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.
It was set up a hill on a cliff overlooking the ocean. It looked as if it were at least a hundred years old. It was made of brick and had a large turret of all things set right in the middle of the roof. The side of the house facing Linus was covered in green ivy, growing around multiple white window frames. He thought he could see the outline of a gazebo set off next to the house and wondered if there was a garden. He would like that very much. He could walk through it, smelling the salt in the air and—
He shook his head. He wasn’t here for such things. There would be no time for frivolities. He had a job to do, and he was going to do it right, (FIVE).
It’s amazing how a reader comes across a book. In this case, after receiving an eARC, I received a print copy of this book from a giveaway. At the time of this book’s release, the reviews were all about how great and how beautiful the story is, and how everyone should read this book. And, when I started reading the book, I realized the description didn’t do it justice to the story as a whole. The House in the Cerulean Sea by T.J. Klune is a poignant story about family and identity.
The protagonist is Linus Baker, a middle-aged caseworker in the Department in Charge of Magical Youth (best described as social services for “magical” children). He is the stereotypical vapid and lonesome adult who lives alone—with his cat, Calliope—and focuses on his job, in which he is very good at. In fact, Linus is so good at his job, he receives a summons from Extremely Upper Management to take part in a highly classified assignment: investigate an orphanage on the distant island, Marsyas; report and determine whether or not it should remain open; and, check the well-being of 6 “magically dangerous” children and their caretaker, Arthur Parnassus. It doesn’t sound too bad, until Linus reads the files for each child. That is when Linus realizes this assignment is unlike the other ones he’s had before, and why the files are classified. Linus reads up on the files of the children: Lucy, Talia, Theodore, Chauncey, Sal and Phee. But, he waits to read Arthur’s file because Linus believes it isn’t relevant to the assignment. In addition to the children and Arthur, there is Zoë Chapelwhite, the “Caretaker of Marsyas Island,” and the mentor to one of the children. Each of the children are as unique as their files make them out to be, and Linus is able to see them all as children and NOT the magical beings they are. While Linus has no issues with writing up his reports and bonding with the children, he is puzzled by Arthur’s demeanor, especially when it comes to the humans who reside on the island. Arthur is a complex character, but it is through him that Linus develops as both a character and an individual throughout the story.
Although the plot appears to be cliché, it is less straightforward and more complex than presented in the first chapter. In this world, humans and magical beings coexist in society, but they remain segregated from each other. The obvious reason for this is the fear between both groups. Humans fear what they don’t know, and the magical beings fear for their safety (from humans). Linus believes he’s investigating the Marsyas Orphanage because of his ability to “do things by the book.” However, Linus learns quickly about the true intentions of Extremely Upper Management and of Arthur’s reasons for becoming the guardian for these particular children. There are two subplots in this book. The first one surrounds foster care. Just about everyone has heard of (or knows someone who went through or works within) the foster care system—which, includes orphanages and children’s homes—and, the numerous stories—both true and false—about the ongoings that occur within them. This includes visits from caseworkers and social workers. I’m not saying that this book provides “accurate” information—I wouldn’t know—but, there is enough familiarity in this book that brings out the reality within the fantasy. The second subplot involves trauma and fear, and how it is handled. Approximately, half of the characters are dealing with their personal fears and traumas, and they all deal with them in their own way. However, there are positive and negative methods to overcome them, which are explored in this story. These subplots are necessary because they provide more depth and development to both the plot and the characters.
The narrative follows Linus’ point-of-view in the present, and is told in 3rd person limited narration. This means that the readers know what is happening from Linus’ experiences, and what is told to him by the other characters. This use of narration is essential for the story because of Linus’ role as a case worker. He must be able to understand the children, Zoë and Arthur while maintaining his identity as a human; especially, when Linus is told of the traumas the children have gone through. This makes Linus a reliable narrator.
The style T.J. Klune uses for The House in the Cerulean Sea is first and foremost a commentary on stereotypes, especially those placed on children. Ironically, this book was released during the year the world was forced to observe how they operated, and how their societal practices led to social turmoil. In addition, it is children who are taught how the world will perceive them based on these societal norms and practices; and, how it can get better, or worse (usually worse), as they reach adulthood. Earlier, I mentioned foster care systems, but there are several allusions to magical beings across folklore and speculative fiction, including the “smaller details” to what some of us suspected about those magical beings. The mood in this book is paradise. Linus arrives on the island and he is awed instantly by its beauty: the weather, the colors, and the appeal. However, each literary paradise contains its own underlining issue. The tone in this book is the dismantlement of stereotypes and appearances. All of the characters have something within themselves they need to overcome so that they can continue living their lives.
The appeal for The House in the Cerulean Sea have been immensely positive. Several readers and critics have had nothing but great things to say about this book. In addition, this novel was named “One of the Best (SFF) Books” of 2020 by everyone from Goodreads to Amazon. This book is a great addition to the speculative fiction canon and it should be read by all fans of the genre, especially for its lighter tone. Recently, this book became one of the recipients of the American Library Association’s (a.k.a. ALA) 2021 Alex Award. And, I’m going to say that this is the first of many accolades this book will receive.
The House in the Cerulean Sea is the magical book readers and fans didn’t know they needed. T.J. Klune presents a story about stereotypes surrounding identity, youth, family and appearances; and, it provides a bit of magic to it in order to present it as realistic, and it works. If you are looking for a fantasy story that will make you smile, then look no further.
*Winner of: Hugo Award for Best Novella 2017, Nebula Award for Best Novella 2016, Locus Award for Best Novella 2017, ALA Alex Award 2017
…the wanting. You want to go back, and so you hold on to the habits you learned while you were traveling, because it’s better than admitting the journey’s over. We don’t teach you how to dwell. We also don’t teach you how to forget. We teach you how to move on, (3: Birds of a Feather).
Anyone who is a fan of Lewis Carroll, L. Frank Baum, C.S. Lewis, Philip Pullman, and authors who write similar stories MUST READ THIS SERIES!!! The Wayward Children books are a portal fantasy series which asks the question: what happens when those who are “spirited away” return to our world? Seanan McGuire answers this question in her series. While it is obvious which stories inspired and influenced the author, the originality will draw readers into this series. It mentions how a combination of Time and Desire can lead to a portal to another world. And, there are many worlds which we are familiar with whether or not we realize it. They are allusions to other portal fantasy and adventure books and readers have to recall all of them in order to comprehend the series.
While there are several characters in this book—the students and the (resident) teachers are “travelers”—the protagonist is Nancy, the newest arrival at Eleanor West’s Home For Wayward Children: No Solicitation, No Visitors, No Quests. She is 17-years-old and was “gone” for six months in the Halls of the Dead before the Lord of the Dead returned Nancy to our world so that she can “Be Sure” before making her choice to stay there forever. It’s been “seven weeks, four days” and counting, and Nancy is waiting for her Door to reappear. Nancy is like many of the students at the school, she wants to return Home, but knows there is a slim chance of it happening. Nancy’s parents send her to this school so she can “get better,” but Nancy learns quickly that the school is a haven for other children like her who want nothing more than to return to their Homes. There’s Sumi—Nancy’s roommate—who traveled to Confection and cannot sit still long enough to hold a conversation. Kade—a relative of Eleanor’s—who was kicked out of Fairyland and is in charge of managing everyone’s “preferred” wardrobe. Jacqueline and Jillian—known as Jack and Jill—are identical twins whose adventures in the Moors is something out of a black-and-white horror movie. And, Christopher who traveled to a world of “happy, dancing skeletons” similar to the holiday, Día de los Muertos. The adults in charge consist of Eleanor West, the headmistress, whose Door is still open; and, Lundy, the school’s therapist, who is aging in reverse as punishment for breaking the rules of the High Logic, High Wicked world she “visited.” Unlike Eleanor, Lundy knows she can never return to her Home, and so she projects her bitterness on to the students. All of the residents at the school want to go Home, but they all have to settle on having to learn how to readapt in our world. And yet, many of the students refuse to believe their Doors are lost to them forever.
There are 2 plots in Every Heart A Doorway. The first is learning how the school operates and how Eleanor recruits students while keeping them safe. The second is the construction of the “Great Compass.” Eleanor, Lundy and Kade spend their free time compiling a book of the descriptions and the characteristics of each world. The most common “directions” are: Nonsense, Virtue, Logic and Wicked; then, there are several “minor” compass directions such as Rhyme and Linearity. These plots are continuous throughout the series, and it is fascinating to learn how the school is managed, and it’s intriguing to learn which worlds are “connected” to one another. However, it is the subplots that keep the readers engaged, and there are two of them. The first concerns the murders of some of the school’s residents. Who is killing them and why? The second subplot follows the worlds each traveler visited and the “stereotypes” surrounding each one. For example, who’s to decide on whether or not a world of rainbows is “good” over the world with skeleton people? All worlds whether or not they exist in reality contain both beauty and danger.
The narrative in this story follow’s Nancy’s point-of-view; but, she does not remain as the only P.O.V. character in this story. There are times when the P.O.V. switches to other characters, even for a paragraph. So, this narration is presented using 3rd person limited omniscience. Due to the style of narration, the protagonist—and, the other P.O.V. characters—are reliable narrators. Not to mention, readers get the characters’ streams-of-consciousness throughout the story. It should be mentioned whenever the characters are talking about their Homes—both their worlds and their families—they are as memories, NOT flashbacks! This is because the characters are describing their experiences as they remember them; and, some of those recollections are unreliable because they are from their perspectives, which are biased.
The style Seanan McGuire presents is a twist on portal and quest fantasies. Farah Mendlesohn defines “Portal-Quest Fantasy” as: “In both portal and quest fantasies, a character leaves her familiar surroundings and passes through a portal into an unknown place. Although portal fantasies do not ‘have’ to be quest fantasies the overwhelming majority are,” (Mendlesohn, 1). McGuire asks the question: what happens if the ‘hero’ or the ‘traveler’ returns to our world? On the one hand, Alice from Alice’s Adventures in Wonderland goes back to Wonderland in Through the Looking Glass before returning to our world for the rest of her life. On the other hand, Dorothy from the Oz series traveled to Oz so often, she, her aunt and her uncle, and Toto move there permanently. So, why did one stay in our world while the other one didn’t? Would Alice have stayed in Wonderland if she was given a choice? And, the characters from McGuire’s story, what would they give to return Home? The author asks these questions as these children return from their travels changed, and are suffering—NOT from PTSD—but from struggling to return to their mundane existence. The allusions to all of the stories and their authors mentioned are informative and valid. Instead of the “familiar” fantasy stories and fairy tales we believe we know, readers receive the dark lore and the styles from other variants of folklore and fantasy stories. And, it’s the reality check fantasy readers didn’t know they needed. The mood in Every Heart A Doorway is a haven for all of the travelers. The tone in this story is how each character struggles to accept their current predicament. Some have accepted it and others continue to search for their Doors.
The appeal for Every Heart A Doorway were and continue to be multitudinous. Not only did this novella win several awards—including the Hugo and the Nebula—but also gain numerous readers who were introduced to the author and her other books, including myself! This book and the other ones in the Wayward Children series belong in the speculative fiction canon, and have lasting appeal because of the characters and their stories. The fact this continues to be an ongoing series will have fans rereading this book over and over again. In fact, Tor.com announced fans and readers can expect the series to have at least 4 more books, bringing the current total to 10 books!
Every Heart A Doorway is an amazing and unique look into how diversified fantasy is based on all of the worlds the characters have traveled to, and why all of the authors who wrote similar stories believed their characters were better off returning whence they came from instead of remaining where they were the happiest. Fans of both traditional and twisted fantasy stories should read this book. This novella will have you searching for your Door.
My Rating: MUST READ IT NOW (5 out of 5)!!!
List of Works Cited
Mendlesohn, Farah. Rhetorics of Fantasy. Wesleyan, 2008.
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.
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!
Wayward Children by Seanan McGuire (2016-Present)
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!
“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.
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.
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!
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.
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.
Published: first published November 15, 2016; reprinted September 18, 2018
Genre: Science Fiction/Afrofuturism
Winner of the Nommo Award for Best Novel 2017
Apart from the classified stuff about sensitives and the xenosphere, most information about the dome is in the public domain, but it is amazing that the fringe press and conspiracy theorists have different ideas…There are those who believe the dome is a magical phenomenon. I won’t get started on the quasi-religious set,” (Chapter One).
A friend of mine gave me an ARC of this book from one of the many book expos she attends every year. Instantly, I was captivated by the information found on the back of the book. An alien biodome with “healing powers” appears in Nigeria; people with abilities are either forced into hiding, or forced to work for the government; and, the rest of the world—such as the U.S.A.—have found a way to isolate themselves from the aliens and each other. Tade Thompson’s debut novel is a great combination of sci-fi tropes, human behavior, and originality.
The characters in this novel are not trying to save the world, or travel into space. These characters are surviving within their communities due to secrets and abilities that others would die to know about. Kaaro is the protagonist of the story and we learn about him very quickly; he uses his abilities for the two jobs he has: as a security “monitor” at a bank and as an “informant” for the government. Kaaro is a “sensitive” who can “find things,” and before he worked at the bank and for the government, he was a criminal whose actions caught up with him. Readers learn about Kaaro through his interactions with Femi Alaagomeji, his boss; Aminat, his lover, who has secrets of her own; Molara, a strange being that resides within the xenosphere; and, the mysterious “Bicycle Girl” who may or may not have some knowledge about Rosewater, the biodome and its purpose. This is how readers learn of Kaaro’s character. Kaaro degrades himself, constantly, due to his low self-esteem and his guilt about his past.
The plot for Rosewateris learning the how and the why the alien biodome appeared on Earth, and why it offers “healing” to humans. The plot unravels as the story moves along with readers asking questions about the biodome, the aliens, and the rest of the world. The multiple subplots: Kaaro’s abilities as a sensitive is being exploited by his employers, Kaaro’s budding relationship with Aminat and the secrets they decide to reveal to each other as they spend more time together, and Kaaro’s past actions and how they connect to the biodome. All of the subplots are connected to the plot of the story, and it’s not what you expect it to be.
The narrative within Rosewateris told from Kaaro’s point-of-view and is told in real-time with the chapters jumping back-and-forth across a time span of 30 years in various, and actual, locations—an achronological plot. With the exception of the chapters labeled “Now,” the narrative focuses on events that provide answers to the readers’ questions about the characters and the setting. Tade Thompson’s narrative—which is similar to the flashback narrative in the TV show, Lost—focuses on parts from Kaaro’s past instead of all of it. This way, readers obtain what is relevant to the story thus keeping it on track.
The style provided by Tade Thompson in the novel uses a reliable narrator. Usually, authors do not reveal whether or not their narrators are reliable, especially in first person narratives. However, with Kaaro readers know he is reliable due to his outlook of his life due to the choices he’s made as well as admitting how and why Kaaro became a criminal and everything else that happens afterwards. At the same time, we learn of Kaaro’s feelings about the biodome through the author’s tone (his attitude) and his mood (how the readers should feel) about the biodome, which is suspicion. The style within Rosewaterprovides several mysteries within this science fiction story.
The appeal surrounding Rosewaterspeaks for itself. The novel was so popular and so immersive that it won the Nommo Award for Best Novel in 2017, and was reprinted by Orbit in 2018. In addition, Tade Thompson’s book was nominated for the John W. Campbell Memorial Award for Best Novel in 2017. The Rosewater Insurrectionis the sequel to Rosewater, and it is one of the most anticipated speculative fiction books of 2019, which picks up where the first novel left off. Personally, Rosewatermade My Selections for Best Speculative Fiction Books of 2018 for similar reasons.
Overall, Rosewateris a brilliant debut novel that fans of speculative fiction will enjoy. Both the setting and the mention of science and religion provide a sense of realism to the story. My only issue with Rosewaterwas that the plot development and the character development took longer than other recent science fiction stories I’ve read. Yet, the buildup to the reveal(s) by the novel’s end will stimulate readers into reading The Rosewater Insurrectionand other stories by the author. Tade Thompson’s method of telling believable science fiction stories will leave readers entertained and vigilant.
Binti: Sacred Fire(#1.5) released February 5, 2019
Binti: Home(#2) released January 31, 2017
Binti: The Night Masquerade(#3) released January 16, 2018
Binti: The Complete Trilogyreleased February 5, 2019
Genre: Science Fiction, Afrofuturism, Anthology
Winner of the Nebula Award for Best Novella 2015 & the Hugo Award for Best Novella 2016
PLEASE NOTE: The following contains minor spoilers for all four novellas. You have been warned.
I am Binti Ekeopara Zuzu Dambu Kaipka of Namib (Binti).
Every once in a while you hear about a story that is so unique and so captivating that it is suggested that everyone should read it regardless if it’s not from their preferred genre of literature. Binti is a story about a young woman who leaves her home—without her family’s blessing—so that she can take advantage of an once-in-a-lifetime opportunity to attend the most prestigious university in the galaxy, Oomza Uni. She boards a spacecraft and it is traveling to a distant planet, and Binti has never been away from her home before. It seems like the story will pick up pace once the spacecraft arrives; only it is attacked by a “hostile” alien species. This is the first part of the first novella in the series by Nnedi Okorafor—which, won both the Nebula and the Hugo awards for “Best Novella”—and, neither the action, nor the story ends with the first novella! Binti: The Complete Trilogy contains all of the author’s stories in one volume!
Binti starts off with a simple plot: a gifted young woman goes against her family’s expectations in order to attend an esteemed university. Readers are introduced to Binti’s intelligence for mathematics, abilities as a harmonizer, and Himba culture. At the same time, readers are reminded that human differences and alien versus human culture clashes exist in the future as well. One particular rivalry between the species quickly becomes the center of the story, quickly. Binti has to find a way to survive her new—and unexpected—predicament, which will be hard because the Meduse, the hostile alien species want her dead.
Binti is terrified to the point where it’s easier to blame herself for her current situation rather than realize how sheltered she was back on Earth. Binti soon realizes that she must rely on her abilities and her talent in order to understand the situation and escape with her life. However, Binti is not in control of either her abilities, or the tools she has with her. This means improvising. She soon realizes that her astrolabe allows her to communicate with the Meduse on the spacecraft. Binti is able to come up with a strategy to save herself, the lives at Oomza Uni, and the lives of the people on Earth, including her family. Even though she succeeds, the experience of Binti’s excursion to Oomza Uni changes her in more ways than one.
Binti: Sacred Fire is the latest story written by the author in this series, but it serves as an interlude between the first and the second books in the series. This tale provides an appropriate look into Binti’s life as a student at the university she saved. She has become friends with one of the Meduse, Okwu, who is now a student at the university as well. Readers gain insight into Binti’s interactions with her classmates and her professors, and her family and friends back home (the ones who are willing to talk to her).
Unfortunately, Binti’s new life at Oomza Uni is not as smooth as she hopes. She is suffering from posttraumatic stress disorder from her voyage to the university and from the bullying from a few of the humans who happen to be from a feuding tribe from Earth. Although Binti is hailed as a hero for negotiating a truce, she feels as isolated at Oomza Uni as she did back home. Not to mention, Binti is still dealing with some personal “changes” to her being.
Even though Binti is traumatized and isolated, she is not alone. Her friends are with her as she works her way through her adjustments and her traumas. Binti knows that it’ll take a while to get used to her new lifestyle, but it seems like she’ll be getting the full university experience.
Binti: Home is about what is in the title. Binti completes her first semester or year at Oomza Uni and decides to return home to visit her family and to participate in her tribe’s pilgrimage. Binti has made progress at the university: in her classes, in her therapy sessions, and in her reputation as a Master Harmonizer. However, returning home means traveling by spacecraft, and it’s the same one Binti traveled on to get to Oomza Uni.
The spacecraft—known as The Third Fish—is a living thing that flies in outer space. Binti—who is still suffering from PTSD—decides to stay in the same room she stayed in during her first voyage in order to face her trauma. Throughout the voyage, Binti is able to make some progress of dealing with her panic attacks and flashbacks. However, Binti still has to face her fear of reuniting with her family. And, since she’s lived away from her home for a while, she’s forgotten some of her people’s more casual customs. Binti has changed in more ways than one because of her experiences. Unfortunately, her family and her tribe are static in their ways and are disgusted with Binti’s changes and growth.
The purpose of a pilgrimage is for an individual to seek growth through moral and spiritual growth. Oftentimes, that individual becomes enlightened and transformed by the end of their pilgrimage. This is what happens to Binti during her pilgrimage even if it isn’t the pilgrimage she was supposed to go on. The pilgrimage Binti goes on brings her to a new level of personal enlightenment. And, she is made aware of her own prejudices and slowly comes around to accepting the changes she’s been experiencing. At the same time, the prejudices surrounding three different clans have erupted, and Binti—once again—must rely on her skills as a harmonizer in order to diffuse the tensions before war breaks out.
Binti: The Night Masquerade starts where Binti: Home left off, with Binti rushing back to her family home after her pilgrimage in order to stop a war before it starts. The Night Masquerade is a personification of the coming of a “big change.” To Binti, she interprets it to mean a war is about to start. And, Binti plans on ending it before it can happen.
Cultures clash, hidden history is revealed, and someone always gets betrayed. The POVs change so that the readers have a better understanding of what is happening during certain parts of the story. Within the conclusion to this series, readers realize that not everyone is willing to accept change, not everyone wants to interact with someone who is “different” from themselves, and not everyone is willing to admit he/she/it/they have flaws. Binti comes to terms with all of this as she returns to Oomza Uni just in time for the upcoming academic year. All of her experiences and changes within herself allow Binti to elevate herself beyond the status of Master Harmonizer. However, Binti wishes to continue her studies, for the time being.
It was thrilling to read Binti again. And, Binti: The Complete Trilogy allows readers to enjoy all of the Binti stories in tandem. Fans of Nnedi Okorafor and readers of speculative fiction will appreciate this series compilation as much as I did. Reading through Binti’s life as a university freshman reminded me of some of my experiences during my first year of college as well, including the changes in myself and the stagnancy of everything else. Bintiis a story about personal growth through experience and change, and how expectations depend on individual actions, not those of others. This coming-of-age story is pleasing to all readers and it should not be overlooked. And, readers can rejoice knowing that Nnedi Okorafor has plans to continue Binti’s story!