harder time understanding both the nature of themselves, and of the Other. Peter defines Alba solely through his own emotions and desires. A nexhuman woman who simply smiled and is kindly polite to him is now an object of sexual obsession, someone who he imagines with be beholden to him when he ‘saves’ her. The lack of emotional interaction between people has left everyone, even Peter, with an ability to look past selfish considerations. Though he occasionally wonders if Alba would stay with him or reject him were he able to restore her body to life, Peter never fully seems capable of looking at her realistically as someone apart from his desires.

The thematic depth and elegant prose of Nexhuman make it a powerful and throught-provoking read that will also entertain without requiring a large time commitment. I originally picked up a copy of this on Rachel Cordasco’s recommendation (Speculative Fiction in Translation), as a possible text to use in a Biology in Fiction course I teach. With all the discussion this book could provoke, I certainly intend to use it. I hope you’ll check it out too if you’re intrigued.


This review is part of the Apex Book Company back catalog blog tour, all through the month of September 2019. Look for one more review of an Apex title here later this month.

In the meantime, they are offering 25% off everything in the Apex store all month long with discount code SEPTEMBER. So order now to support a great company and discover more of their catalog.

Skiffy & Fanty BookTube Roundup

If you didn’t already know, I contribute reviews to the Hugo-nominated Skiffy & Fanty Show, and sometimes they even allow me to take part in their podcasts. The gang has recently started adding features to our YouTube channel, including BookTube recordings. If you like SciFi and Fantasy (yes, that is where the name comes from) and don’t already subscribe to the podcast and/or YouTube, what are you waiting for?

So far, I’ve only contributed two BookTube reviews, and I have one more to record. I tried to pick shorter books received, so two of these are novellas I had been sent from the Tor.com press. I hope more will eventually come, but in the mean-time I thought it would be worthwhile to also post short written reviews here on the three books I covered:


Vigilance
By Robert Jackson Bennett
Tor.com Publishing — January 2019
ISBN: 9781250209436
208 Pages — Paperback

I’ve wanted to start The Divine Cities trilogy from him (hearing nothing but great things about it), but bookstores always seem to have all but the first book. So, I was happy to see this in the mail and have a chance to read something else by him. On the other hand, I immediately was put off by the cover and title. Like Batman and MacGyver, I loathe guns, and didn’t feel particularly eager to delve into a story about gun violence, even if satirical and critical. However, once started I couldn’t put it down, drawn into this near-future America where reality TV, terrorist threats, and cultural/moral apathy merge into a frightening, violent landscape. Bennett’s writing is brutal and unsubtle in both action and politics, the setup at first seems so over-the-top to appear unbelievably absurd as any type of realistic extrapolation for the future. But as you continue through the story and consider where we are, and how that trajectory could continue into the future if unchecked, it begins to seem horrifyingly more plausible were people to continue to lose hope and fall into despair. Even with all of its darkness, the satire and absurdity of it also makes for some humor, albeit dark humor. Short, powerful, and well worth reading.


©1998 EyeWire, Inc.

The Revenant Express
(Newbury and Hobbes Investigations #5)
By George Mann
Tor Books — February 2019
ISBN: 9780765334091
256 Pages — Hardback

Making the mistake of just glancing at its size and cover, I opened this book expecting it to be a young adult novel. Scant pages in with the grisly description of a murder victim, I realized the error. A lack of – or misplaced – expectations did nothing to dim my enjoyment for this exciting adventure, even without reading any of the previous books in the series. It took me a little while to understand the timeline of events that start this book, and their placement relative to those from the prior book in the Newbury & Hobbes Investigations series. A fair amount of character quirks and development also became lost to me because I began this mid-story, and this book 5 of the series is in fact the conclusion to a book 4 cliff-hanger. Thus, even though I enjoyed the steampunk/horror/mystery/spy adventure mashup of this, if you aren’t a reader of this series, it probably would be best to start at its beginning. I liked the mashed-up elements, despite not being a huge fan of steampunk, and in large part the enjoyment came from the story’s engaging female characters. If I come upon the earlier books of this series I’d pick them up without hesitation to read more.


The Test
By Sylvain Neuvel
Tor.com Publishing — March 2019
ISBN: 9781250312839
112 Pages — Paperback

Another dystopic vision from Tor.com, Neuvel’s explores speculative technological advancements to probe human psychology and the themes of immigration, community, and family. While answering examination questions for British Citizenship, Idir’s nervous anticipation and hopefulness are blasted away when a team of terrorists enter the immigration office, take hostages, and begin executing people. What this story says about psychology, morals, fear, and power is a brilliant commentary on immigration, nationalism. At the same time the story serves as a cautionary one on the dangerous ways that technology could be turned. Reading The Test, you might think you can see where Neuvel is taking things, and how he will go about it, but you begin to suspect what in the story might be really happening or not, forcing you into the same position of uncertainty as the characters find themselves. A reviewer I follow on Goodreads, Emily May, calls this a Black Mirror episode in novella format, and having now finally seen the show, I’d 100% agree. In fact, this should just be adapted into an episode, it would pack one hell of a punch. But for now, go read this touching and disturbing masterpiece.

April Short Speculative Fiction in Translation

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Each month, I will be reviewing new translated short works of SF, fantasy, and horror that appear either online or in print for Speculative Fiction in Translation, a site run by the wonderful Rachel Cordasco (@Rcordas). A podcast recording of her updates is now also appearing as part of Skiffy & Fanty. Each month I’ll post a link to my reviews here as well.
In the April debut edition I review:
  • “Deep Sea Fish” by Chi Hui, translated from the Chinese by Brian Bies (The Magazine of Fantasy & Science Fiction)
  • “Fifth: You Shall Not Waste” by Piero Schiavo Campo, translated from the Italian by Sarah Jane Webb (AkashicBooks.com)
  • “The Wings of Earth” by Jiang Bo, translated from the Chinese by Andy Dudak (Clarkesworld)
  • “Taklamakan Misdelivery” by Bae Myung-hoon, translated from the Korean by Sung Ryu (Asymptote Journal)
  • “Aspirin” by Park Min-gyu, translated from the Korean by Agnel Joseph (Asymptote Journal)

AMERICAN WAR by Omar El Akkad

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American War

By Omar El Akkad
Knopf — April 2017
ISBN 9780451493583 — 352 Pages — Hardcover


My latest review for Skiffy and Fanty is on Omar El Akkad’s debut novel, American War. Check out the complete review on the site, here.
My condensed review:
“A powerful & dark literary character study on the atrocities that war can breed in an individual, but fails in its speculative foundations and in its relevance to America.”

Kickstarter for 2084: An Anthology of Eleven Science Fiction Short Stories

I’m pleased to help announce the start of a Kickstarter campaign for a new SF anthology inspired by Orwell from Unsung Stories titled 2084: An Anthology of Eleven Science Fiction Stories (Print ISBN: 978-1-907389-50-4; Ebook ISBN: 978-1-907389-53-5)

To my recollection I previously reviewed two of their publications,  The Arrival of Missives by Aliya Whiteley (which I really loved) and Déjà Vu by Ian Hocking (which I didn’t enjoy as much, though others did). I have a new novella by them on deck to review, and I’m really looking forward to this collection, which will feature a new story by Whiteley, as well as stories from many other notable SF authors.


From the publisher’s press release:

“Unsung Stories have gathered eleven leading science fiction writers who have looked ahead to 2084, as Orwell did in 1948, for a new anthology – writers such as David Hutchinson, Christopher Priest, Lavie Tidhar, James Smythe, Jeff Noon and Anne Charnock, who are already famous for their visions of the near future.

As the events of 2017 reveal an ever more complex relationship between people and their governments, classic dystopian literature is proving its relevance once again. But as readers turn to classics, like Nineteen Eighty-Four, writers are also looking to our future, and what may lie there.

Speaking about the anthology, George Sandison, Managing Editor at Unsung Stories, said, “We knew when we first started work on the anthology that the idea was timely, but the start of 2017 has really hammered home how important writing like this is.

“Dystopian fiction gives us a space in which to explore today’s fears, and the nightmares of society. For many people the events of the last eighteen months have brought those dark futures much closer, so it’s inevitable that we turn to literature to help us understand why.

“The ideas at work in 2084 range from the familiar to the fantastic, but all are bound by a current and relevant sense of what we could lose, what’s at stake. As with Orwell’s work, decades from now, we will be looking back to our stories, to better understand today.”

2084 will be published by Unsung Stories in July 2017.”

The full contributor list is:

  • Desirina Boskovich
  • Anne Charnock (author of Sleeping Embers of an Ordinary Mind and A Calculated Life)
  • Ian Hocking (author of Deja Vu)
  • Dave Hutchinson (author of The Fractured Europe Sequence)
  • Cassandra Khaw (author of Hammers on Bone and Rupert Wong: Cannibal Chef)
  • Oliver Langmead (author of Dark Star and Metronome)
  • Jeff Noon (author of Vurt, Automated Alice, Pollen, and more)
  • Christopher Priest (author of The Prestige, The Dream Archipelago, The Gradual, and many more)
  • James Smythe (author of The Australia Trilogy, The Echo, The Explorer, and more)
  • Lavie Tidhar (author of A Man Lies Dreaming, Osama and Central Station)
  • Aliya Whiteley (author of The Beauty and The Arrival Of Missives)

Head over to the Kickstarter  page now to help support this anthology and take advantage of backer rewards! Also be sure to share the news with your social networks.

DEFYING DOOMSDAY, Edited by Tsana Dolichva & Holly Kench

Freshly posted yesterday, my latest review for Skiffy & Fanty

defyingdoomsday

 

“People with disability already live in a post-apocalyptic world.” – Robert Hoge

This crowd-funded anthology of post-apocalyptic fiction showcases the theme of disabled or chronically-ill protagonists. Edited by Tsana Dolichva and Holly Kench, the collection features many Aussie female writers (though not exclusively) and names likely both familiar and new to speculative fiction readers. With all of its diversity in characters, apocalyptic setting, and featured disability/illness, Defying Doomday is remarkably consistent in tone and quality

Read the entire review on Skiffy & Fanty here.

Contents:

And the Rest of Us Wait by Corinne Duyvis
To Take Into the Air My Quiet Breath by Stephanie Gunn
Something in the Rain by Seanan McGuire
Did We Break the End of the World? by Tansy Rayner Roberts
In the Sky with Diamonds by Elinor Caiman Sands
Two Somebodies Go Hunting by Rivqa Rafael
Given Sufficient Desperation by Bogi Takács
Selected Afterimages of the Fading by John Chu
Five Thousand Squares by Maree Kimberley
Portobello Blind by Octavia Cade
Tea Party by Lauren E Mitchell
Giant by Thoraiya Dyer
Spider-Silk, Strong as Steel by Samantha Rich
No Shit by K Evangelista
I Will Remember You by Janet Edwards

Disclaimer: I received a free advanced reading copy of this novel from the publisher tin exchange for an honest review.

FALLING IN LOVE WITH HOMINIDS by Nalo Hopkinson

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Falling in Love with Hominids
By Nalo Hopkinson
Tachyon Publications – August 2015
ISBN 9781616961992 – 240 Pages – eBook
Source: NetGalley


Contents:
“The Easthound”
“Soul Case”
“Message in a Bottle”
“The Smile on the Face”
“Left Foot, Right”
“Old Habits”
“Emily Breakfast”
“Herbal”
“A Young Candy Daughter”
“A Raggy Dog, a Shaggy Dog”
“Shift”
“Delicious Monster”
“Snow Day”
“Flying Lessons”
“Whose Upward Flight I Love”
“Blushing”
“Ours is the Pretties”
“Men Sell Not Such in Any Town”

“I didn’t used to like people much.” So starts Hopkinson in the forward to her third short fiction collection, Falling in Love with Hominids. The title comes from a line by science fiction author Cordwainer Smith, whose “Instrumentality of Mankind” work Hopkinson cites as an important influence on her own writing.
“I loved his imagination, style, the poetry of his writing, his compassion. Loved his sensibility in writing about a racialized, manufactured underclass and telling some of the stories from their context.”
The stories within this collection originate from across roughly a decade span of Hopkinson’s writing career; with varied styles and themes they are absolutely unified only in their author. So then who is Hopkinson?
Born in Jamaica and raised in Guyana, Trinidad, and Canada, Hopkinson writes speculative fiction and fantasy that typically includes elements of Caribbean culture and tradition. Many readers appreciate this perspective that her heritage provides the field, and she is equally valued for sincere inclusion of characters who may be any combination of people-of-colo(u)r, female, or queer. Such unique perspective alone shouldn’t define her work though. Above all Hopkinson is talented, attracting the respect of writers such as Junot Díaz and earning accolades such as the 1999 Campbell Award for Best New Writer.
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The uniqueness of her perspective also doesn’t mean that her writing is just for people like her. It’s really important to have books by all kinds of people, not just straight, white men. But that doesn’t mean that a book by a straight, white man can’t speak to a queer, black woman. Or in this case, the reverse. Hopkinson’s writing touches all those qualities that her quote on Cordwainer Smith mentions. She writes universal, core themes of what it is to be human, to deal with despair and to fight it. As her forward to the collection relates, this comes from her own evolution as an individual in society.

“One of the progressions I’ve made is from being a depressed teenager who saw how powerless she was to change all the ills around her to being a mostly cheerful fifty-something who realizes there are all kinds of ways of working together towards positive change… So part of the work of these past few decades of my life has been the process of falling love with hominids.”

The opening story of this collection, “The Easthound”, is an exquisite introduction to the range of Hopkinson’s writing. Set in a post-apocalyptic world where adults become ‘sprouted’ into creatures that kill and feed upon the living, the story uses setting and a minimized plot as backdrop to focus on characters and emotion. This balance – tending towards what typically gets called literary – is typical of Hopkinson’s stories. Also common for her work, here she takes a general premise that should be familiar to science fiction fans and puts on her unique twist. Her writing is not usually ‘light’ reading and some of her stories benefit from multiple reads because nuanced characteristics aren’t at first registered. Yet, “The Easthound” demonstrates that Hopkinson can write taut action sequences amid more quiet moments of deep character introspection. The language can vary from the straight-forward to a more artistic poetry, such as lines in this story that form part of a ‘Loup-de-lou‘ game that children play.
Because of her range as a writer, readers may not enjoy or appreciate all the stories in the collection. Some, like “Flying Lessons” or “Blushing” seem designed to challenge the author and reader alike. “Soul Case” puts a lot of complexity into a relatively small bit of space. (Not unlike, perhaps, fitting a  soul and intelligence into the limitations of a human body, the ‘soul case’ of the title). For some its explorations of politics, history, race, and humanity will work brilliantly. Others may wish its soul had more room to breathe, to develop within the novella length. “Shift” adds a Caribbean twist to The Tempest, another example of a story grounded in something familiar to contrast with stories that have elements more unconventional – and verging on bizarro, like in “Emily Breakfast” or “Snow Day”.
Overall this collection conveys a feeling of reading folklore. Readers particularly drawn to that style of fantasy will probably easily enjoy Falling in Love with Hominids, as Hopkinson uses the style effectively even in the context of a science fiction tale. Some of the stories here have been included elsewhere, including “Best of…” anthologies, pointing to Hopkinson’s success and recognition. If you haven’t yet experienced her writing, there is no better place to get a representative view of it as this.

Disclaimer: I received a free advanced electronic reading copy of this from the publisher via NetGalley in exchange for an honest review.