Why You Need to Read: “Over the Woodward Wall”

The Up-and-Under, #1: Over the Woodward Wall

By: A. Deborah Baker

Published: October 6, 2020

Genre: Fantasy/Children’s Literature

            Because of their houses, Avery’s and Zib’s both, were on the side of the street where the forest loomed, there were no corners: they lived, unwittingly, only three doors down from one another. But across the street from them was another road, right between the one where Avery walked to school and the one where Zib walked to school. They approached it, Avery walking with quick, precise steps, Zib skipping and strolling and sometimes outright running, and they reached their respective corners at the same time, (One: The Same Ordinary Town). 

            Creativity and imagination are used interchangeably when fiction writers—especially genre fiction—are praised for their stories. The stories presented by these authors remind us how infinite creativity and imagination are to everyone else. The range of such talent goes from authors who devote their entire lives constructing 1 world with 1 extensive timeline, to authors who can juggle multiple worlds with their own set of characters, timelines, and—at times—rules about magic. Seanan McGuire is an example of the latter, and this time she is writing as A. Deborah Baker with Over the Woodward Wall, the first book in The Up-and-Under series, which is mentioned in her novel, Middlegame.

            The protagonists are 2 children—a boy and a girl—who are the same age and live 3 doors down from each other, but whose paths have crossed barely until now. Hepzibah, or Zib, lives with her “eccentric” parents, and Avery (Alexander Grey) lives with his “efficient” parents. One day, at the same time for the same reason, both children take a detour to school, come across a wall, climb over it, and find themselves in a new world. Avery and Zib—who focus more on their differences over their similarities—must travel to the Impossible City on the Improbable Road so they can return home. During their journey they meet: a crow, an owl, a queen, a page, and a king. Throughout their journey, both Avery and Zib must learn about each other, learn how to get along with each other (they are young children), and learn about the Up-and-Under—the world they entered unknowingly. The protagonists are as resilient as children can be, but they cling on to the rules of our world as they move away further from it. Avery and Zib are not complex, but the other characters are, which makes the protagonists more intriguing. 

            The plot of this book is straightforward in its own way. Two children stumble into a world that isn’t familiar to them (or, to us), and in order to return to our world, they must meet with the ruler who lives in the center of it. Hence, their adventure begins. Along the way, Avery and Zib meet the inhabitants of the Up-and-Under. Each meeting with each denizen is a subplot within the story. During these encounters, the children learn more about the world and its rules. Each subplot develops alongside the plot as the children travel closer to the heart of the world they stumbled into by accident.

            The narrative is presented from the points-of-view of both Zib and Avery in the present. In addition, the story is told in 3rd person omniscient which is relevant to how the story is being told. Given that the protagonists are young children, it would make sense for the narration to be from a figure who knows more about what is happening because otherwise, the story would be confusing for everyone. Not to mention, this type of narration makes Zib and Avery reliable narrators. Their streams-of-consciousness—and, the narrator’s—allows the story to be followed easily. 

            The style Seanan McGuire uses as A. Deborah Baker is both an allusion and a tribute to classic children’s literature, particularly adventure stories. The word choice and the sentence structure expands the audience of readers (children to adults), while the story itself will remind other readers of books written by Lewis Carroll, L. Frank Baum, C.S. Lewis, Holly Black, and others. However, this book tells its story in a way that is can be distinguished from the series by the authors mentioned. The mood in this book is improbable—which comes directly from the book. All of the events throughout this adventure should be unlikely, but occur because the Up-and-Under follows the rules of its world. The tone in this book is eccentric. From when we first meet the protagonists to the end of this book, EVERYTHING deviates from the norm from the protagonists’ actions to the Improbable Road.

            The appeal for Over the Woodward Wall have been positive. That being said, there has been some confusion about The Up-and-Under series. According to the author, this series is mentioned in Middlegame, but there is NO (direct) connection or tie-ins between the 2 series. This means that both series can be read and enjoyed separately. So far, this series belongs in both the speculative fiction and the children’s literature canons. Fans of Alice’s Adventures in Wonderland, Through the Looking Glass, the Oz series, and The Spiderwick Chronicles should read this series because they will enjoy it the most. The next book in this series, Along the Saltwise Sea—which will be released later this year, will pick up where the first book ended.

            Over the Woodward Wall is a brilliant series based on the Hugo nominated book, but you don’t have to read Middlegame to enjoy this story. A. Deborah Baker presents a story that is familiar to readers, yet it manages to stand on its own. Fans of the genre shouldn’t hesitate to read this book, and fans of Seanan McGuire should not wait any longer to read this book. The story is a delightful throwback to children’s (fantasy) adventure books. Seanan McGuire’s talent for storytelling is as lengthy as The Improbable Road.

My Rating: Enjoy It (4.5 out of 5). 

Why You Need to Read: “Chaos Vector”

The Protectorate: Book 2: Chaos Vector                               

By: Megan E. O’Keefe                                                           Audiobook: 19 hours and 5 minutes

Published: July 28, 2020                                                      Narrated by: Joe Jameson

Genre: Science Fiction/Space Opera

            “It’s been two years. Why would things escalate now?

            Graham smiled slyly. “Because you’re back, kid. Two years and some change was about the time you disappeared, about the time Icarion lost control of Bero. Nakata, Kenwick, Lavaux—they’re all tangled up somehow, and Harlan and his crew crossed paths with that lot,” (Chapter 6: Can’t Count on a Spy). 

            Cliffhangers have always been an interesting concept in storytelling. I’ve mentioned in previous posts that cliffhangers are excellent ways to keep the audience engaged in the narrative. There are several cliffhangers the storyteller can use, but depending on the narrative, one fits better than others. In the case of Megan E. O’Keefe and her The Protectorate trilogy, Chaos Vector—the sequel to Velocity Weapon—picks up immediately after the revelations in the first book. And, that includes both the plot and the pace.

            There are 4 protagonists in this book. First, is Sanda Greeve, who went from “Hero of Ada Prime” to suspected murdered of a Keeper. Now, she’s on the run to clear her name after a brief reunion with her family and to discover what is in the Keeper Chip that is embedded in her skull. After learning some about one of her fathers’ past, Sanda joins up with Arden, Nox and everyone else in Harlan’s crew in order to solve 2 mysteries with 1 person of interest, Rainier Lavaux. Second, is Biran Greeve, Sanda’s younger brother and one of the Keepers. Life as a Keeper begins to catch up with Biran as he does damage control, first for his sister and then for the Keepers; and, he begins his investigation into the missing Keeper, the stolen Keeper Chip, and The Light of Berossus, all while trying to figure out who among the other Keepers are his allies. Third, is Jules, whose circumstances and previous actions now have her working for Rainier Lavaux. She hides herself from her friends as she does everything she can to save one of them, but is she being played? Last, is Tomas Cepko, the agent from Nazca whom Biran hired previously. Now that his mission is complete, Tomas is given a new assignment; and, it’s Rainier Lavaux. All of the protagonists and the other characters are beginning to comprehend the effect their recent actions have on one another, for the rest of Ada Prime, and the Icarions. Not to mention, what happened to Bero? 

            The first plot in this novel carries over from the first book, only now there are more questions than answers. But, everything revolves around Rainier Lavaux, the wife of the murdered Keeper. Somehow, she knows about both The Light of Berossus and the Keeper Chip; but, which one will she go after? And, why is she so interested in Jules? The second plot revolves around the Keeper Chip lounged in Sanda’s skull. Sanda is on a mission to discover the contents on the Chip before Ada Prime’s enemies track her down and reclaim it. Meanwhile, Biran looks into which Keeper went missing and why that Keeper’s Chip stands out more than the other ones. There are 2 subplots, which develop alongside the 2 plots which enhances and expands the narrative. The first one focuses on Jules’ efforts to thwart Rainier Lavaux’s plans, which pulls Jules further into an intergalactic conspiracy that she never would have imagined getting involved in. The second subplot delves into the events of the past which may or may not have impacted the present. As everything converges, it begins to make sense. 

            The narrative is more straightforward than in the first book. There are 2 years that the narrative focuses on: Prime Standard Year 0002 (the past) and Prime Standard Year 3543 (the present). All of the narratives are told in the 3rd person limited in the present tense from the points-of-view of the protagonists. Unlike the previous book, the sequence of events allow the narrative to be followed easily by readers (and by listeners). The streams-of-consciousness of the protagonists not only give the audience a complete understanding of the revelations, but also make the characters reliable narrators.

            The style Megan E. O’Keefe uses in Chaos Vector flows from Velocity Weapon. There is a political conspiracy that is starting to unravel, but the majority of the citizens seem focused on the continued conflict between 2 feuding nations. This conflict reflects the mood of this novel which is distraction. The leaders of Ada Prime do not want their citizens to worry about “threats,” so they make announcements about falsehoods to keep everyone “calm” as they continue to work on a cover-up instead of addressing the conflict. This leads to the tone of this book which centers around the idea of duty. Some of the characters are more willing to follow up on their obligations than others including their superiors. It remains to be seen whether or not the characters’ choices will have negative consequences for the rest of the galaxy.

            The appeal for Chaos Vector have been positive. Fans of Velocity Weapon will be pleased to know that the author presents a strong and fast-paced sequel to this familial space opera. Science fiction fans and anyone who is interested in an intriguing space opera should read this series, especially with the third and final book in the trilogy—Catalyst Gate—releasing this summer (2021)! If you cannot read the book, then you can listen to the audiobook like I did. Once again, Joe Jameson does an excellent job narrating this story, and I hope he does the next book!

            Chaos Vector is a strong and an entertaining sequel to this underappreciated space opera. Both the characters and the plot develop as answers lead to more questions. Everything Megan E. O’Keefe has written in her story guarantees a promising conclusion to this trilogy! Don’t wait any longer, start reading The Protectorate

My Reading: Enjoy It (4.5 out of 5). 

Why You Need to Read: “Fugitive Telemetry”

The Murderbot Diaries, #6: Fugitive Telemetry

By: Martha Wells

Published: April 27, 2021

Genre: Science Fiction

            But whatever, now I just needed intel for threat assessment so I could figure out if GrayCris had killed the dead human or not and go back to my happy boring life on Preservation Fucking Station, (Chapter Three).

            I LOVE MURDERBOT! And, I’m so happy that both Martha Wells and TorDotCom continue to write and to release stories about this snarky, astute and loyal rogue SecUnit. Following up on the success of the Murderbot novel, Network Effect—which, I haven’t read yet—fans get to read, Fugitive Telemetry, the next novella in the series, whose story takes place AFTER the events in Exit Strategy and BEFORE the events in Network Effect

            Murderbot, the rogue Security Unit, is starting its new life on Preservation Station after rescuing Dr. Mensah from GrayCris. However, that is easily said than done. Dr. Mensah is experiencing P.T.S.D., certain members of her team still don’t trust Murderbot—for example, it can’t use its name because it might scare everyone off—and, oh right, there was a murder of human and Station Security is trying to figure out what happened. Murderbot is worried that GrayCris might have something to do with it and decides it’s going to investigate the scene so it can go back to adapting to its new life. Whether or not it wants to admit it, Murderbot wants to continue protecting Dr. Mensah and her team. It would never admit it, but it feels both welcomed and needed by them.

            The plot in this novella focuses on the murder mystery at Preservation Station. Who was the dead human? Who wanted him dead? Is there a connection between the dead human and GrayCris? Regardless, Murderbot is willing to work with Station Security—through its own methods and strategies—to put its humans at ease. The subplot in this novella is Murderbot becoming acclimated with its new life. While it is no longer a SecUnit for hire, Murderbot is not one to relax—although it wants to very much. In order to adapt to its new life, Murderbot has to compromise with Station Security, Dr. Mensah, and its instincts. 

            The narrative is told from Murderbot’s point-of-view in the past tense. The name of the series is more than a hint as to how the narrative is presented, which is in the format of a report that recounts all of the events after they occurred. Given that Murderbot is an A.I., the narrative includes the sequence of events based on its stream-of-consciousness, which makes it a reliable narrator. This brilliant narrative technique presents a straightforward and hilarious narrative that can be followed by readers easily.

            The style Martha Wells continues to use in her Murderbot series reminds us that diaries are private for a reason. Murderbot keeps track of his actions and activities in a way sci-fi fans believe an A.I. would when necessary. And honestly, if all reports were written the way the author has written for her protagonist, then they all would be just as entertaining to read. The mood in this novella reflects a dark comedy—or, a style of comedy that points out a subject matter that is too serious to present straightforward. There is a “dead human” and Murderbot has no intention of using euphemisms because everyone else is “upset” about it. The tone reflects agency, especially Murderbot’s. Say whatever you want about it, but Murderbot knows A LOT about humans, which is why it is so reliable to its allies. 

            So far, the appeal for Fugitive Telemetry have been positive. Several other readers and fans have given this novella 4- and 5-star reviews. This latest novella is an excellent addition to the series and the science fiction canon. And, with Network Effect winning this year’s Nebula Award for Best Novel, fans can relax because they are not the only ones who love this series. In fact, we can expect at least 3 more Murderbot books in the future. Where will those books fall within the series? We’ll have to wait and see.

            Fugitive Telemetry is a humorous murder mystery story that happens to be about a prickly A.I. who refuses to admit that it cares about humans. Fans can rest easy because neither the author nor her protagonist have lost their spark in this latest entry. Newcomers to the series have no idea what they’re in for and they should be prepared to binge read the series, and then wait for the next book with the rest of us. Now, I have to read Network Effect!

My Rating: MUST READ IT NOW (5 out of 5)!!! 

Thank you TorDotCom for sending me an eARC of this book!

Why You Need to Read: “Shards of Earth”

The Final Architects Trilogy, #1: Shards of Earth

By: Adrian Tchaikovsky

Published: May 27, 2021 (U.K.)/August 3, 2021 (U.S.)

Genre: Science Fiction

            The Architects had discovered that humans existed. The war, that had raged for eighty years and cost billions of lives, had been fought without the knowledge of one of its parties. And on becoming aware of humanity, the Architects had simply vanished. Nobody knew where they went. Nobody knew where they had come from or why they’d done what they did. They had never been seen again, (Part 1: Roshu, 3: Solace). 

            There is always that one author whose books you try to make time to read because you’ve heard nothing but excellent things about their books. However, for some reason, you buy, and you start reading one of their books, and for some reason, you don’t get to finish it. So, what do you do? Well, in my case, you get asked to participate in a book tour for the author’s upcoming novel, Shards of Earth, the first book in The Final Architects Trilogy. Finally, I could delve into this author’s creative mind. 

            The main characters in this novel are the crew of the ship, Vulture God, scavengers who travel throughout the galaxy and perform jobs for payment. The captain of the Vulture God is Rollo Rostand, but one of the protagonists is the ship’s navigator, Idris Telemmier, who is an Intermediary, a genetically modified individual who was used as a weapon to fight against the Architects 40 years ago. Idris still suffers from PTSD and keeps both his past and his abilities to himself. That is until Myrmidon Executor Solace, a Partheni soldier and agent, tracks Idris down with a “proposition” for him. Idris knows he can’t evade Solace forever, but before he can confront her, the Vulture God accepts a job no one else wants. The good news is the Vulture God completes the job. The bad news is the crew stumbled upon something HUGE, which forces them to become fugitives. Another protagonist is Havear Mundy, an Intervention Board agent, who has been tasked with tracking down the crew of the Vulture God to learn of their “activities.” The rest of the crew—Kris (another protagonist), Olli, Barney and Medvig—develop alongside Idris, Solace and Havaer. While they are all different races and have separate histories, they are terrified of the Architects.  

            The plot of this story focuses on the long-term aftermath of an alien invasion of a different sort. The Architects invaded the galaxy, but instead of simply dominating humans and the other races, they destroyed planets in a way which leaves the survivors shaken. After several decades, the Architects left and the societal galaxy has changed, but there have been signs that the Architects have returned. The question is: should the news go public? Not to mention, who is left that knows how to fight them off? There is one subplot that deserves the most attention and that is the various factions—both political and religious—who are fighting for dominance and have their own views about the Architects and the rumors of their “return.” Between the cults and the stereotypes all of the races have about each other, you are left wondering how they all would survive a 2nd invasion. This subplot develops alongside the plot at an appropriate rate. This is because the world is fleshed out as the story develops.

            The narrative is told from the points-of-view of Idris, Solace, the other crew members of the Vulture God, and Havear in the 3rd person limited. This means the reader knows what is happening to the characters from one of their perspectives. While there are moments where the characters present their memories and their past experiences, the narrative is presented through their streams-of-consciousness in the present; and, their experiences and knowledge of their race and their history make them reliable narrators. Yes, the narrative is heavy at times, but it can be followed by the reader(s). 

            The style Adrian Tchaikovsky uses for Shards of Earth is part hard science fiction and part space opera. Readers can tell this story is a space opera—the mention of spaceships, galaxies, space battles, etc.—from the Prologue. The hard science fiction becomes noticeable when readers learn about the genetics of each race and the ecosystems of each planet. Yes, it is A LOT of information and scientific terminology, but the world-building that comes from it presents a believable galaxy (could it be our future?). Plus, there is a Glossary which readers can consult while they read the book. In addition, the author’s take on the factions as part of the war’s aftermath is believable. Think about it, during the last 20 years of global events—including the COVID-19 Pandemic—how much has religion and politics changed? In fact, it’s creepy how accurate the cult following of the author’s factions reflect the ones in our present day. The mood in this novel is an ominous one because the signs of the threat are there, and the individuals must decide on what they are going to do about it. The tone in this novel focuses on the self-imposed options of all of the characters within the story. Many of the characters in this story come from races and/or planets where certain “orders” are expected to be followed by those in charge. However, when “bigger” things are at stake, shouldn’t there be a choice for everyone regardless of societal expectations? In fact, why is free will such a difficult concept for some of these factions and races? 

            So far, the appeal for Shards of Earth have been positive. I say this because this book have been released in the U.K. with an upcoming release in the U.S. later this summer. As I mentioned earlier, I am participating in a book tour, so I received an eARC of this book. I can tell you that the hype surrounding this book is real, and fans of Adrian Tchaikovsky’s previous books will appreciate this one. And, as a fan of both Megan E. O’Keefe and Martha Wells, I highly recommend this book. Yes, this is the 1st book in a trilogy, and with the way this book ended, you’re going to be anxious to read Book 2 when it comes out. While there were moments where familiar sci-fi tropes appeared, the story was worth the read.

            Shards of Earth is an informative and an exceptional story about alien invasions, feuding factions, and eugenics. I’m glad this book tour gave me the opportunity to read this book in advanced, which allowed me to complete a book by Adrian Tchaikovsky! So, which of his books should I read next as I wait for the next book in this series?   

My Rating: Enjoy It (4 out of 5).