Why You Need to Read: “Black Sun”

Between Earth and Sky, #1: Black Sun

By: Rebecca Roanhorse

Published: October 13, 2020

Genre: Fantasy/Folklore/Historical Fantasy

            This year, the solstice will be marked by the rarest of celestial occurrences. As the year divides into old and new, so also will the earth, sun, and moon align in the Convergence. Over our very heads, we will witness order move to chaos and back to order again. So it is with the heavens, so it will be with Tova. We will bear witness to the cycle of evil rising in darkness to be battled back by goodness and light when the sun prevails, (Chapter 9). 

            Remember when I said that I read Trail of Lightning, the first book in The Sixth World series, because I wanted to determine for myself whether or not the author was as big of a deal as the speculative fiction genre community made her out to be? And, that the author’s book was worth reading? Well, if Trail of Lightning was part of Rebecca Roanhorse’s debut—the other being her award-winning short story, “Welcome to Your Authentic Indian Experience”—then, Black Sun, the first book in the Between Earth and Sky series, cements her status as one of the must-read authors within the genre. 

            There are four protagonists in this novel. First, is Serapio, the son of an Obregi Lord and a foreigner. The foreigner is his mother, Saaya, who along with three others, prepare Serapio towards his destiny of his transcendence to godhood. Second, is Xiala, a female sea captain and an exile from the Teek tribe. She is hired to bring cargo to Tova, one of whom is Serapio. The two exiles form a friendship during their journey to Tova. Along the way, Xiala learns about Serapio and realizes that his magic is just as powerful and as lethal as hers. Third, is Naranpa, one of the four priests in Tova—and, the head of the oracle society. On top of all of her responsibilities, she must deal with several political conspiracies all at once, including: several assassination attempts on her life, rumors surrounding the death of one of the matrons to one of the four tribes, prophecies surrounding the return of the crow god, rumors of what is to come on the winter solstice, talks of revenge for an event of the past, and the plot to have her removed from her seat of power. With all of these political conspiracies surrounding her, Naranpa doesn’t know who to trust. This includes Iktan—head of the knife society—one of the other four priests and Naranpa’s friend. The fourth and final protagonist is Okoa, the son of the Carrion Crow matron and future leader of the Shield, a military troop who serve as the matron’s bodyguards. After his mother’s death, Okoa rises to his role. During the transition, he uncovers two conspiracies. One is about his mother’s death, and the other is about the cultists from his tribe who believe their god can be raised and returned to them so that past wrongs can be paid back through divine retribution. All of these protagonists are complex people who find themselves being responsible for a group of people, and their choices affect those around them and everything they care about. As “The Day of Convergence” approaches, each of the protagonists develop into the individuals their roles demand of them to the point where not even the secondary characters can divert them from their path. 

            The plot of this novel involves the events that lead up to “The Day of Convergence,” which falls on the winter solstice. The plot develops through each of the protagonists as they uncover the mystery of what is to occur on that day, and whether or not it can be prevented. Serapio travels to Tova in order to fulfill his destiny of becoming a god, as per his mother’s actions. Naranpa is doing everything she can to remain the Sun Priest of the Celestial Tower while uncovering a plot of revenge against the Faith for a treacherous transgression from the past which left hundreds dead. Okoa is trying to unravel the events that led up to his mother’s death while trying to shake off the unwanted attention of his tribe’s cultist group. And, Xiala is trying to keep her powers in check while deciding whether or not to bring the apocalypse into Tova. While these appear to be four separate plots, they converge into one unforgettable moment when all of the protagonists must decide on acting on their destiny, or doing the right thing. There are two subplots within this novel which not only explains the plots, but also the motivations for the actions that take place at the novel’s end. The first one is vengeance. Vengeance, while mentioned from time-to-time, plays a large role in the story. Usually, the reason for an act of revenge depends on those who want it; but, in this case, everyone is expecting it. It all depends on who is involved and when the act will be carried out. The second subplot involves religion and magic. Similar to our world and other fantasy worlds, there are a few religions, each with its own rituals and practices. Some of this involves magic and how those in the out-group view that magic as opposed to their magic. Some of it is accepted, some are based in superstition, and a lot of it is forbidden; yet, it is all real and powerful, especially when done correctly. These subplots play a huge role in the plot development and must not be overlooked by the reader(s).

            The narratives are told from the points-of-view of the four protagonists. And, they are in third-person limited, which means readers know only what each protagonist is thinking and is experiencing at one time. Even when two characters are together, we are limited only to one character’s P.O.V. The sequence of the narration jumps back-and-forth from the start of Serapio’s transcendence to “The Day of Convergence” to the aftermath. While the sequence might come off as confusing, it is not because readers learn of all of the essential events leading up to the winter solstice from multiple P.O.V.s. So, while the narration moves from past to present, it follows a stream-of-consciousness of each protagonist so that we gain a better understanding of them, their culture, and their motivation of their actions. This presents the readers with a reliable narration (from each protagonist) that can be followed easily.

            The style Rebecca Roanhorse uses for her new series is amazing and informative. Once again, she draws on inspiration from her Native American heritage; but this time, the author draws on inspiration from Yucatec Mayan, Tewa, Polynesian and pre-Columbian cultures of the Americas, many of which continues to be glossed over in school curriculums worldwide. Some of what I recall of ancient pre-Columbian societies (i.e. Mayan, Aztec, Inca, etc.) involve rituals and ceremonies to the gods, and their calendar, which was accurate. History and folklore aside, the use of foreshadowing and of characterization enhances the story to the point where readers known what is going to happen and why, and that there was no way to prevent the events from happening. By the time everything is revealed, the protagonists have made their decisions, and what is going to happen, happens. This leaves the reader(s) stunned, yet anticipating what will happen next during the aftermath of those events. It’s a shocking and an impressive move by the author. The mood in this novel is preparation. Everything that happens in this novel revolves on the winter solstice. To many, the day marks a celebration. To the protagonists and the other characters involved, it’s a day of dread, retribution, and change. The tone of the novel is fate. Without getting into too many spoilers, two of the protagonists were predestined to be part of “The Day of Convergence,” but an argument can be made that they could have chosen to resist that fate at any given time before that day. In fact, the choices of the other two protagonists should be noted as well because they all have no choice but to live with the decisions they make leading up to the winter solstice. I read an eARC of this book, and it did NOT come with any maps of the setting. Luckily, Rebecca Roanhorse provided some of the maps through Tor.com, which made picturing the mentioned towns and the distance between the cities easier.

            The appeal for Black Sun is already positive. So far, literary critics and other authors have praised Rebecca Roanhorse for the story she has written. Fans of the author’s urban fantasy series will be impressed with how the author can fuse her heritage into one story of the past and another story of the future. Not to mention that this book is an amazing addition to the fantasy canon, and will leave readers anticipating the second book in this series. Fans of historical and/or mythological fantasy—Tasha Suri, S.A. Chakraborty, Evan Winter and Silvia Moreno-Garcia—should read this book as soon as they are able to, they will enjoy it a lot.

            Black Sun is proof that Rebecca Roanhorse can weave her talent and her heritage into powerful stories over and over again. If you need a reason to read one of her books, or if you want to read a fantasy series that will take your expectations to another level, then you really should read this book. It has everything from magic and prophecies to political power struggle based on a moment in human history, in which it all could have happened, but its setting is a fantasy world. I don’t know about you, but while I’m waiting for Book 2 of this series, I’ll be reading Storm of Locusts, Book 2 in the author’s other series. Enjoy!      

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

Speculative Fiction Books that Kept My Interest in the Genre

Please note the title of this post refers to books! I will write a separate list containing movies, TV shows and video games related to speculative fiction sometime in the future. And, expect that list to consist of “originals,” not just media adaptations of books. Also, these are NOT my favorite speculative fiction books of all-time! I’m not even sure I can make a list without changing it every year; hence why I do an annual list.

            Everyone has a favorite genre of literature (and films, video games, etc.), but has it occurred to you why and how that came to be? Did someone introduce you to the genre? Was it an author’s book—or, several of them—that hooked your passion for the genre? Was it a pop culture moment? In other words, do you remember the moment—or, the story—that got you into your favorite genre(s)? This question can be asked of any format or medium, but I thought about which books got me into speculative fiction and how it influenced my love and my appreciation for the genre. It did take some time to think back on what I’ve read since I was a kid, but I realized that some of the books released in the past decade have been just as influential as the ones I’ve read growing up.

            I’ve managed to compile a list of 10 books/series that influenced my love for the speculative fiction genre. Please know that I listed the books in the chronological order I read them regardless of the book’s publication date. The reasons for this is obvious. I hope you read and enjoy them as much as I did. 

  1. Animorphs by K.A. Applegate

I’m a 90s kid, and there were several book series for kids—The Babysitter’s Club, Goosebumps, etc.—but, I remember when the debut book in this series was released. I was 10 years-old, still in elementary school, and intrigued by the book’s cover: a boy changing from human to animal (a lizard). The story was about a group of friends who are given powers to change into animals by a dying alien in order to fight an invasion against a race of hostile aliens. This sci-fi series was the first book series in which I had to learn how to wait patiently for a book to be written and released when I wanted to devour the next one immediately. At the same time, this series introduced me to the blending of both the science fiction and the paranormal genres. Even though I didn’t know what paranormal was at the time, I knew this was different from other alien media I consumed with an explanation of D.N.A., permanent consequences, and the difficulties in balancing family, school, and saving the world. Animorphs was my first obsessive book series. 

2. Haroun and the Sea of Stories by Salman Rushdie

I’m in 9th grade and one of many students who participated in an optional reading course through our English class. Two of my best friends participated in this course with me. However, the three of us chose different books to read during the second quarter. I can’t remember what one friend chose, but my other friend was upset with us for not selecting The Once and Future King by T.H. White. Why? Well, the description of Haroun and the Sea of Stories by Salman Rushdie was more intriguing to me: a boy whose father loses the source of his stories, and he’s a storyteller. The boy, Haroun, goes on a journey to find out what happened to the “source” of the stories. The story is a twist on fairy tale tropes and fantastical elements with rounded characters and lots of humor. It wasn’t until I was reading The House of the Spirits by Isabel Allende (in 12th grade) that I learned about magic realism and Salman Rushdie’s contribution to the genre. Haroun and the Sea of Stories is one of my favorite books I read for (grade) school. And, before you ask, no I haven’t read The Once and Future King in its entirety, yet. 

3. His Dark Materials by Philip Pullman

I’m going to say something controversial: Harry Potter is not my favorite (fantasy) series of my childhood. Don’t get me wrong! I love that series and what it’s done for the speculative fiction genre, children’s and YA literature, the popularity of fantasy, and the reading and the writing communities. Yet, there was another series that came out at the same time and introduced me to the blending of fantasy, science and religion. I read The Golden Compass by Philip Pullman after reading Harry Potter and the Sorcerer’s Stone by J.K. Rowling, and I found myself enjoying Lyra’s story more than Harry’s. I want to say it’s because the flawed characters were more believable, the aspects of science and philosophy in a fantasy worked with the plot, and the idea of “other worlds” was intriguing to me. I hadn’t read C.S. Lewis’ or Madeline L’Engle’s series yet, so Philip Pullman was my introduction to portal fantasy, and I’ve been obsessed with them since reading His Dark Materials trilogy. I’ve read The Book of Dust already, and I’m looking forward to reading the rest of the companion trilogy to His Dark Materials; and, I’m excited for Season 2 of the television series, too! 

4. The Modern Faerie Tale Trilogy by Holly Black

I still remember reading Holly Black’s debut novel, Tithe. The story is an urban fantasy about how a teenaged girl realizes she’s been interacting with faeries since she was a child, and what that means for her and her family and her friends. Yes, I read one of Laurell K. Hamilton’s books—her debut novel, Nightseer—so I had a fair idea of what to expect from fae fantasy, but urban fantasy blends the original variants of fae stories with mundane society; and, the fae are NOT nice beings. Fae are not what they are according to Disney movies. They don’t “play fair” and are usually in it for themselves. It makes for an interesting story combining folklore and modernity. I would meet Holly Black at the BookExpo I attended that year, which was my first one; and, I met Cassandra Clare there, too! I read and enjoyed the rest of the trilogy, and Holly Black’s other books, especially The Air of the Folk trilogy. This series was my gateway to reading other books in that genre, especially ones by Seanan McGuire, Ilona Andrews and Amelia Hutchins. 

5. The Twelve Kingdoms by Fuyumi Ono

Yes, there is a fantasy series by the same name by Jeffe Kennedy, but the name of the series is where the similarities end. The 90s saw an expansion of anime series: Pokémon, Gundam Wing, Sailor Moon, etc. Manga and books were being translated and imported to the U.S. The Twelve Kingdoms: Sea of Shadow was translated and released after I graduated from college, and I was introduced to Asian inspired dark fantasy. The story follows Yoko Nakajima, a high schooler who lives a mundane, yet lonely life. To make matters worse, she stands out due to her red hair—she is the biological daughter of Japanese parents. One day, Yoko is abducted at her school, transported to another world, abandoned and left to fend for herself in a new world. This series introduced me to a fantasy world in which the “traveler” is not welcomed as a “hero” and survival is based on realistic situations. The theme of xenophobia in fantasy is presented in a way that will make you think about what could happen in other fantasy worlds, especially when—SPOILER ALERT—the protagonist chooses to remain in that world instead of returning home, and how and why such a choice is made. So, if there are any fans of Seanan McGuire’s Wayward Children series, then you’ll love this series, too. 

6. Monstress by Marjorie Liu, illustrated by Sana Takeda

Growing up, I read comics, graphic novels and manga, and many of them were recommended by friends and relatives. In fact, that’s how I learned about Neil Gaiman’s Sandman series. However, for several years, I didn’t read as many graphic novels as I wanted. I didn’t lose interest, but at the same time, I didn’t know what to read. I did take a course about graphic novels in college, but I took another one when I was in grad school—where I read Watchmen—and learned about the format and its growing influence, especially for the memoir and biography genre. At the same time, two of my friends and classmates introduced me to recent bestsellers and new releases. Not only did I begin to read Joe Hill’s Locke & Key series and Saga by Brian K. Vaughn, but a new series with an eye-catching cover intrigued me: a woman standing in front of a brass door with a matching mechanical arm. Monstress by Marjorie Liu and illustrated by Sana Takeda is a dark fantasy in which a young woman searches into her mother’s research and her lost memories as she deals with demons both real and inner. The artwork will engross you into the world both the author and the artist present. While describing the series as a “visual fantasy” isn’t 100% accurate, it is a way to get speculative fiction fans into reading this graphic novel series. 

7. The Broken Earth Trilogy by N.K. Jemisin

What can I say about this trilogy that hasn’t been said by everyone else who has read it, including myself? This Hugo Award winning series—yes, it swept the Hugos for Best Novel in consecutive years—is a gateway into the future of the speculative fiction genre and the type of stories that can be told withing the genre. N.K. Jemisin not only writes a brilliant science fantasy series, but also incorporates the atrocious practices humanity continues to perform, which forces readers to consider the realities of human society and its future. For me, this series introduced me to modern speculative fiction and the new set of expectations that it brought to the entire community! Jemisin’s contemporaries: Nnedi Okorafor, Tade Thompson, Jesmyn Ward, Tochi Onyebuchi, P. Djèlí Clark, Marlon James, Rivers Solomon, etc.—all have taken familiar tropes of the genre and presented readers with new methods of telling and writing these stories. If you haven’t done so already, then go and read this amazing trilogy!

8. Winternight Trilogy by Katherine Arden

This is not the first folklore retelling I’ve read, but it’s one of the most beautiful written ones I’ve come across; and, it brings a new appreciation for the season of winter. This series follows Vasya as she grows from child to adolescent to adult in a patriarchal society during a transition where “old traditions” are fading and being replaced with a “new” religion. Vasya fights to maintain the old traditions while Russian society undergoes several changes. Folklore is the cultural and the societal traditions that are passed along from generation to generation through a web of communication; and, history plays a role in folklore as well. Katherine Arden presents a balance amongst folklore, history and fantasy in this trilogy. This series will remind speculative fiction fans of the beauty within the genre and how it can remain from beginning to end. 

9. Vita Nostra by Marina and Sergey Dyachenko

While this is the first book in The Metamorphosis series—it’s the only one translated into English so far—it’s a great and mind-blowing introduction into the metaphysical genre. Not to mention, it takes the trope of the “magic school” and provides a more realistic, yet twisted story of what could occur at such a place. This story will make you think of Alan Moore and your concept of reality. In addition, you’ll start to think of these “magic schools” as drafts instead of opportunities. Other genres in speculative fiction has readers asking questions about the world around them, but metaphysical fiction has readers question the reality of their existence. The difference is it seems that a limited population experiences the metaphysical compared to fantasy, science fiction, paranormal, magic realism, etc. This series and genre will make you question everything!

10. The Gutter Prayer by Gareth Hanrahan

Although I’ve heard enough about Joe Abercrombie, Peter McLean, John Gwynne, and Anna Smith Spark enough to buy their books, it was Gareth Hanrahan’s debut novel, The Gutter Prayer, which introduced me to the grimdark subgenre. Yes, I’m a reader and a fan of A Song of Ice and Fire series by George R.R. Martin, but to me that series is more of a historical low-fantasy series rather than straight grimdark (I could be wrong about that). This book introduced me to characters who are all “gray” with “reasonable” motivations who strive towards those goals as their lives and the world fall to pieces. As grim, dark and sad as the characters and their stories are, it continues with the knowledge that life goes one no matter how many people die and are resurrected and die again. This book and its contemporaries represent the harsh side of a fantasy world that reflect ours. 

So, there is my list of speculative fiction books that kept my interest in the genre since childhood. While my list of all-time favorite speculative fiction books continue to change over and over, this list of books influenced my love and my appreciation of this genre of literature. And, from my perspective, I appreciate the influence and the bridging from one book or series to another with a similar genre structure. Which books got you into this genre? Have you read any or all of my picks or any books by the authors mentioned in this post? Comment below or send me a link to your online response. 

Why You Need to Read: “Uprooted”

Uprooted

By: Naomi Novik

Published: May 19, 2015

Genre: Fantasy/Fractured Fairy Tale or Fairy Tale Retelling/Coming-of-Age Story

            The Dragon didn’t always take the prettiest girl, but he always took the most special one, somehow: if there was one girl who was far and away the prettiest, or the most bright, or the best dancer, or especially kind, somehow he always picked her out, even though he scarcely exchanged a word with the girls before he made his choice, (Chapter 1).

            I remember what led me to read this book. The ebook was on sale and I saw the promotion for its upcoming companion novel, Spinning Silver. Then, I attended BookCon in 2018. I had read an excerpt of the author’s upcoming novel, Spinning Silver, and I wanted to meet her and have her sign copies of her books. Yes, books, because in addition to Spinning Silver, I picked up Naomi Novik’s other books, His Majesty’s Dragon, Temeraire Book 1—which, I still haven’t read, yet—and Uprooted, which I had already read. I reviewed Spinning Silver first. Both books are similar in themes and tropes, but they stand out well as individual standalone novels. 

            Agnieszka is 17-years-old and lives with her parents in the village, Dvernik, near the corrupted Wood’s border. A wizard, known only as “the Dragon” to the villagers, protects the village from the Wood, which is his task set to him from the royal court. As part of the Dragon’s tribute, he takes one girl from the village for 10 years of service. No one knows what the service entails except the girls return as women, but “changed,” and leave the village for city life shortly after. Agnieszka is tall, clumsy and awkward, and she’s one of the girls who is of the age for the Dragon to choose from for his next tribute. However, Agnieszka knows she won’t be chosen, but her friend, Kasia, will be the one chosen. Kasia is beautiful and talented in almost everything she does, and Agnieszka and the entire village knows the Dragon will choose her. Only, he doesn’t. To everyone’s shock, Agnieszka is selected to serve the Dragon. Now, Agnieszka has to learn what is expected of her for the next 10 years. And, this includes filling in for the Dragon when he cannot attend court. Agnieszka learns about the Dragon and his service, why she was chosen over the other girls, and how the Wood became so corrupted. Agnieszka develops as a character and as a person as she learns about the outside world, which she has been sheltered from her entire life, and about the dark forces that make the Wood so dangerous. Agnieszka is accompanied by the Dragon, but as she learns more about what is expected from her, she refuses to lose contact with her family and her friends. Agnieszka grows up in an unusual way under unusual circumstances, and she manages in her own way.

            The plot is divided into two parts. The first part regards Agnieszka’s “services” to the Dragon, which is easier said than done. While Agnieszka shows promise with the more “difficult” tasks, she is awkward when it comes to completing the “easier” ones, which makes for a very entertaining “education.” The second plot revolves around the Wood and how it continues to grow stronger and more aggressive. After the Dragon is injured during a confrontation with the Wood, Agnieszka must travel to the royal court in his place in order to request reinforcements. Once there, Agnieszka meets the royal family and other individuals like the Dragon. It is here when the subplot develops: the Dragon’s relationship with the court, and the court’s connection to the Wood. The subplot explains the two plots of the novel as they all go at an appropriate rate.

            The narrative is told from Agnieszka’s point-of-view in first-person in the protagonist’s stream-of-consciousness. Everything the readers learn, is from Agnieszka’s perspective. If she is not where the action is taking place, then she learns about it afterwards from someone else (and, so do the readers). The fact that Agnieszka can only account for her actions and her experiences make her a reliable narrator. All of these elements make the narrative easy to follow.

            The style Naomi Novik uses for Uprooted follows both a fairy tale retelling and a fractured fairy tale. A fairy tale retelling is when a known fairy tale is retold with components that alter either the setting or the characters. A fractured fairy tale is when a smaller, yet popular part of a fairy tale is kept while the rest of the story changes. In this case, elements of the story, “Beauty and the Beast” can be found throughout the narrative, but the author presents a new story from the few parts she fractured and used. The mood in this novel is anticipation. All of the characters in the story are anxious or excited about an upcoming event, or dreading a threat that cannot be stopped. The tone of the novel focuses on how all of the characters remain resilient during such difficult times and how they handle themselves. The last two literary elements of style will make you forget about the fractured fairy tale and focus on the fantasy story.

            The appeal for Uprooted have been noteworthy. Besides receiving critical and popular acclaim, this novel won the Nebula Award for Best Novel in 2016. However, it seems that since the release of Spinning Silver, Uprooted has fallen a bit behind on the popularity, but I can assure you, if you enjoyed the former, then you will enjoy the latter. Uprooted remains a great addition to the fantasy canon, and fans of Katherine Arden, S.A. Chakraborty, and Rena Rossner will enjoy this book the most. There hasn’t been any announcements on whether or not we should expect another novel similar to this one, but I am willing to wait for as long as it takes, especially since the rumor is that both books are set in the same universe. Uprooted can be reread; in fact, older adolescents can read and enjoy this book as well (regardless of some of the adult content). 

            Uprooted is an entertaining coming-of-age story about identity and magic of all sorts. All of the familiar fairy tale tropes are twisted from what you know of them, and that makes the story more enjoyable. If you read and loved Spinning Silver, and you haven’t read Uprooted yet, then don’t wait any longer. If you want to read a fantasy story that uproots the expectations of the readers, then this is the book for you.

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

The Disclosure Behind the 2020 Hugo Awards

A lot can happen in a week. Politics and COVID-19 aside, it seems like “everyone” wants to return to a time when “things were the way they used to be.” Out of all of the prejudices that’s been going around, it seems that ageism continues to be accepted widely due to the notion that “the new will replace the old.” Unfortunately, it seems that “the old” keeps finding ways to hold out for a bit longer, which is equivalent to years. Not only have Americans been forced to admit the issues surrounding race, sex, sexual orientation, religion, ethnicity, sexuality and domestic violence, but also delve into several generational gaps and the beliefs that come from a particular age group. “Trumpeters” aside, it seems that many older White men have nothing better to do than to whine about how modern society is uprooting “the morals and the structure of ‘their youth’.” Yes, because White men have had it so bad, they get to complain about what they no longer have as opposed to other groups of people who are still denied the basic rights and privileges they continue to take for granted. And, it seems that the microcosms are reflecting the macrocosm as certain in-groups continue to find ways to make themselves exclusive as they express their desires to omit other groups of people and to keep them from participating alongside them. In recent years, we all witnessed this happening more and more in Hollywood and film, and in the video game industry. Not to mention, it’s happening within the literary community and the fandom are familiar with the ongoings within speculative fiction.

            One week after Tom Shippey’s comments about fantasy novels in The Wall Street Journal, the 2020 Hugo Awards was livestreamed during Worldcon, which would have been held in New Zealand if it wasn’t for the global pandemic. The good news was, many fans were able to watch the Award Ceremony; the bad news was, those same fans were reminded that those who write speculative fiction are not as open-minded as their stories make them out to be. More people were able to witness the blatant sexism and racism that is whispered about in the publishing industry. Obnoxious doesn’t even begin to describe the behavior of those grown men. 

            First, let me address George R.R. Martin’s mispronunciation of the names of several of the nominees and the presenters. As someone who has worked within education for over a decade, yes there were times when I mispronounced A LOT of names; and, I’m not limiting that list of names to “minority” ones. One, there are some European names a lot of people cannot pronounce. Two, your name maybe unusual and/or hard to say for someone else. Three, names do not always equate to your concept of gender (think of unisex names). So, why were so many people upset with GRRM? It was because many of the nominees saw the name butchering as unprofessional, which it was. Some authors are friends with each other, and they all often attend the same events (I’m assuming here), so it is understandable when after a while the mispronunciation comes off as rude. I understand how those authors felt, and it did ruin the Hugo Award experience for several people, especially the nominees (and the winners). Then again, there are several authors—whose works I’m a fan of—whose names and book titles I cannot pronounce to save my life (audiobooks have been a huge help). I know GRRM issued an apology, but that is neither for myself nor for the fandom to accept because it is for the authors and the creators who were nominated to decide. Whether or not they want to accept it is NOT up to us, it is their choice.

            There was another thing GRRM mentioned that night that has me upset, and it was his statement regarding all of the Finalists for the “Best Novel” category being women. Maybe he was trying to be funny when he said, “maybe we’ll see some men nominated next year,” but the context of that statement—especially after Robert Silverberg’s rant about John W. Campbell’s “legacy”—remains to be open to interpretation. 

            Robert Silverberg is an award-winning author of over 1,000 sci-fi and fantasy stories, some of which won the Hugo, the Nebula, and the Locus Awards. In addition, he was the Toastmaster of several Hugo Award Ceremonies throughout the years. Silverberg’s publishing career started in 1954 and he retired around the early 1990s. As he mentioned in his rant—which was prerecorded—he is a fan (and I want to say a friend) of John W. Campbell’s stories—he is considered to be “the father of modern science fiction”—which he wrote and published during the 1930s, and he talked about the sort of “person” Campbell was when he met up with other authors, including those who were influenced by him. In fact, Silverberg was so defensive of his “idol” that he decided to insult the author who “insulted” Campbell after winning the award that was renamed once it was rediscovered that he was a bigot. Did anyone else notice how many viewers “left” once it became obvious what Silverberg was saying a loud? No one is denying the contribution Campbell made to science fiction, but the truth of the matter remains in tandem with his legacy, which is that Campbell was a racist and a sexist. Like many other (fantasy) readers of my generation, I enjoyed and I’ve been influenced by the Harry Potter series. However, J.K. Rowling has some disturbing views about transgenders (which, she has voiced more than once). Neither the fantasy community nor the fandom—myself included—cannot deny the contribution Harry Potter has had. Yet, while we are able to separate the art from its creator, we must know when to say, “that’s not right.” 

            Let’s face it, everything is changing whether or not we want them to change. I grew up during the 1990s during a time when the Internet was becoming communal tool. Yes, I have my moments of nostalgia, but I don’t wish for things to revert backwards! There are a lot of things that must change and there are some things that we all look forward to happening. Halting progress or returning to the past brings about chaotic results, something we are all witnessing firsthand on a global scale!

            Now, I’m going to sound like the English teacher/instructor I used to be: did you all even bother to read (or, to watch or to play) any of the works that were nominated for the Hugo Awards?! I was under the impression that members of the World Science Fiction Society (WSFS) got to vote for the Hugo Award nominees and winners. Don’t get me wrong, it is NOT easy to attempt to read ALL of the books that get nominated for awards (my Shortlist Award Reading Challenge is a challenge), but to act as though these works aren’t worth reading because it didn’t suit your “preferences” or “expectations” of the genre? Or, were you worried that you wouldn’t be as familiar with the context of works written and created by females, BIPOC/BAME, and/or LGBTQIA+ individuals as you are with those of yourself and your peers?! No one is denying that the authors of the past (and the present) contributed to the genre, but there shouldn’t be a “shared model” for a genre that is dependent on the imaginations and the creativity of each individual. No genre is supposed to remain the same overtime. This is because stagnation kills progress of any kind! If science fiction, fantasy, horror and all the other genres, and the subgenres, within speculative fiction have changed over the course of the last century, then why should it remain constant in order for the genre to befit YOUR preferences? As John Scalzi mentioned on his blog, “’The canon’ didn’t just somehow ‘happen.’ It is a result of choices…” The genre was different before I was born, it has branched out and evolved since my childhood, and it will go beyond our expectations and imaginations with posterity. However, we get to decide on what we read based on what is available, which is A LOT!

            Here is my first of many proposals (hopefully). There are books about the history of fantasy, the encyclopedia of literature, the companion to science fiction, etc. In literature and in poetry, there are “schools” and “literary movements” and “periods” that categorizes the evolution of that “form” of literature based on the era in addition to literary form and genre. We are all familiar with the general history, the definitions, the genres and the subgenres of speculative fiction. However, if the influences and the changes of the genre are going to keep getting mentioned by the “elder” generation, then we should at least consider compiling “schools” and “periods” of the genre so that there is more comprehension than saying, “this author was a contributor of this subgenre due to the works which reflected the genre,” or “this author’s stories cemented this movement within the genre, etc.” For example, one of the most familiar eras of fantasy are “The Inklings.” When that group is mentioned, many know it refers to J.R.R. Tolkien, C.S. Lewis, Charles Williams and other Oxford professors of literature who were also fans of folklore, and wrote stories based on those tales. We need more groups and/or eras like that so that there is recognized clarity within the community. Is this similar to canonization? Yes. However, if time frames and eras are going to keep being brought up, then we can find ways to make it all easy to understand.

            This could be the opportunity the genre needs in order to progress further. I’m not saying that this will resolve any of the issues that have been and continue to be brought up within the speculative fiction community, but it with academic scholars, numerous awards, and an ever-growing fandom, we should consider a plan and/or a project that will involve everyone; especially, if we want the genre to continue to be taken seriously without all of the attention focusing on “elder White heterosexual males” who won’t stop bringing up the past. Think about it because the Hugo Awards are a celebration of the best of the (current) year, and not just the past. All of the groups within this in-group should start working together more in order to include all who participate in the speculative fiction community. For that to happen, we have to acknowledge (and perhaps learn) of all of the eras and the communities within the genre. 

Adult Fantasy: Is There Such a Thing?

Video games, graphic novels and comic books and manga, and fantasy literature continue to share the same criticism from those who are neither fans nor creators: they are for children and/or they have no place in a classroom or in an academic setting. The fact that such notions continue to be made is a disconcerting atrocity; and yet, hip-hop continues to gain recognition and acclaim for its role in the music industry and in the rest of society. Pop culture is what it is, popular culture, but there is a difference between an ephemeral fad and a transcendent impact. All of these genres of various entertainment have succeeded in being true art forms, although there are some who continue to ignore the value of these works and what they mean to the fandom and the creators.  

            In the weekend edition of The Wall Street Journal for July 18-19, 2020, there was a review in the Books section of The Nine Realms tetralogy by Sarah Kozloff. I read and reviewed all of the books in the series—both on my blog and for Fantasy-Faction—and, they are worth reading. However, the author of the review had more things to say other than praise for the book series. 

            During that same weekend, I learned of the review due to all of the retweets about what the author said about the series in relation to his personal feelings about the fantasy genre. I noticed that several authors, bookbloggers, and readers were angry by what was written in the review. Even one of the authors stated they were going to cancel their upcoming interview they had with The Wall Street Journal. Then, I saw who wrote the article. It took some time, but I found myself as annoyed as everyone else eventually. And, I’m still annoyed.

            Tom Shippey, the world-renowned Tolkien scholar, should be ashamed of himself. Writers, creators and fans of fantasy and other genres in speculative fiction have minimal expectations of The Wall Street Journal publishing anything with an open mind else besides economics. Yet, Tom Shippey presented a negative nostalgia of the fantasy genre, also known as stagnation. After everything Shippey has said about Tolkien taking fantasy to new heights—even though that wasn’t Tolkien’s intent—while writing the sort of tales he wanted to read himself, Shippey’s statement about The Nine Realms is an insult to Tolkien’s legacy—including all of the authors that were influenced by Tolkien—but an insult to Sarah Kozloff in which Shippey seemed to use in order to publicize his viewpoints about the genre. As a fan of The Nine Realms, the author deserves more praise than from someone who has been searching for Tolkien. Not only stating that “fantasy has grown up,” but also calling Tor a “sci-fi publisher” tells me that the quest for “adult fantasy” has managed to overlook Robert Jordan, Robin Hobb and Brandon Sanderson amongst numerous other authors as contributors to the genre. 

            The problem with Tom Shippey’s statements regarding fantasy is that after spending years discussing Tolkien, he neglects to recognize all of the fantasy works that came after Tolkien. Not to mention, Shippey made it sound like the genre has not made ANY progress since the publication of The Silmarillion in 1977. His beliefs on the genre demonstrate how other people—those in the out-group—continue to view fantasy as “kid’s stuff,” but to have a Tolkien scholar categorize which fantasy work is “adult fantasy” because that story reflects Tolkien’s “fantasy,” which Shippey spent his entire career hanging on to instead of admitting that the genre has continued to expand, to evolve, and to go beyond everyone else’s expectations. To say that Shippey is “missing out” on what “adult” fantasy has become would be a huge understatement. 

            Although fantasy continues to evolve and to be read by fans ubiquitously, the genre continues to receive harsh criticism, especially when compared to both horror and science fiction. Fantasy has gained more recognition because of the success of movies, television and video games, but to have the genre get identified based on age group adds another layer of prejudice to a genre whose progress remains unrecognized. People are willing to watch it and/or to play it, but reading fantasy remains to be an issue that needs to be addressed constantly. So, this all goes back to literature and answering the age-old question: Who reads this?

            Fantasy, or “myths for adults,” has been around since the beginning of humanity, going back to oral tradition. Even now, myths, legends and other folklore continue to entertain us through all styles and formats. Fairy tales are told and watched, movies allow actors and actresses to become those characters, graphic novels and manga and comics present non-stop illustrations, and video games give players an immersive experience. How is wanting to explore another world different from space travel and/or escaping from a haunted domain? Is it because space travel have become a reality? Is it because we all know what it feels like to experience fear no matter where an individual is? Maybe the issue with fantasy is that it remains open to interpretation. Maybe your personal fantasy world doesn’t match mine. Maybe, you wish to attend Camp Half-Blood over the Convent of Sweet Mercy. Or, you wish to go further and create your own fantasy world and share it with others who share your imagination and curiosity, like Tolkien did then, and what N.K. Jemisin, Neil Gaiman and M.L. Wang continue to do now. 

            As for the concept of “adult,” “children’s,” and “YA” fantasy, we should refer to J.R.R. Tolkien and some of his critical essays. Tolkien was a professor of Anglo-Saxon literature at Oxford University—alongside C.S. Lewis—whose edition of Beowulf and Sir Gawain and the Green Knight are still considered to be some of the “preferred” translations by (some) scholars. Maybe if Shippey recalled Tolkien’s professional works as much as his creative works, then maybe he would have remembered one essay of his in particular. 

            J.R.R. Tolkien wrote On Fairy Stories, and in the essay, he states, “the association of children and fairy-stories is an accident of our domestic history,” and “only some children, and some adults, have any special taste for them…it is a taste, too…one that does not decrease but increases with age, if it is innate.” In other words, if children do not show any interest in fairy tales, then they are not interested in them at all. If an individual is interested in those stories as a child, then do not assume that they will outgrow that interest as an adult. Hence, this is why Doctor Who and James Bond have been around for over 50 years! And before you quote that infamous line from 1 Corinthians 13, remember Tolkien was a devout Catholic who created his own fantasy world and inspired millions! Yet, similar to comics, superheroes, animation and fairy tales, fantasy continues to be criticized as being “too silly for adults” and labelled for children. 

            Yes, Disney altered our perspectives of how fairy tales are told, but the studio continues to water (most of) them down. Only the young readers with enough curiosity and imagination will search for the older (and the more violent and the more tragic) variants collected by the Grimm Brothers, those written by Hans Christian Andersen, and others. Nowadays, those children can read Harry Potter and Alanna of Trebond alongside the books written by Rick Riordan and Holly Black as adolescents. Afterwards, as adults, they can read the stories written by Naomi Novik, Katherine Arden and Neil Gaiman. Then, they can (and will) read all of the “adult fantasy” that is not based on folklore directly. As for the maturity content found within (most) adult fantasy, let me put it this way: Shakespeare is required reading in many secondary schools, and many of the plays that are read and/or performed tend to be from the “tragedies” catalog, not the “histories” or the “comedies.” And yes, I just brought up Shakespeare in an essay about Tolkien! Deal with it!

            Tom Shippey is one of the most informed Tolkien scholars, but his knowledge and his interests are limited to Tolkien. The Wall Street Journal tries and fails, constantly, to present insight into other topics besides economics. The newspaper has more than enough resources to gather authors and scholars of the fantasy genre, but wish to limit themselves by delivering something that reflects American society from the 1960s. Jack Zipes and Elizabeth Tucker are prime examples of scholars of folklore and children’s stories. If you want to discuss how much video games have evolved, then read what Frans Mäyrä, Nick Yee, Mia Consalvo, and other game studies scholars have to say and what they have researched. As for scholars of fantasy literature, you can start with Edward James, Farah Mendlesohn and Nnedi Okorafor.

            Ironically, this essay was written and posted during Worldcon 2020, which presents the Hugo Awards to authors in recognition of their achievements in science fiction or fantasy works for (mostly) adult readers and are chosen by its (adult) members. As I await the announcement of the winners, I’ll be reading N.K. Jemisin, Seanan McGuire, S.A. Chakraborty, John Gwynne and other authors of “adult fantasy.” If either Tom Shippey or The Wall Street Journal are interested, then I can offer a galaxy of books for you to choose from; and, you will find them all to be magical and extraordinary. 

            The peculiar quality of the “joy” in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a “consolation” for the sorrow of this world, but a satisfaction, and an answer to that question, “Is it true?” The answer to this question that I gave at first was (quite rightly), “If you have built your little world well, yes: it is true in that world.”

—J.R.R. Tolkien, On Fairy Stories, Epilogue

Why You Need to Read: “The Stone Sky”

The Broken Earth 3: The Stone Sky

By: N.K. Jemisin

Published: August 15, 2017

Genre: Science Fiction/Dystopian/Fantasy

*Winner of the Hugo Award for Best Novel 2018, Winner of the Nebula Award for Best Novel 2017, Winner of the Locus Award for Best Novel 2018*

            The job you “have” to do is the easier of the two, you think. Just catch the Moon. Seal the Yumenes Rifting. Reduce the current Season’s predicted impact from thousands or millions of years back down to something manageable—something the human race has a chance of surviving. End the Fifth Seasons for all time.

            The job you “want” to do, though? Find Nassun, your daughter. Take her back from the man who murdered your son and dragged her halfway across the world in the middle of the apocalypse, (1: you, in waking and dreaming). 

            N.K. Jemisin has done what very few authors have managed to do, present a good and believable ending to a series that leaves readers with a sense of both accomplishment and satisfaction. What started with The Fifth Season and continued through The Obelisk Gate ends with The Stone Sky, the third and final book in The Broken Earth Trilogy. Readers and critics learn what must be done in order to put an end to an apocalypse. 

            The protagonists are once again Essun and Nassun, mother and daughter, and two of the most powerful orogenes in the world right now. Both mother and daughter have made their choices regarding themselves: Essun decided to grow her powers to the fullest, and Nassun decided to identify herself as an orogene. And, both mother and daughter have to live with the consequences of their decisions—both physical and emotional. All that’s left is for the two orogenes to determine the path of the Moon. One orogene and her companions hope to save the world, while the other orogene is coaxed by her companions to destroy it. Mother and daughter will face off after they’re reunited. Essun just wants to know whether or not her 10-year-old daughter is traumatized, and Nassun wants the world to know that those with power can and will determine the ways of the world. The daughter has become as powerful as her mother, and her mother isn’t with her to provide guidance. 

            The plot of the story is a race to an underground network in order to restore “order” to the Earth. This can be achieved with orogeny and there are 2 orogenes who are powerful enough to restart it. So, who will get there first? And, what will happen once the obelisks are activated? Another plot of the story involves Essun and Nassun preparing for action when the Moon is closest to them in “orbit.” Essun has succeeded in activating the Gate while at the comm, and Nassun travels to one that’s been lost and forgotten to history. There are two subplots in this story which answers some of the remaining questions in the trilogy. The first subplot is the origin of the Stone Eaters, which leads to how the Seasons became so dangerous. The second subplot answers the question regarding the purpose of the Guardians and their relation to the Seasons. These subplots are necessary because they provide the bits of information required for the plot’s development and resolution.

            The narrative continues to shift between 1st, 2nd and 3rd points-of-view. And, the sequence falls back into flashbacks and present time. The flashbacks provide both background information and answers to the questions to how everything came to be and how it will all end. The streams-of-consciousness of all the characters make them all reliable narrators. Yes, not all of their motivations are morally good, but it’s understandable given the circumstances. These elements of the narrative make it easy to follow. 

            The style N.K. Jemisin uses for The Stone Sky tells that an end is coming. Now, whether or not that end is for the Seasons, or for the characters, or both is to be determined. But first, the author lets the audience know how the Seasons came about. At the same time, Jemisin lets her readers know that oppression of any form does not ensure safety and/or order within a society. Instead, fear and suppression take place, which can lead either to a life of secrecy or to a life full of anger. The mood in this story is one of readiness—the need to make it on time to save the world, to save the last surviving member of one’s family, and to finish preparations in order to survive the Seasons. The tone in the novel is dread due to the choices and consequences of saving the world and reuniting with estranged loved ones. However, if it came down to two possibilities, then which choice would you make? This is what the author has her characters do, they must make a choice and live, or die, with the consequences. 

             The appeal for The Stone Sky have been massive and monumental! Not only did this novel win the Nebula Award (2017) and the Locus Award (2018) for Best Novel, but also won the Hugo Award for Best Novel (2018)! This means that The Broken Earth Trilogy has won the Hugo Award in the same category in three consecutive years! N.K. Jemisin is the first author to accomplish this feat; and, it’s well-deserved! The Broken Earth Trilogy is not only a must read for readers of speculative fiction, but also is a magnificent work of literature overall. There have been people who’ve read this series and found it to be an excellent story regardless of its genre. The message of the cost and the resistance that results from oppression and the end-of-the-world is received—although it’s not practiced in our world, yet—and is the reality within the fiction. The Stone Sky completes this trilogy and is a must read within the canon of speculative fiction.

            The Stone Sky is a strong and powerful end to this ambitious trilogy. N.K. Jemisin has managed to raise the expectations and the standards of writing and presenting a work of speculative fiction. This book series is one of my all-time favorites. Not to mention, I’ll be re-reading and recommending these books for years to come! Everyone needs to read this amazing trilogy!

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

Why You Need to Read: “The Obelisk Gate”

The Broken Earth 2: The Obelisk Gate

By: N.K. Jemisin

Published: August 16, 2016

Genre: Science Fiction, Dystopian

*Winner of the Hugo Award for Best Novel 2017*

            “We’re going somewhere you can be better,” he says gently. “Somewhere I heard of, where they can help you.” Make her a little girl again, and not…He turns away from this thought, too.

            She swallows, then nods and steps back, looking up at him. “Is Mama coming, too?”

            Something moves across Jija’s face, subtle as an earthquake. “No.”

            And Nassun, who was fully prepared to go off into the sunset with some lorist, relaxes at last. “Okay, Daddy,” she says, and heads to her room to pack.

            Jija gazes after her for a long, breath-held moment. He turns away from Uche again, gets his own things, and heads outside to hitch up the horse to the wagon. Within an hour they are away, headed south with the end of the world on their heels,” (1: Nassun, on the rocks).

            N.K. Jemisin presented a believable futuristic dystopian world by blending science and history—with a bit of magic—in The Fifth Season, the first book in The Broken Earth Trilogy. The book received tons of praise from both readers and critics alike; and, it even won the Hugo Award for Best Novel in 2017. The book’s characters, history, revelations and cliffhangers have readers wondering what would happen next. We get some answers in the second book in the trilogy, The Obelisk Gate.

            The protagonists in this book focuses on Essun and Nassun—mother and daughter—who are trying to survive the Fifth Season while trying to keep their orogene abilities discreet. Unfortunately, the latter is no longer an option because the secret has been exposed, with deadly consequences. Nassun, who is eight years-old, was fantasizing of a life away from her home, and her mother, when her actions led to her father learning the truth about his family, unintentionally. Nassun is whisked away by her father—who is relying on a fantasy for a return to “normalcy”—not realizing that she was safer with her mother than with her father. Yet, the further away father and daughter travel from their home, so does their relationship. Nassun starts to believe that something is wrong with her as her father starts and continues his physical abuse towards her. When they do arrive at the “haven,” Nassun learns the truth about her mother’s treatment of her and why her brother was killed. Not to mention, Nassun meets someone who once knew her mother, and he has plans for the daughter. All the while, Jija doesn’t appreciate being tricked a second time. How much pain and trauma can a little girl experience before lashing out at the world? Meanwhile, Essun’s journey to rescue her daughter has been halted by the change in the atmosphere due to the changing seasons and her running into someone else she believed to be dead. And, that person wants her to finish a task he started but is unable to continue. Along with her companions—both from the past and the present—Essun tries to figure out a way to do the impossible, which could save everyone. Both mother and daughter develop both as individuals and in their orogene abilities. Essun has to start where she left off 10 years ago and to determine for herself how powerful she really is; at the same time, Nassun learns of the life her mother was trying to protect her from. All she can do is protect herself by becoming smarter and more powerful in orogeny. Nassun is in survival mode and she refuses to let anyone, or anything, hurt her again. 

            The plot continues where it left off in the first book: a mother seeks her missing daughter and vengeance for her murdered son. Along the way, Essun’s past catches up with her and soon she realizes that she has to make peace with her past before any more harm can come to her daughter. In spite of that, Nassun does experience everything her mother did, but in a location unknown to other Guardians and with its own set of rules. While Nassun does prove to be very talented in orogeny—thanks to her mother—she doesn’t have the same fear of the Fulcrum as Essun did. Instead, Nassun’s fears are reserved for her father, who slowly realizes that there is no way to rid oneself of orogeny. There are two subplots in this story, which develop alongside the plots. The first is the life in a comm during a Season. While Essun and her companions figure out a way to accomplish their tasks, the members of the comm devise plans and methods for their survival of the Season. It is unclear how long the Season will last and who will survive (a lot of harsh decisions will be carried out), but everyone must work together to ensure their survival. The second subplot focuses on the Stone Eaters. The surviving orogenes—particularly the powerful ones—and the readers, learn more about them and their nature including their lifespans, their goals, and their need to protect the orogenes. This subplot is interesting because while the world knows of their existence, little is known about them. These subplots function as world-building elements as well. This is because to understand how and why a Season changes everything, an explanation of the world must be given to the readers. 

            The narrative in The Obelisk Gate is more straightforward. In The Fifth Season, the narrative jumps between two timelines in the past and two in the present. In the sequel, the sequence sticks with the present as it moves between the points-of-view of the protagonists. However, the P.O.V.s does shift between 1st, 2nd, and 3rd person amongst ALL of the characters. Readers should be used to the changing P.O.V.s; and, if not, then they should know that these multiple P.O.V.s do provide the streams-of-consciousness from reliable narrators. Yes, even foes and children can be reliable narrators. These narrative methods allow readers to follow the story while understanding what is happening to the characters at the end-of-the-world.

            The style N.K. Jemisin uses in The Obelisk Gate combines science and communal survival during an emergency with the themes and the practices of systematic oppression and abuse on a group of individuals. All of the talks about the Moon, satellites and seismic activity is based on science. The practice of “harboring” people who are different in separate facilities and “training” them to be “useful” is a form of oppression. And, while differences should be ignored when a group of people are hunkered down and trying to survive, that doesn’t always occur. Old practices die hard and there are always victims. In fact, it is known for abuse to increase during such times and relationships change as well (and not for the better). The mood in this novel is preparation. The world has acknowledged that a Season has begun and everyone works and strives in order to survive it. That means a lot of harsh decisions and cruel practices are carried out, but it must be done in order to ensure survival. The tone relates to the idea that only the strong and the useful survive an apocalypse. We don’t want to admit this, but it’s the truth within the fiction. And, the author makes sure that we remember this truth regarding the survival of the fittest in a dystopian world. 

            The appeal for The Obelisk Gate adds to the praise of The Fifth Season. Not only has the second book achieved the same acclaim as the first book by critics and fans, but also was nominated for several speculative fiction awards and won the Hugo Award a year after the first book did, which is a rare achievement! The success of this series of far has brought readers of different genres to read this work of speculative fiction. And, with the cliffhanger at the end of the book, readers will be eager to learn how the story ends in The Stone Sky.

            The Obelisk Gate is a brilliant sequel to The Fifth Season. The development of the plot and the characters alongside the pacing continues to keep readers engaged in the story. The themes of family, survival, oppression and truth are found within the narrative as reminders that an apocalypse doesn’t always bring people together for the greater good. Survival is the key.

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

What We Can All Learn From Virtual Cons and Events

The obvious difference between this pandemic and those of the past is how humanity has been spending their time throughout the outbreak. Yes, many public places and events are closed, cancelled and/or postponed; and, there have been several cases and deaths due to COVID-19 throughout the world. Yet, it seems a lot of people have forgotten that our modern technology has been a huge help in maintaining work, shopping and entertainment. Now, while the process to maintain safety and livelihoods haven’t been easy, it seems that few people are willing to use this time as an opportunity to pursue new activities and a chance to return to old ones.

            Please understand that I’m not bashing or criticizing people who lost their jobs, had their jobs suspended and/or moved online, parents, teachers/academics/scholars/educators, farmers, contractors, etc. I speak of people who hassle healthcare workers about when they’ll reopen their practices and scold essential workers when told they cannot enter the store or the supermarket without a face mask while trying to cut the line. These people ignore the guidelines for safety and go to locations that are closed because they are bored. Whatever happened to getting a new hobby or going back to a former pastime? Stories of people learning how to sew, how to cook, and stories of people learning how to draw using an app or creating “how to” content online have been circulating on the international news. Yes, many people have realized that creating content for YouTube, podcasts and blogs isn’t as easy as it looks, but that doesn’t mean you cannot offer your support by checking out the content. 

            While many Cons and events have been moved to online as virtual events, there have been a few creators who have made the decision to upping their game and putting together events as a means of entertainment and sharing new content with other creators and fans. QuaranCon 2020 was a virtual con put together by Virginia McClain and a few other fantasy authors (many of them from S.P.F.B.O.), and presented live panels over the course of 2 weeks. MayDayCon 2020 was a virtual con which was organized and moderated by 1 person—FanFiAddict! There were 7 panels and 7 live readings with over 30 authors all within 14 hours! And yes, I watched that entire con as it was going on live! Next, GeekCon1 will be taking place in July. This virtual con is aimed at all content creators with more information coming as we get closer to the date. GeekChat1 and his friends—other content creators—will be putting the event together.  

            As for “professional” cons that will be virtual, there will be plenty of those as well. Both BookExpo and BookCon will be streaming live on Facebook. Orbit Books has been hosting and announcing several live chats with their authors every week! Several authors have been chatting on their Instagram accounts as well, which is a great opportunity to interact with some of your favorite authors and other famous people. And, several literary award organizations have turned to YouTube to announce both the nominees and the winners of their awards such as the BSFA and the Hugos. Yes, not everyone will be able to stream these events live (I still have my job to attend to in person), but the best thing about streaming live events is that you can watch the playbacks when they become available. 

            This post is not meant to put anyone down. Instead, I wanted to remind everyone that people are working behind the scenes in order to present new content and events to everyone who is living in lockdown, which is everyone! Think about it, wouldn’t it be better for you in the future if you mentioned what you did during the pandemic isn’t of what you weren’t able to do? Yes, the pandemic sucks, but it’s a shared experience and you have the opportunity to find a way to stand out and do something you always wanted to do. What do you have to lose? 

My Shortlist Award Reading Challenge 2020

Yes, I am late with this post, but that doesn’t mean I haven’t been keeping up with the news surrounding the nominees for this year’s speculative fiction awards. The good news is that thanks to all of my reading throughout the previous year, I’ve read a lot of the books that have been nominated for these awards. The bad news is that all of the conventions have been cancelled due to the COVID-19 Pandemic. The silver lining is that many of these Cons and awards will be presented through livestream events. Yet, I feel sad for many of the nominees, especially the debut authors, because they will not be able to accept the award and give their acceptance speech in person. At the same time, I know some of these Cons are open to fans, and a lot of them had to cancel their plans as well. It does make the livestreams good enough substitutes and next year’s Cons will make up for it all, but it’s still a bummer. 

            Like I said, I read a lot of the nominees for almost all of this year’s speculative fiction awards. If you click on this Google Document that I’ve shared (https://docs.google.com/document/d/1G2uYVlAPclCA83KYOb3n5G-xLfW5xza5HT50dz5uX4Y/edit?usp=sharing), then you’ll find which books I’ve been able to review so far. However, I’ve read enough of the nominees—mostly novels and novellas—to know that it’ll be another close year in terms of the winner. I have my picks of who is going to win, but in most cases, I can’t determine who the winner(s) will be. Nevertheless, I’m excited for all of these speculative fiction awards. Fans and readers should not only pay attention to the Nebulas and the Hugos, but also to the British Science Fiction Association, or BSFA, the Aurealis Awards, and the Nommo Awards (to start). On a serious note, there’s a lot more going on in Australia, in Africa, and within their writing communities than those of us residing in the rest of the continents can comprehend. 

            As for the awards themselves (some of them), both the nominations and the dates of them have been delayed. For example, the BSFA Awards were supposed to be in April during Eastercon, but the event was postponed until May. Those awards will be livestreamed this weekend (check their website for the link). It seems that most of these awards will be streamed, but we’ll have to consult the Awards’ websites and social media pages for information and dates. This experience will be memorable, and we won’t miss them. 

            Just like last year, I’ll update my Google Doc as both the nominations and the winners are announced. I’ll share any information on whether or not the awards will be streamed and when they’ll occur on social media. I suggest you follow any information provided by the award organizations themselves on their websites, which are listed below. Read or watch the nominated works as well. And, look out for my post on the wrap up of my Reading Challenge, which will be posted towards the end of the award season (whenever that is). Please note: the S.P.F.B.O. 6 will be mentioned in separate posts! Let me know which of the nominees you’ve read! Enjoy this year’s awards and nominations! 

            If any of the information listed below is incorrect, then please let me know.

Philip K. Dick: https://www.philipkdickaward.org

BSFA: https://bsfa.co.uk 

Nebula: https://nebulas.sfwa.org

Aurealis: https://aurealisawards.org

Brave New Words: https://www.starburstmagazine.com

Hugos: http://www.thehugoawards.org

Lambda Literary: https://www.lambdaliterary.org

Compton Crook: http://www.bsfs.org 

Otherwise (formerly the Tiptree Award): https://otherwiseaward.org 

The Kitschies: http://www.thekitschies.com

BFA: http://www.britishfantasysociety.org

Locus Awards: https://locusmag.com

Arthur C. Clarke Award: https://clarkeaward.com

Nommo Award: http://www.africansfs.com/home

Bram Stoker Awards: http://www.thebramstokerawards.com

World Fantasy Award: http://www.worldfantasy.org/

The Popularity and the Revolution of Fantasy Thanks to S.P.F.B.O.

S.P.F.B.O. 5 is over, and this year’s winner—The Sword of Kaigen by M.L. Wang—received one of the highest scores in the competition’s short history, 8.65. While this year’s competition was fierce and resulted in a close 2nd place, the hype and the feedback circulated to where bookbloggers with a larger platform started discussing the competition and published authors shared their thoughts on the books—the finalists—on social media. This competition has amassed such a huge following in such a short time and a few of the finalists did get picked up by big name publishers to become the published authors they already were. Mark Lawrence is the perfect example of “paying it forward” and “sharing the wealth.” In 5 short years, this international best-selling author has used his platform to kickoff careers of these emerging authors.  

I heard of the Self-Published Fantasy Blog-Off while searching for fantasy books on Amazon. If you recall my essay—“Factions in Technology that Made a Difference: e-Readers and Self-Publishing Companies”—then, you’ll remember that I mentioned a few authors who are indie authors and/or publish through “smaller” publishers, thus embellishing the sort of books I’ve been reading ever since. As I browsed through ebooks to purchase, a few covers caught my attention, and they all had the same acronym: S.P.F.B.O. When I finally Googled the letters, I learned of the competition organized by Mark Lawrence. And, my first question was: Who is Mark Lawrence? Yes, I learned about S.P.F.B.O. before I read and reviewed any books written by Mark Lawrence. When I started contributing to Fantasy-Faction, I realized that this competition was growing into an event indie authors, bookbloggers and fantasy fans look forward to, and it’s been going on for 5 years! 

I experienced S.P.F.B.O. 5 from the entries to the semi-finalists to the finalists, and of course, the winner. While I haven’t read all 300 books that were entered, I did read a few before the competition—because their descriptions intrigued me, and some titles and book covers caught my attention as well. And, I purchased the books of all 10 finalists! So far, I’ve read only The Sword of Kaigen, but I started reading both Blood of Heirs by Alicia Wanstall-Burke and Never Die by Rob J. Hayes, and I am blown away by what would have been overlooked stories if not for the competition. It’s because of bookbloggers and fantasy review sites that more indie authors are willing to enter S.P.F.B.O.! At this rate, Mark Lawrence might have to expand the entry pool (please don’t take that suggestion too seriously)! 

So, will S.P.F.B.O. continue to influence the market and the industry that is the fantasy—and the speculative fiction—genre? Yes, I believe so, especially if it hasn’t already. I’ve noticed on social media that these “indie” books are being read and enjoyed by “mainstream” and award-winning authors as well (i.e. C.L. Polk reading Fortune’s Fool by Angela Boord). And, this is more than authors supporting other authors, it’s about how indie authors and small publishers continue to strive to get their stories out there with the threat of them being overlooked…until the right attention is given to them through their published books (i.e. J.K. Rowling and Harry Potter). S.P.F.B.O. is both introducing and promoting the works and the creativity of these authors to a platform that is willing to keep an open mind. And, because of this competition set up by Mark Lawrence, readers get to experience and to witness this transcension, which is expanding the speculative fiction genre, too.

I’ll end my experience with S.P.F.B.O. 5 by saying the following: Congratulations to M.L. Wang; read The Sword of Kaigen and the books by the other finalists; good job to all of the reviewers, the bookbloggers, and the vloggers for all of the time and the effort you put into this from reading the 300 submissions to the 10 finalists to the winner; and, a huge THANK YOU to Mark Lawrence for starting this competition and turning it into an annual event. The number of books that have been added to my TBR pile has increased yet again, and I’m okay with that. I can’t wait to see what happens during S.P.F.B.O. 6!