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)!!! 

My Shortlist Award Reading Challenge 2020

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

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

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

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

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

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

BSFA: https://bsfa.co.uk 

Nebula: https://nebulas.sfwa.org

Aurealis: https://aurealisawards.org

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

Hugos: http://www.thehugoawards.org

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

Compton Crook: http://www.bsfs.org 

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

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

BFA: http://www.britishfantasysociety.org

Locus Awards: https://locusmag.com

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

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

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

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

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

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

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

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

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

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

The Shortlist Award Reading Challenge 2019—The End

            As some of you may or may not know, I decided to partake of this crazy reading challenge in which, I would read as many of the nominees of the largest book awards for speculative fiction I could by the time the winners were announced. Obviously, this was easier said than done, but I did read a lot of amazing books, and many of them did NOT win the awards. In addition, I learned of more awards that were given to these authors in different regions throughout the world—if anyone knows of an award given in Asia, then please let me know—and I learned more about authors I’ve read or haven’t read before. 

            I suggest that you go to the websites for these awards and take a look at all of the finalists because you might recognize the authors, their works and their other interested. Some of these authors only receive the recognition from these awards. And, I wouldn’t have known who Lauren C. Teffeau and Nick Clark Windo were without doing this project. 

            I did read a lot of the winners and the nominees, but only the winners of each award and category will be listed here. I haven’t written all of the reviews for some of the winners, yet; but, I hope to do so in the near future. Please read my reviews I’ve linked to the books, and let me know what you thought of the winners of these awards. And yes, I’m doing this again for 2020!

Philip K. Dick Award

Winner: 84K by Claire North

Compton Crook/Stephen Tall Award

Honors the Best 1st Science Fiction/Fantasy/Horror Novel of the Year

Winner: The Poppy War by R.F. Kuang

British Science Fiction Association (BSFA) Award

Winners:

            Novel: Embers of War by Gareth L. Powell

            Shorter Fiction: Time Was by Ian McDonald

            Non-Fiction: “On motherhood and erasure: people-shaped holes, hollow characters and the illusion of impossible adventures” by Aliette de Bodard

            Artwork: Likhain’s “In the Vanishers’ Palace: Dragon I and II”

Nebula Awards

Winners:

            Novel: The Calculating Stars by Mary Robinette Kowal

            Novella: The Tea Master and the Detective by Aliette de Bodard

            Novelette: “The Only Harmless Great Thing” by Brooke Bolander

            Short Story: “The Secret Lives of the Nine Negro Teeth of George Washington” by Phenderson Djèlí Clark

            Game Writing: “Black Mirror: Bandersnatch,” Charlie Brooker

            The Ray Bradbury Award for Outstanding Dramatic Presentation: “Spider-Man: Into the Spider-Verse,” Screenplay by Phil Lord & Rodney Rothman

            The Andre Norton Award for Outstanding Young Adult Science Fiction or Fantasy Book: Children of Blood and Bone by Tomi Adeyemi

The Hugo Awards

Winners: 

            Novel: The Calculating Stars by Mary Robinette Kowal

            Novella: Artificial Condition by Martha Wells

            Novelette: “If at First You Don’t Succeed, Try, Try Again” by Zen Cho

            Short Story: “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies” by Alix E. Harrow

            Series: Wayfarers by Becky Chambers

            Related Work: Archive of Our Own, a project of the Organization for Transformative Works

            Graphic Story: Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda

            Dramatic Presentation:

                                                Long Form: “Spider-Man: Into the Spider-Verse”

                                                Short Form: “The Good Place: Janet”

            Editor:

                        Short Form: Gardner Dozois

                        Long Form: Navah Wolfe

            Professional Artist: Charles Vess

            Semiprozine: “Uncanny Magazine”   

            Fanzine: “Lady Business”

            Fancast: “Our Opinions Are Correct”

            Fan Writer: Foz Meadows

            Fan Artist: Likhain (Mia Sereno)

            Art Book: The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. LeGuin   

            Lodestar Award for Best Young Adult Book: Children of Blood and Bone by Tomi Adeyemi

            John W. Campbell Award for Best New Writer: Jeannette Ng

Brave New Words Award

Given to an individual who produces break-out literature that is New and Bold.

Winner: Empire of Sand by Tasha Suri

The Arthur C. Clarke Award

Given for Science Fiction Literature

Winner: Rosewater by Tade Thompson

Locus Awards

Winners: 

            Science Fiction Novel: The Calculating Stars by Mary Robinette Kowal

            Fantasy Novel: Spinning Silver by Naomi Novik

            Horror Novel: The Cabin at the End of the World by Paul Tremblay

            Young Adult Book: Dread Nation by Justina Ireland

            First Novel: Trail of Lightning by Rebecca Roanhorse

            Novella: Artificial Condition by Martha Wells

            Novelette: “The Only Harmless Thing” by Brooke Bolander

            Short Story: “The Secret Lives of the Nine Negro Teeth of George Washington” by Phenderson Djèlí Clark

            Anthology: The Book of Magic edited by Gardner Dozois

            Collection: How Long ‘til Black Future Month? By N.K. Jemisin

            Magazine: Tor.com

            Publisher: Tor

            Editor: Gardner Dozois

            Artist: Charles Vess

            Non-Fiction: Ursula K. LeGuin: Conversations on Writing by Ursula K. LeGuin & David Naimon

            Art Book: Charles Vess, The Books of Earthsea: The Complete Illustrated Edition, Ursula K. LeGuin

British Fantasy Awards

Winners:

            Fantasy Novel: The Bitter Twins by Jen Williams

            Horror Novel: Little Eve by Catriona Ward

            Newcomer: Tasha Suri for Empire of Sand

            Novella: The Tea Master and the Detective by Aliette de Bodard

            Short Fiction: “Down Where Sound Comes Blunt” by GV Anderson

            Anthology: Year’s Best Weird Fiction, Vol. 5, edited by Robert Shearman & Michael Kelly

            Collection: All the Fabulous Beasts by Priya Sharma

            Non-Fiction: Noise and Sparks by Ruth EJ Booth

            Independent Press: Unsung Stories 

            Magazine/Periodical: “Uncanny Magazine

            Audio: Breaking the Glass Slipper (www.breakingtheglassslipper.com)

            Comic/Graphic Novel: Widdershins, Vol. 7 by Kate Ashwin

            Artist: Vince Haig

            Film/Television Production: “Spider-Man: Into the Spider-Verse”

2019 World Fantasy Awards

Lifetime Achievement Awards: Hayao Miyazaki, Jack Zipes

Winners:

            Novel: Witchmark by C.L. Polk

            Novella: “The Privilege of the Happy Ending” by Kij Johnson

            Short Fiction (tie): “Ten Deals with the Indigo Sky” by Mel Kassel

                                           “Like a River Loves the Sky” by Emma Törzs

            Collection: The Tangled Lands by Paolo Bacigalupi & Tobias S. Buckell

            Artist: Rovina Cal

            Special Award:

                        Professional: Huw Lewis-Jones for The Writer’s Map: An Atlas of Imaginary Lands

                        Non-Professional: Scott H. Andrews for Beneath Ceaseless Skies: Literary Adventure Fantasy

            Anthology: Worlds Seen in Passing: Ten Years of Tor.com Short Fiction, edited by Irene Gallo

Bram Stoker Awards (2018)

Superior Achievement in a Novel: The Cabin at the End of the World by Paul Tremblay

Superior Achievement in a First Novel: The Rust Maidens by Gwendolyn Kiste

Superior Achievement in a Young Adult Novel: The Dark Descent of Elizabeth Frankenstein by Kiersten White

Superior Achievement in a Graphic Novel: Victor LaValle’s Destroyer by Victor LaValle

Superior Achievement in Long Fiction: The Devil’s Throat (Hellhole: An Anthology of Subterranean Terror)

Superior Achievement in Short Fiction: “Mutter” (Fantastic Tales of Terror) by Jess Landry

Superior Achievement in a Fiction Collection: That Which Grows Wild by Eric J. Guignard

Superior Achievement in a Screenplay: The Haunting Hill House: The Bent-Neck Lady, Episode 01:05 by Meredith Averill

Superior Achievement in an Anthology: The Devil and the Deep: Horror Stories of the Sea by Ellen Datlow

Superior Achievement in Non-Fiction: It’s Alive: Bringing Your Nightmares to Life by Joe Mynhardt and Eugene Johnson

Superior Achievement in a Poetry Collection: The Devil’s Dreamland by Sara Tantlinger

Aurealis Award (2018)

Recognizes the achievements of Australian science fiction, fantasy and horror writers. 

Winners:

            Young Adult Short Story: “The Sea-Maker of Darmid Bay” by Shauna O’Meara

            Young Adult Novel: Catching Teller Crow by Ambelin Kwaymullina & Ezekiel Kwaymullina

            Science Fiction Novel: Lifel1k3 by Jay Kristoff

            Fantasy Novel (tie): City of Lies by Sam Hawke

                                             The Witch Who Courted Death by Maria Lewis

            Horror Novel: Tides of Stone by Kaaron Warren

            Children’s Fiction: The Endsister by Penni Russon

            Graphic Novel/Illustrated Work: Tales from The Inner City by Shaun Tan

            Horror Novella: Crisis Apparition by Kaaron Warren

            Horror Short Story: “Sub-Urban” by Alfie Simpson

            Fantasy Novella: “The Staff in the Stone” by Garth Nix

            Fantasy Short Story: “The Further Shore” by J. Ashley Smith

            Science Fiction Novella: Icefall by Stephanie Gunn

            Science Fiction Short Story: “The Astronaut” by Jen White

            Collection: Tales from The Inner City, edited by Shaun Tan

            Anthology: The Best Science Fiction & Fantasy of the Year, edited by Jonathan Strahan

            The Sara Douglass Book Series Award: Blackthorn & Grim Trilogy by Juliet Mariller

            Convenors’ Award for Excellence (tie):

                        Cat Sparks, The 21st Century Catastrophe: Hyper-capitalism and Severe Climate Change in Science Fiction (PhD exegesis Curtin University)

                        Kim Wilkins, Lisa Fletcher and Beth Driscoll, Genre Worlds: Australian Popular Fiction in the 21st Century (http://www.genreworlds.com)

Nommo Award (2018)

Recognizes the works of speculative fiction by Africans, defined as “science fiction, fantasy, stories of magic and traditional belief, alternative histories, horror and strange stuff that might not fit anywhere else,” awarded by the African Speculative Fiction Society

Winners: 

            Novel (The Ilube Award): Freshwater by Akweake Emezi

            Novella: The Fire Bird by Nerine Dorman

            Short Story: “The Witching Hour” by Ekpeki Oghenechovwe Donald

            Comic or Graphic Novel: Shuri by Nnedi Okorafor

SPFBO (Self-Publishing Fantasy Blog-Off) 2018 (4th

Started by Mark Lawrence, yes THAT one, with the purpose to “shines a light on self-published fantasy. It exists to find excellent books that might otherwise have gone unnoticed.” The contest starts with 300 books and it gradually narrows down to 10 finalists! The judges are readers who are bloggers and vloggers. Note: some of these authors gain a following and some even earn a publishing contract, so don’t ignore these books!

Winner: Orconomics by J. Zachary Pike

Finalists:

            The Gods of Men by Barbara Kloss

            The Purification Era Book One: Sowing by Angie Gricaliunas

            We Ride the Storm by Devin Madson

            Symphony of the Wind by Steven McKinnon

            The Anointed by Keith Ward

            Conspiracy of Magic Book One: Ruthless Magic by Megan Crewe

            Sworn to the Night by Craig Schaefer

            Iconoclasts Book 1: Aching God by Mike Shel

            Out of Nowhere by Patrick LeClerc