Reading Check-In: September 17, 2021

What book have you finished reading recently?

One series on my list is complete. And, I stick with what I said about this series in my ASoIaF Read-Alike Book Recommendations: this series is the most “identical” to George R.R. Martin’s.

Another fun read by this author. And yes, it’s full of folklore and fantasy references!

What are you reading currently?

TorDotCom Publishing surprised me with a physical ARC of this hyped debut gothic novel and it moved to the top of my reading list!

I am listening to the audiobook of this space opera trilogy finale, and it’s AMAZING!

In addition, I’m reading the finalists for the SCKA 2021 Award Finalists. If you want to know which books/stories were voted by the other jury members and myself, then you can read the post (last week’s) here.

Not all of the nominees, but you get the idea.

What will you read next?

Just like several other readers, I’ve been waiting for this book to be released!

This book will be the next audiobook I plan on listening to/reading.

Future Posts: My 200th Blog Post is upcoming! What am I doing to mark that milestone? You have to wait and see!

Look for me at FIYAH Con 2021!

Current Speculative Fiction Series I Need to Complete

The Poppy War, #3: The Burning God (2020) by R.F. Kuang

As I mentioned in the last post, I’ve been meaning to read this final book in this bloody and brilliant historical grimdark trilogy. I did read the first couple of chapters, so I know that this story begins immediately where The Dragon Republic left off. And, that Prologue! I’m familiar enough with this subgenre of fantasy to know how this story could end, but I’ll have to read it to find out! If you haven’t start this series yet, then you’re missing out. Remember to start with The Poppy War.

Blood and Gold, #3: Queens of the Sea (2019) by Kim Wilkins

This series is unknown outside of Australia, and I had to order a copy of the 3rd and final book in this trilogy from a bookstore in the Down Under. The first book in this trilogy is Daughters of the Storm, and the premise of the book is about 5 royal sisters who go on a journey to save their father, the king, from a mysterious illness. Meanwhile, their stepbrother seeks the throne, and goes out of his way to expose the secrets each of the sisters are hiding from each other. The second book in the trilogy, Sisters of the Fire, takes place 5 years later, and it delves into the oncoming threats heading towards the kingdom, and the aftermath of the fallout amongst the 5 princesses. Queens of the Sea takes place 5 years after the end of the second book, and I’m still excited to read it!

Mistborn: Era 1 (2006-8) by Brandon Sanderson

Yes, I started one of Brandon Sanderson’s series! It was a few years ago; and yes, I remember what happened where I left off (in the 2nd book)! Tor was kind enough to gift me these books from one of their (previous) sweepstakes, and I started reading the books immediately. However, I stopped halfway through The Well of Ascension (around the point where the pace slows down) and I haven’t had time to finish reading this trilogy. Interestingly, the only other book by Brandon Sanderson I’ve read was The Original (the audiobook he co-wrote with Mary Robinette Kowal). I own some of the author’s other books (including The Starlight Archive), but I guess I want to complete one series before starting another one.

Rosewater Trilogy (2017-19) by Tade Thompson

I read and reviewed Rosewater, and I was very excited to read the rest of the trilogy. And then, I read the author’s Molly Southbourne series instead. I should hurry up and read the rest of this Africanfuturism trilogy! If you’re a fan of both Nnedi Okorafor, Tochi Onyebuchi and P. Djeli Clark, then you need to start reading this series!

The Wicked + The Divine (2014-19) by Kieron Gillen, Jamie McKelvie (Illustrations), Matt Wilson (Colorist), Clayton Cowles

I’ve been getting back into graphic novels. I was reading this series until around Volume 3, and then I just stopped. I kept buying them, but I haven’t finished the series yet. With this series, I’m going to start from the beginning and read them all straight through.

This series is about how 12 immortals are reincarnated as teenagers, who get their live as pop idols with all of the fame and recognition. However, there is a catch: after 2 years, they die. So, what will this generation of reincarnated gods do with 2 years left to live?

Knowing my schedule, I probably won’t get to these books until the summer. Not to mention, I have A LOT of other books to get through from my TBR pile. What will I read next? Your guess is as good as mine.

Which series do you still need to finish reading?

Why You Need to Read: “In An Absent Dream”

Wayward Children, #4: In An Absent Dream

By: Seanan McGuire

Published: January 8, 2019

Genre: Fantasy

            This, then, was Katherine Victoria Lundy: pretty and patient and practical. Not lonely, because she had never really considered any way of being other than alone. Not gregarious, nor sullen, but somewhere in the middle, happy to speak when spoken to, happy also to carry on in silence, keeping her thoughts tucked quietly away. She was ordinary. She was remarkable, (1: A Very Ordinary Garden). 

            We’ve all asked the question: ‘How did ‘x’ come to be in existence?’ In our world, we have history lessons and oral tradition to teach us about historic moments and events, and changes in technology. In other worlds—in works of fiction—the audience receives the history as the narration continues explaining the scenario, the characters’ backstories, and—in the case of speculative fiction—how the world came to be. Throughout the Wayward Children series, readers have learned about the various worlds the travelers visited, and how Eleanor West’s Home For Wayward Children is a haven for these travelers. It makes you wonder how those who returned to our world readjusted in society before these schools existed. In An Absent Dream, the fourth book in the series, provides one infamous case.

            The protagonist in this story is Lundy, whom we met in Every Heart A Doorway. Everyone already knows how her life ends, but we’re given a look into her life—both with her family and in the Goblin Market. Katherine Victoria Lundy is the middle child in her family’s household. She is 6-years-old at the beginning of the story. She has an older brother, Daniel, who is 6 years her senior; and, her mother is pregnant with her 3rd child, which will be Lundy’s younger sister, Diana. However, Lundy isn’t Lundy yet, she is Katherine; it’s her birthday, and none of Katherine’s classmates are celebrating with her. The reason for this is because Katherine’s father is the principal at the school, which goes unnoticed by both parents. For another 2 years, Katherine is a model student, which isolates her even more. One day, 8-year-old Katherine is walking home from school when she finds a Door with the words: BE SURE. Well, Katherine is sure and she enters the world of the Goblin Market. There, Katherine meets “the Archivist,” who explains the rules and the ways of the Goblin Market; and, “Moon,” a girl around Katherine’s age who is a resident at the Goblin Market, who has trouble following the rules. The first thing Katherine learns there is NOT to use her actual name, but either an attribute or a family name. Thus, Katherine chooses to go by her last name, Lundy; and, Lundy is told she is not the 1st visitor to go by that name. Throughout her “trips” to the Goblin Market, Lundy grows into the person she was denied to be in her world (the story starts in 1962). Meanwhile, Lundy’s family cannot understand why she would choose to be anywhere else but with them, especially Lundy’s father. So, what does Lundy’s family do to her? They find ways to keep her from leaving them, even succumbing to enact guilt. This move begins a rift in Lundy as she tries to figure out a way to find “fair value” before the curfew.   

            The plot is a look back into Lundy’s early life—who can be viewed as a “tragic” character—and her childhood and her time in the Goblin Market. This is an intriguing view into how a child survives in “another world” with minimal adult guidance, which could be one of the actual dilemmas Lundy had to deal with as well, while remaining divided on which Home was her real one. The sad thing is Lundy was thriving in the Goblin Market for reasons her family was too blind to notice. There are 2 subplots and they are essential to the plot (and, the entire series). The first subplot regards the concept and the importance of the rules in each world. Throughout the series, readers learn which students haven’t returned Home due to the rules they broke, but there wasn’t too much context in their stories—except for Kade. Lundy is the first character who has to admit her choices to break the rules led to her permanent punishment (unlike Jill). The second subplot presents how and why schools like Eleanor West’s—remember, there are several others throughout our world—became the much-needed havens and fellowships travelers, especially children, never knew they needed. Lundy knew of 2 other travelers: Moon, who was already a permanent citizen of the Goblin Market; and, Franklin Lundy, Lundy’s father, who does everything in his power to stop his daughter from returning to the Goblin Market. Neither friend nor parent can give the guidance Lundy needs so badly. It makes you wonder what could have been if a school existed during Lundy’s childhood. It is obvious both subplots are necessary for the plot to develop throughout the story.

            The narrative in this story is told from Lundy’s point-of-view, but in 3rd person omniscient. This is because there are moments when the P.O.V. shifts away from Lundy—usually to her father—in order to fill in the smaller details of the story. The sequence is broken down into the events leading up to Lundy’s “trips” to the Goblin Market, particularly her first 3 visits. Each visit leads Lundy to staying at the Goblin Market for longer periods of time. However, it is the visits before the curfew, which receives the most attention. Lundy’s “trips” become more frequent, but for shorter visits, almost like they match Lundy’s hesitation instead of her heart. The narrative is a look back at the past, so it is NOT a flashback. This means most of the narration is told from Lundy’s stream-of-consciousness. And, because the narration leads to the end readers know is coming, Lundy is a reliable narrator.

            The style Seanan McGuire uses in In An Absent Dream is an intriguing one. The concept of the Goblin Market comes from the narrative poem of the same name by Christina Rossetti. The poem is about 2 sisters who meet goblins by the river encouraging all to “Come buy, come buy.” The synopsis of the poem is: one sister eats the fruit, while the other one does not. As time passes, the sister who ate the fruit begins to age unnaturally. This causes the other sister to go and buy some of the fruit to save her. The sister resists the temptation to eat the fruit, which saves her sister’s life. It is obvious the author took this children’s poem and retold it with the same dilemmas and the same morals. Seanan McGuire’s retelling of Goblin Market is easier to comprehend, but is just as much of a cautionary tale as the original poem. The mood in this story is the discord one’s desires can lead to within the individual, which is brought on by those closest to them. Once again, the illustrations done by Rovina Cai bring out the beauty in a world very few people know exist. 

            The appeal for In An Absent Dream have been positive. Not only was it nominated for a Hugo Award for Best Novella in 2020, but also it is one of the highest rated books in the Wayward Children series by readers on Goodreads and on other social media and (book) retail websites. This novella is an excellent addition to both the book series and the fantasy canon. I should mention that anyone who did enjoy this book because of the world of the Goblin Market should read both Goblin Market by Christina Rosetti and The Sisters of the Winter Wood by Rena Rossner. The latter is a historical fantasy novel with allusions to Goblin Market. After reading those, fans can move on to the next book in the series, Come Tumbling Down

            In An Absent Dream is a story so beautiful and tragic readers will be torn between wanting it to be real and wanting it to be a dream. This is my favorite book in the series next to Every Heart A Doorway. There are several reasons for this: the believable characters, the beauty of the Goblin Market, the split between family and where you belong, and the heart-wrenching end everyone knows is coming but doesn’t want it to happen. Not to mention, the reason and the importance of schools like Eleanor West’s for travelers in similar scenarios. Now, readers have a complete understanding of what these children really need: the desire to choose without any guilt. 

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

Novella Series Speculative Fiction Readers Need to Read: Part I

Novellas are stories which range from 17,500 to 40,000 words, and they can be read within one sitting. Novellas—along with novelettes and short stories—continue to be written, published and read by all within the publishing industry and the reading community. While novellas are written for all literary genres, in recent years, more of them have been published and read for speculative fiction. That’s NOT to say that they weren’t available, just that there are more available to read now. While Tor.com appears to be dominating the market with novellas—which is NOT a bad thing—there are many novellas from Saga Press, Harper Voyager, DAW Books, and all of the magazines that publish them. There are numerous standalone novellas for speculative fiction fans to read, and there are series—some of which are ongoing—that are worth reading as well. Yes, all of these novellas on this list were released by Tor.com originally, but this is the first list of many that I’m compiling and presenting. It just so happens that one publisher releases more novellas than other ones (for now). 

  • Tensorate by Neon (formerly known as J.Y.) Yang (2017-19)

This series was my introduction into silkpunk. Asian influence aside the story follows the lives of the Royal Family of Protectorate, particularly Protector Sanao—The Empress—and her youngest children—twins, Mokoya and Akeha—as they struggle to maintain control over the Empire as a rebellion grows more ruthless to match the Protector’s cruelty. However, it isn’t just the family saga or the politics that will intrigue readers, but the concept of biological sex and gender fluidity which is a mundane cultural practice in that world. I have read comparisons of this series to The Left Hand of Darkness by Ursula K. LeGuin (I haven’t read it, yet). Regardless, this quartet is worth reading.

The subplot of prophecy versus fate versus free will runs its course throughout the series, too. And yes, all of the books come full circle in the end, which will leave you emitting empathy for all of the protagonists. Not to mention, the last few chapters in the fourth book will stay with you for a long time. 

I love it when authors write stories across genres. After reading Rosewater, The Murders of Molly Southbourne intrigued me with its plot: when a young woman bleeds, clones are created. So, not only does Molly have to prevent herself from bleeding, but also learn how to fight, to kill, and to dispose of these clones. So, how does Molly live her life with this “unusual ‘medical’ condition”? Is there a way to stop it? Is there a cure? Even the second book leaves Molly (and readers) with more questions than answers. Hopefully, the next book will let us know what Molly will do next. 

This is a sci-fi horror/thriller series about the lengths a family will go to in order to protect their secret, and what an individual is willing to do in order to maintain their identity. Even if you’re not into sci-fi or horror or thriller, then you should still read this series because readers receive the point-of-view of the victim who never stood a chance for a “normal” life. 

  • Binti by Nnedi Okorafor (2015-Present)

This Africanfuturistic series will remind readers that with space exploration, xenophobia will continue to be an issue, and only choosing to understand those who are different from themselves will resolve conflict. The series follows Binti as she decides to break one of her culture’s traditions to leave her home to study at the most prestigious universities in the galaxy. However, during the voyage, the ship is attacked by a race of aliens claiming something was stolen from them. When Binti finds herself to be the lone survivor of the attack, she realizes that her skills as a harmonizer will ensure her survival.

The rest of the series deals with both the aftermath and the consequences of Binti’s actions. Readers follow Binti’s first year at the university as she learns to overcome her classes, her PTSD, and her reunion with her family (amongst other things). Binti manages to overcome all of the obstacles she faces while attempting to maintain peace amongst various races and cultures in the galaxy. I’m looking forward to the TV adaptation of this series! 

This series takes everything you know about portal world fantasy and gives it a dose of reality with multiple worlds existing next to ours. The series centers on a school for children who went “missing” only to return “changed” from their “ordeal.” Their parents believe they are sending their children to a school for therapy; but, the school is a haven for the “visitors” to meet others like themselves who hope to return “home.”

The series alternates between the present and the past allowing readers to learn about the ongoings at the school—and its students—as well as all of the worlds the students reside in, and where they were able to become their true selves. The fact that some of these students might never be able to return “home” adds the reality to the situation that leaves you feeling emotionally twisted as to what our world does to all of us. 

Murderbot is my favorite robot/A.I. of all-time (sorry R2-D2)! I don’t know what else I can say about this snarky and depressed A.I. who performs its tasks so it has more time to watch its favorite TV show?! Murderbot has more empathy for humans than it’s willing to admit, and that’s what makes the series so relatable and engaging. Throughout the first four novellas in this series, Murderbot performs its latest task with a group of scientists, discovers corruption, then decides to travel to various planets to collect evidence of the crime. 

While Network Effect: A Murderbot Novel gave Murderbot the novel length adventure the A.I. deserved (I haven’t read it yet, I’m sorry), Murderbot will return to novellas when the next book in the series, Fugitive Telemetry is released in 2021. I hope the author continues to delight her fans and her readers with this series. And, I want to read an episode of Sanctuary Moon

This is just a starter list of novellas all readers should read. Readers who either want a quick read, or who want to meet their reading goal by the end of the year should check out these books. As for other novella series, I hope to include Impossible Times by Mark Lawrence, Valkyrie Collections by Brian McClellan, Finna by Nino Cipri, others in a future post. As for standalone novellas, I hope to compile a list of them in the near future!

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. 

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/

Why You Need to Read: “The Murders of Molly Southbourne”

Molly Southbourne #1: The Murders of Molly Southbourne

By: Tade Thompson

Published: October 3, 2017

Genre: Horror, Science Fiction

Winner of the Nommo Award for Best Novella 2018

            The rules are simple.

            “If you see a girl who looks like you, run and fight.

            Don’t bleed.

            If you bleed, blot, burn, and bleach.

            If you find a hole, find your parents.”

            Molly recites the lines to herself many times. She finds herself many times. She finds herself repeating them without intending to when she is bored, (Two).

            The Murders of Molloy Southbourne is an homage to classic horror and science fiction stories such as Strange Case of Dr. Jekyll and Mr. Hyde and Frankenstein. To say that Molly Southbourne makes the best of her situation through survival is a HUGE understatement. If Tade Thompson’s Rosewater didn’t capture your attention, then his novella will!

            Our first introduction to Molly Southbourne is from the perspective of the person she has shackled in her basement. After a few interesting interactions, Molly Southbourne tells the person her life story. From there, the person—and the reader—learns about the unusual upbringing and life of this tragic individual. Molly Southbourne grew up on a farm with her parents. And, due to an unusual condition, she is home-schooled. In between learning about literature, languages, and mathematics, Molly learns hand-to-hand combat, different types of bleach, and pyromantics. These lessons are essential because whenever Molly bleeds, a clone of her appears; and, whenever a “molly” appears, that “molly” attacks Molly. In order to keep Molly’s condition a secret, Molly is taught how to fight, to kill, to butcher, and to dispose “herself.” As eerie as it sounds, Molly proves to be an intelligent and a resilient individual. Unfortunately, life gets more complicated as she grows into adulthood and attempts to live a “normal” life. Molly continues to grow as a person, but she can neither keep her condition a secret, nor cope with what her condition could lead to. As much as Molly wants to be “normal,” she cannot.

            The plot of the story is Molly Southbourne’s life right up to the prisoner in her basement, and it follows a traditional sci-fi/horror storyline. Molly’s entire life has been stringent due to her “condition,” and as the plot develops, so does Molly, and we all realize Molly can only endure her situation for so long. At the same time, the subplots—Molly’s prisoner, and the root of Molly’s “condition”—are developing. To say both subplots will remind you of a spy thriller would be an understatement. By the time Molly discovers the “truth” of her existence, both the plot and, the subplots converge, and Molly’s character development reaches its end. 

            The narrative starts off in the first-person of Molly Southbourne’s prisoner. The prisoner is disoriented and has no memory of how and why Molly is doing what she is doing. Chapters 2 and 3 are told in flashback by Molly Southbourne and she refers to herself in the third-person. In the last chapter, the narrative switches back to the prisoner’s point-of-view, which is in the present. While it is easy for readers to view the prisoner as a reliable narrator, it is difficult to perceive Molly Southbourne as one. Yes, the narrative is vital to both the plot development and the character development, and it can be followed, but—by the end—both the prisoner and the readers are left with more questions than answers. It is safe to say that Molly Southbourne feels the same way, but she doesn’t know what else to do. 

            The style Tade Thompson presents in this novella is a throwback to the earliest horror stories we now view as classics. The word choice and the sentence structure alerts readers that the author wants your attention. Both the mood—bizarre—and, the tone—apathetic—are obvious as soon as you begin reading the story. The author makes sure that the actions and the skills of his protagonist come across as “normal” and that the condition of Molly Southbourne is “unusual.” Tade Thompson allows readers to determine whether or not Molly’s story is believable. At the same time, the author uses pivotal moments of Molly Southbourne’s life—her first menstrual period, her first boyfriend, etc.—to remind his audience over and over that Molly Southbourne is unique and lethal in her own right. Tade Thompson’s style of writing leaves the story with an open ending; just like the classic horror stories.

            The appeal surrounding The Murders of Molly Southbourne have been positive. The book won the “Nommo Award for Best Novella” in 2018; and, was nominated for the British Science Fiction Association Award, the Shirley Jackson Award, and the British Fantasy Award. The Tor.com eBook Club selected this novella as its June 2019 selection (free ebook!). Readers and critics enjoyed it enough that its sequel, The Survival of Molly Southbourne, is an anticipated follow-up (published July 9, 2019)! The Murders of Molly Southbourne is an amazing addition to the horror (and science fiction) genre and demonstrates Tade Thompson’s talent as a storyteller. This novella is enjoyable to the point where it can be read over and over again; and, readers might find an additional clue surrounding Molly Southbourne’s life during one of their many re-reads (I did!). I’m looking forward to reading the next book in the series. 

            The Murders of Molly Southbourne is the perfect story for readers who enjoy horror stories. All of the events that lead to the actions performed by Molly Southbourne and those she loves reminds readers that living with any condition is bearable as long as that individual is willing to bear it. Tade Thompson knows how to present a realistic horror story.

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

Why You Need to Read: “The City of Brass”

The Daevabad Trilogy: Book 1: The City of Brass

By: S.A. Chakraborty

Published: November 14, 2017

Genre: Fantasy/Historical Fiction

            “Nahri had spent her entire life trying to blend in with those around her just to survive. Those instincts were warring even now: her thrill at learning what she was and her urge to flee back to the life she’d worked so hard to establish for her Cairo,”(Chapter 3). 

            I read S.A. Chakraborty’s first novel, The City of Brass, after its sequel, The Kingdom of Copper, was released in January 2019. The good news is that I enjoyed this novel, and the better news is I don’t have to wait to read the second book! This is a magical story that starts in Egypt and travels to a hidden kingdom in the Middle East.

            Nahri is a con woman with a magical intuition who is surviving on the streets of Cairo during its occupation of the Ottoman Empire. Hoping to become a trained healer, Nahri takes jobs “healing customers” while conning them. However, during one of her jobs, Nahri not only reveals her magical aptitude to herself, but also summons a djinn warrior named Dara, who whisks her out of Egypt to the kingdom of Daevastana, where she’ll be safe from enemies, or so they both believe. Meanwhile, Prince Alizayd al Qahtani of Daevastana is scheming behind his father’s back by aiding the poor Shafits, whom are being harmed and mistreated throughout the kingdom. Ali’s intentions are good, but he is naïve both in royal politics and in the truth surrounding the anger of the indentured population. When Nahri and Dara arrive in Daevabad, Ali must quash his ambitions in order to protect his family. Both Nahri and Ali must learn how to navigate and to cope with both their identities and their responsibilities to themselves and to those who rely on them—Nahri to the Daeva and Ali to his family. In the middle of all the impending drama is Dara—short for Darayavahoush e-Afshin—who has an interesting history with both Nahri’s and Ali’s ancestors. 

            The plot is about power, both political and magical. Nahri goes from being a thief to becoming the Royal Healer and the Last Nahid, and Prince Ali—the Qaid, or Head of the Guard for the Royal Family—must choose between doing what is right or being loyal to his family. Both protagonists are trying to determine whether or not Dara has ulterior motives and whether or not he is in control of his magical powers. The subplot, which will most likely become the plot later on in the trilogy, is the tension building within the six tribes residing in the kingdom. More is happening than either Nahri, or Prince Ali realize, but they can only do so much to keep a war from breaking out. Yet, there are more forces at work, which are revealed as the story continues. It goes slow at times, but both the plot and the subplot fall together by the novel’s end. 

            The narratives are told from the point-of-views of both Nahri and Ali; but, they are told in the third person limited narrative. Everything is told in real time, which makes the world-building and the plot easy to follow. Both Nahri and Ali are reliable narrators because readers learn of their flaws and the mistakes they make as the story continues onward. These flaws and mistakes are pointed out to them by the other characters, constantly, which could be argued to be an element of foreshadowing.

            The author’s style of writing can be presented in the mood, in which the beauty of the Middle Eastern region covers up the harsh realities of the people who reside there. Nahri swindles the wealthy residents in Cairo, which is moving between the Ottoman Turks. Ali is the Second Prince who hopes his brother’s reign will be better than their father’s corrupt one. Chakraborty’s tone reminds readers that the settings within the novel are in the midst of an occupation by those who don’t belong there: The Ottoman Turks in Cairo, and the Geziri tribe’s (Prince Ali’s family) rule of the Qahtani throne, which was once occupied by the Nahid (Nahri’s) family. The inclusion of Middle Eastern history and folklore flow within the story in order to add to the richness of this fantasy novel. The Glossary at the back of the book and the map at the front of the book allows for readers to keep track of the characters, the locations, and the culture with ease. Chakraborty’s style allows readers to have a flowing and an informative look into her world. 

            The appeal surrounding The City of Brasshas been a positive one for the Science Fiction Fantasy community; and it is a great addition to the sub-genre that is Middle Eastern fantasy. Both the novel and Chakraborty have been nominated for numerous awards such as the Locus, the British Fantasy, the World Fantasy, and the John W. Campbell Award for Best New Writer. The second book in the trilogy, The Kingdom of Copper, has received praise from readers and critics alike. As far as I know, the second book picks up where the first one left off. Hopefully, the third and final book, The Empire of Gold, gives us everything we want.

            The City of Brassis a fantasy novel that gives Western readers a story that could have occurred during the Ottoman Rule of the Middle East with the culture and the myths that go with it. While the narrative was smooth, the characters believable, the world-building and the conflicts take a bit longer to develop than I prefer. The “revelation” towards the end of the novel came a bit too late, but it works with the narrative and makes you want to read the next book in the trilogy, which I plan on doing. Chakraborty is a speculative fiction writer whose novels should not be missed by readers of the genre.

My rating: Enjoy It! (4 out of 5)