John Self recently wrote a post on reading and specifically his relationship with reading at different points in his life. This includes a stage of life I’ve just reached myself:
A parent is a willing player in the project of being pushed into a corner of their own life… As it happens, I managed pretty well to keep my reading up after our first son was born. The thing about two parents and one child is that you outnumber them: you can give your partner a break, and vice versa… With two children, the first thing you realise is how easy it was with one. Now there are no hiding places, no spare hands. Once they’re both sleeping through the night (and with our second, currently 16 months old, we’re still waiting for that), you have the evening free; but you’re too tired to concentrate on anything longer than a tweet. Most of all, with two young children, you’re never really alone…
Deeds of possession for property speak of the tenant or owner having “quiet enjoyment” of the premises. Those two words placed together will have most parents scratching their heads with quizzical eyebrows. Quiet enjoyment is not part of the deal. But it is essential if you want to read, or write, or write about reading. It is essential if you want to engage with a book that can’t be fully absorbed with Octonauts playing in the background.
Whilst my short fiction reading has increased, I haven’t opened a novel for three months. And if reading is hard, writing is harder. Two years ago I published my 50th review for Strange Horizons, a figure achieved over nine years. My 52nd review, Railhead by Philip Reeve, has just gone live. I describe the novel as “the first New Weird children’s space opera” which probably oversells it. Reeve couldn’t write a bad book but this is not a particularly memorable one:
Does this mean that Reeve’s proud demi-gods will persist in the imagination as long as Awdry’s squabbling schoolboys? I doubt it. Though thrilling and humane, Railhead ultimately feels transitory—more style than substance.
Yes, that is a Thomas The Tank Engine reference. Not only have my reviews slowed done substantially, their frame of reference has shrunk dramatically. This is not something that can be said of other recent Strange Horizons reviews. So I’d like to write to more reviews in 2016 but I’d also like to write different reviews. I’m just not sure where I’ll find the time.
I’ve done surprisingly well at reading short fiction this year but unsurprisingly badly at writing about it. I am also currently on paternity leave which means I have very little free time and I’m also in withdrawal from my day job which mostly consists of writing bulletpoint lists. So here is a very quick summary of my reading:
- Last year I reviewed the Puppy-stuffed Hugo shortlist for Strange Horizons. It is very bad. Last month I read the Nebula short story shortlist. It is also pretty bad (with the honorable exception of ‘Hungry Daughters Of Starving Mothers’ by Alyssa Wong). Reading both it is clear that despite the chaff, the difference between the two is purely political. In particular, ‘Damage’ by David D. Levine (acquired and edited by Patrick Nielsen Hayden and published by Tor.com) is basically the same story as ‘Turncoat’ by Steve Rzasa (acquired and edited by Vox Day who views PNH and Tor.com as the Antichrist).
- If I was writing about that shortlist, I’d probably want to link it to this Ethan Robinson review of The Weave by Nancy Jane Moore. Robinson also has some more direct thoughts here.
- I have also started reading Interzone for the first time in a decade. Somethings don’t change; Nick Lowe is great on The Force Awakens in the latest issue. As always, the fiction is a mixed bag but the stand out story is ‘Empty Planets’ by Rahul Kanakia who I wasn’t previously aware of.
- Also new to me are JY Yang (‘Song Of The Krakenmaid’ and ‘Secondhand Bodies’) and Kelly Robson (‘Two-Year Man’) who I have discovered through a secrit short fiction pusher who has got me hooked. The latter reminds me a bit of A Day In The Deep Freeze by Lisa Shapter which I’d love to write a bit more about.
BSFA members will have noticed that there was no editorial in this issue’s BSFA Review. This was because once again I ran out of time which, in turn, is one of the reasons I am standing down as reviews editor. It has been a great couple of years and I’m really proud of what I’ve achieved but it is time for a change. So I’m very pleased to announce that Susan Oke will be taking over from me from Vector #283.
- Modernism And Science Fiction by Paul March-Russell (Palgrave Macmillan, 2015) – Reviewed by Anthony Nanson
- Europe At Midnight by Dave Hutchinson (Solaris, 2015) – Reviewed by Paul Kincaid
- Memory Of Water by Emmi Itäranta (HarperCollins, 2014) – Reviewed by Donna Scott
- Mother Of Eden by Chris Beckett (Corvus, 2015) – Reviewed by Dave M Roberts
- The Causal Angel by Hannu Rajaniemi (Gollancz, 2014) – Reviewed by Susan Oke
- The Fifth Dimension by Martin Vopěnka, translated by Hana Sklenkova (Barbican Press, 2015) – Reviewed by Dan Hartland
- Barricade by Jon Wallace (Gollancz, 2014) – Reviewed by Maureen Kincaid Speller
- Pelquin’s Comet by Ian Whates (Newcon Press, 2015) – Reviewed by Susan Oke
- The House Of Shattered Wings by Aliette de Bodard (Gollancz, 2015) – Reviewed by Duncan Lawie
- Signal To Noise by Silvia Moreno-Garcia (Solaris, 2015) – Reviewed by Shaun Green
- The Incorruptibles by John Hornor Jacobs (Gollancz, 2014) – Reviewed by Maureen Kincaid Speller
- The Rabbit Back Literature Society by Pasi Ilmari Jaaskelainen, translated by Lola M Rogers (Pushkin Press, 2014) – Reviewed by L J Hurst
- Deep Time by Anthony Nanson (Hawthorn Press, 2015) – Reviewed by Karen Burnham
- Ashamet, Desert Born by Terry Jackman (Dragonwell Publishing, 2015) – Reviewed by Donna Scott
- Fencing Academy by AW Freyr (Uruk Press, 2015) – Reviewed by Susan Oke
Every year I have good intentions of reading lots of short stories, identifying some real gems and then nominating them for the BSFA Awards. Most years I fail. So I am very pleased that the BSFA have now introduced a two-stage voting process where members can vote on a longlist of nominations. Given the size of the field and the difficulty of achieving blind consensus on the best short fiction published through nominations (witness the 2013 Hugo short story shortlist only having 3 nominees that had the minimum of 5% of nominations) this is a sensible change but on a personal level, it is hugely welcome because it allows me to re-engage with the field.
There are 41 stories on the longlist and I’ve read 34 of them. On that basis, my votes are:
- ‘A Day In The Deep Freeze’ by Lisa Shapter – Set in an anonymous mid-Twentieth Century America that hides something truly horrific, this is a remorseless novella that is completely unique and penetrates bone deep. This is the only one of my selections that isn’t available for free but you should buy it now.
- ‘The Game of Smash and Recovery by Kelly Link – It is a Link story and it is a very good Link story and it is science fiction. What more do you want?
- ‘Manifesto of the Committee to Abolish Outer Space’ by Sam Kriss – Combatative, creative non-fiction that is like nothing else on the longlist.
- ‘Elephants and Corpses’ by Kameron Hurley – One of only two secondary world fantasy stories, this is typical exuberant, inventive Hurley which is something this rather mannered longlist needed.
If I had four more votes, they would be for:
- ‘Fabulous Beasts’ by Priya Sharma – There are quite a few stories on the longlist that are essentially family sagas sharpened by the intrusion of the fantastic and this is the pick of the bunch.
- ‘Wooden Feathers’ by T Kingfisher – Like ‘Fabulous Beasts’, this does something relatively simple but does very economically and effectively.
- ‘Liminal’ Grid by Jaymee Goh – Most of the family sagas are fantasy but this story gains a lot more purpose by moving into the future.
- Hungry Daughters of Starving Mothers’ by Alyssa Wong – Raw and a bit clumsy but also quite powerful.
My votes sort of accord with those of Nicholas Whyte but I’m looking forward to seeing what stories other people are going for. And I’m hoping to write more about the stories on the shortlist itself once it is announced.
In the comments to this 2008 review of Feeling Very Strange, I’ve been asked for some updated slipstream recommendations. Alas, my reading rate and memory have both declined in the intervening period so I can’t really make any recommendations. I did think it would be interesting to try and build up a reading list though. In collaboration with a secret slipstream accomplish, here are some initial thoughts:
- Rana Dasgupta, Solo (2009)
- Sarah Moss, Cold Earth (2010)
- Helen Oyeymi, Mr Fox (2011)
- Craig Thompson, Habibi (2011)
- Johanna Sinisalo, Birdbrain (2008, translated 2010)
- Ruth Ozeki, A Tale For The Time Being (2013)
- Nina Allan, The Race (2014)
- Deji Bryce Olukotun, Nigerians In Space (2014)
- Hanya Yanagihara, The People In The Trees (2014)
- Tom McCarthy, Satin Island (2015)
I should stress I have not read all of these works and would probably argue against some of them. But I now open the floor for comments.
I had been planning to review about Y Dydd Olaf by Gwenno for my editorial this time round but I’ve rapidly came to the conclusion I’m not qualified to write about it. If I wanted to put you off, I would describe it as a folktronica concept album sung in Welsh (and, occasionally, Cornish). But I don’t because it is great. Perhaps more alluring is the fact Y Dydd Olaf (The Last Day) is also the title of a 1976 science fiction novel by Owain Owain, nuclear scientist, poet and Welsh language activist. Alas, as far as I can tell it has never been translated into English. If any members have read a copy, please let me know!
The language barrier for the album initially seemed less insurmountable; a track like ‘Patriarchaeth’ sounds like it should be pretty self-explanatory and Saunders has given some fascinating interviews about where her music is coming from and the seed Owain’s novel has sown. So this gave me hope. And, after all, my favourite science fiction albums are all instrumental. This includes both actual SF soundtracks such as Tron: Legacy by Daft Punk, albums that merely sound like soundtracks such as Tarot Sport by Fuck Buttons.
The sequel to Tron gets a bad rep as just another example of Hollywood cannibalising itself and I can’t in good conscience describe it as a good film but the audio and visual design is stunning and the partnership with Daft Punk is inspired. The opener, ‘Overture’, is pure blockbuster bombast. Hubris clobbered by nemesis, indeed. This then slides into ‘The Grid’ before the sublime ‘Son Of Flynn’, each sketching out SF worlds in less than two minutes each.
Meanwhile ‘Surf Solar’, the opening track of Tarot Sport, is ten and half minutes minutes of escalating, unrestrained sense of wonder. For some reason, it always puts me in mind of space elevators; the optimism and drama of Arthur C Clarke’s The Fountains Of Paradise and gothic destruction of Chasm City by Alastair Reynolds. ‘Surf Solar’ is truly epic and listening to it whilst driving on the motorway is likely to lead to your license being endorsed.
Y Dydd Olaf is a rather different kettle of fish, both for its tone and its use of words. In fact, its surface is remarkably sunny for a dystopia, perhaps not surprising from an artist whose previous outfit was The Pipettes. But I say ‘surface’ since the aforementioned ‘Patriachaeth’ marries a bouncy electro beat and soaring vocals to the following refrain: “Patriarchy, and your soul is under siege”. But I only know that because I looked it up.
As the album progress, the production becomes increasingly harried by robotic noises of the sort that make The Middle Of Nowhere my default ‘bloody hell, the future’s out to get me’ album. There are even pwew-pwew laser noises as ‘Sisial Y Môr’ fades out. But what does it all mean? You can clearly pick up the rejection of purist folk revival and the embrace of a counter-narrative built around industrial heritage; simplistically, a sonic melding of north and south Wales. Still, a lot of context and hence nuance is striped out by my inability to understand the lyrics which means that, unlike the other examples above, I feel like I am missing half the picture.
So I can tell you ‘Fratolish Hiang Perpeshki’ is the standout track on the album and I that a big part of why I love it is Saunders’s phrasing but I can’t tell you what she is saying. Interestingly, however, the album comes with an accompanying suite of remixes including a radical re-interpretation of this song by TOY. This howling, violent version is perhaps more accessible for being entirely abstract (though certainly not better).
Despite all this equivocation, I can wholeheartedly recommend the album to you. If you only want to own one Welsh language… well, make it Mwng by Super Furry Animals. If you want to own two, buy Y Dydd Olaf. And I’m sure random music recommendations is exactly why you are a member of the BSFA. Still, this column was certainly less outright ill-conceived that one of my scraped editorial ideas to review the 2013 Tom Cruise film Oblivion based solely on its soundtrack. My notes include such baffling scribbles as “same setting as The Lion King?” and “Morgan Freeman = giant spider” so I think you can probably count yourself lucky.
- Twelve Tomorrows, edited by Bruce Sterling (MIT Technology Review, 2014) – Reviewed by Shaun Green
- Glorious Angels by Justina Robson (Gollancz, 2015) – Reviewed by Dan Hartland
- The Bees by Laline Paull (Fourth Estate, 2014) – Reviewed by Martin McGrath
- Rook Song by Naomi Foyle (Jo Fletcher Books, 2015) – Reviewed by Maureen Kincaid Speller
- Superposition by David Walton (Pyr, 2015) – Reviewed by Gary Dalkin
- A Borrowed Man by Gene Wolfe (Tor, 2015) – Review by Gary Dalkin
- The Madagaskar Plan by Guy Saville (Hodder and Stoughton, 2015) – Reviewed by L J Hurst
- The Empire Of Time by David Wingrove (Del Rey UK, 2014) – Reviewed by Graham Andrews
- The Seventh Miss Hatfield by Anna Caltabiano (Gollancz, 2014) – Reviewed by Sandra Unerman
- Dark Star by Oliver Langmead (Unsung Stories, 2015) – Reviewed by Martin McGrath
- Edge Of Dark by Brenda Cooper (Pyr, 2015) – Reviewed by Stuart Carter
- In Dark Service by Stephen Hunt (Gollancz, 2014) – Reviewed by Kerry Dodd
- The Night Mayor by Kim Newman (Titan Books, 2015) – Reviewed by Sandra Unerman
You are about to read a dirty word but please don’t turn the page, I promise it is only a passing reference. So, the Hugos… wasn’t that a great shortlist for Best Graphic Story? Ms. Marvel Volume 1: No Normal, The Zombie Nation Book #2: Reduce Reuse Reanimate and three Image titles: Rat Queens Volume 1: Sass And Sorcery, Saga Volume 3 and Sex Criminals Volume 1: One Weird Trick. After years of being an embarrassment, Best Graphic Story is now the least embarrassing shortlist on the ballot.
Whilst I was waiting for Image to release the second collected volume of Sex Criminals, I came across another one of their titles in a local charity shop. As it were. If Sex Criminals is an attention grabbing name, Sex: Summer Of Hard is about as subtle as an erect penis waggling in your face. However, the nakedness of its name does not immediately live up to expectations. Instead we have the first volume of a comic that appears to be asking the question, what would happen if Bruce Wayne hung up his cowl?
Simon Cooke is a 35 year old billionaire playboy. Up until seven months ago, he was also the Armored Saint. As is traditional, this superhero alter-ego was motivated not by inequality or poverty but rather the “complete and utter decadence” of the city. Did I mention that he is blond?
Having promised his Alfred figure that he will quit his night job, Cooke returns to Saturn City in order to begin running the family business. As you can imagine, the hard-working professionals who actually run the global company are thrilled. After a hard day doing nothing, Cooke decides to unwind by heading to an exclusive brothel. One which just happens to be owned by one of his ex-nemeses, Annabelle Lagravenese AKA supervillian Shadow Lynx AKA his ultimate unrequited crush. She is as incredulous as the reader:
Guess I’ll just have to take your word for it that you’re not here on some sort of bizarre reconnaissance mission…
Of course, that opens up an even more interesting possibility…
…your curious, aren’t you?
Not that I blame you. The way you were living, it stands to reason that once you hung up the helmet, the psychological floodgates would open up, big time…
Battle through all that highlighter pen – heavy handily and repetitively used throughout the book’s dialogue to convey emphasis – and you find that the comic is really answering another question: what if Bruce Wayne was a virgin?
It is certainly a novel premise but not exactly one the world has been calling out for. “Do you know how many times I’ve played drunk?” Cooke says to his lawyer at one point. The implication that he’s being playing the playboy seems to extend to the Playboy models seen on his arm. His lawyer encourages him to live the life for real: “Imagine if Tinto Brass made a film about Saturn City.” This drinking binge climaxes in a bizarre scene in which the wasted pair suddenly become irresistible to women. Of course they do.
Alongside this we get a lurid, conventional superhero story starring Cooke’s Robin figure, Keenan, who has now taken up the mantle. This comes complete with grotesque geriatric kingpin, one minute having sex with a prostitute and shooting her in the back of the head at the point of orgasm, the next pulling all a man’s teeth out and having him raped by a Pulp Fiction-style gimp. “The kind of stuff we used to get from Preacher,” notes a cover. This is intended as praise but instead is true in the sense it is primitive, adolescent schlock. As so often happens with comics, the conservative is presented as the subversive.
When Sex isn’t being offensive, it is being silly or just dull. It lacks all of the wit and subtly of its near namesake Sex Criminals. Which is a shame because superhero suppression is clearly fertile territory in which to sow a psychodrama but Joe Casey’s writing buries this potential and Piotr Kowalski’s newspaper strip-style artwork tramps down the soil. Instead we get Frank Miller’s take on Eyes Wide Shut which is every bit as unappealing as it sounds.
I’m surprised the Puppies didn’t nominate it for a Hugo.
Stay by John Clute (Beccon Press, 2014) – Reviewed by Paul Graham Raven
The Bone Clocks by David Mitchell (Sceptre, 2014) – Reviewed by Anthony Nanson
The Best British Fantasy 2014, edited by Steve Haynes (Salt Publishing, 2014) and Year’s Best Weird Fiction: Volume One, edited by Laird Barron and Michael Kelly (Undertow Publications, 2014) – Reviewed by David Hebblethwaite
- The Way Inn by Will Wiles (Fourth Estate, 2015) – Review by Gary Dalkin
- The Peripheral by William Gibson (Viking, 2014) – Reviewed by Kerry Dodd
- Langue[dot]doc 1305 by Gillian Polack (Satalye Publishing, 2014) – Reviewed by Shana Worthen
- Saint Rebor by Adam Roberts (NewCon Press, 2015) – Reviewed by Ian Watson
- The Galaxy Game by Karen Lord (Jo Fletcher Books, 2014) – Reviewed by Sandra Unerman
- The Grasshopper’s Child by Gwyneth Jones (TJoy Books UK, 2014) – Review by Ian Sales
The Invisible Library by Genevieve Cogman (Tor UK, 2015) – Reviewed by Cherith Baldry
Folk’d by Laurence Donaghy (Blackstaff Press, 2013) – Reviewed by Susan Oke
The Good Shabti by Robert Sharp (Jurassic London, 2015) – Review by Gary Dalkin