Tag Archives: Horror

Why You Need to Read: “Harrow the Ninth”

The Locked Tomb, #2: Harrow the Ninth

By Tamsyn Muir                                                                    Audiobook 19 hours and 51 minutes

Published: August 4, 2020                                                      Narrated by: Moira Quirk

Genre: Horror/Gothic/Dark Fantasy

            The Reverend Daughter Harrowhark Nonagesimus ought to have been the 311th Reverend Mother of her line. She was the eighty-seventh “Nona” of her House; she was the first Harrowhark. She was named for her father, who was named for his mother, who was named for some unsmiling extramural penitent sworn into the silent marriage bed of the Locked Tomb. This had been common. Drearburh had never practiced Resurrection purity. Their only aim was to keep the necromantic lineage of the tomb keepers unbroken. Now all its remnant blood was Harrow; she was the last necromancer, and the last of her line left alive, (3).

            Series are an interesting concept. They allow for the continuation of a story either with the same characters from the previous story, or with new characters, or both within the same world. At the same time, the plot (and, at times, the subplot(s)) continues to develop so that both the audience and the characters know what has to happen and what will happen by the end of this part of the story. Harrow the Ninth—the sequel to Gideon the Ninth—by Tamsyn Muir follows Harrowhawk after she achieves Lyctorhood and what it means to serve the Emperor. 

            Harrowhark Nonagesimus has achieved her goal (at 17 years-old). She has become a Lyctor and the Ninth Saint to serve the King Undying. However, she learns quickly that there are conditions for serving the Emperor; one of them is that Harrowhark cannot return home to the Ninth House. This means that her goal of restoring her House can no longer happen. Not to mention, Harrow must start training and using her abilities as a Lyctor as well as learn the responsibilities of her new role. The main one is protecting the Emperor from all threats. She learns about these threats as well, and Harrow is astonished to learn what they are. Overnight, Harrowhark goes from being in charge and knowing almost everything to finding herself at the bottom of the pyramid and answering to those who believe Harrow became a Lyctor at too young of an age. In addition, Harrow begins to suffer from hallucinations and memory loss. This puts Harrowhark in an even more vulnerable position than she is used to. Then again, it seems that Harrow was expecting this because she left several letters to herself so that she could remind herself of everything that led up to her current predicament. But, is it enough? Accompanying Harrow with her Lyctor training are: the Emperor, Augustine, Mercymorn, Ortus and Ianthe—all are the surviving Lyctors who train Harrow while serving the Emperor. Harrow is a very complex characters who develops throughout the story. 

            The plot is jumbled and confusing, but it does develop as the story is presented. The story is Harrowhark’s training as a Lyctor, which will remind readers of a combination of military boot camp and pledging for a fraternity or a sorority. While this form of training is brutal, it is the sort of training Harrow needs in order to survive her “work” for the Emperor. The plot of the story are the events which lead to the murder of the Emperor. The King Undying has reigned for 10,000 years; so, why and how would the Emperor meet his end? There are two subplots which are the main focus in this book. The first one focuses on the ongoings within the First House. This includes Harrow’s training, her missions, and the interactions amongst all of the Lyctors and the Emperor, which are essential due to Harrow’s memory loss. The second subplot is about the mysterious individual who is lurking throughout the First House. The individual seems to know of everything that is going on, but manages to remain unseen by everyone except for another mystery person who is unknown as well. The subplots are necessary for the plot, and the story will keep the reader(s) engaged, but neither one helps with the plot development. In fact, it is not until the end of Act Four where all of these plot devices come together into something more coherent.

            The narrative in Harrow the Ninth is very difficult to follow, but it’s supposed to be that way. This is because the sequence jumps from streams-of-consciousness and flashbacks (amongst more than one character) as well the points-of-view moving amongst 1st, 2nd, and 3rd person. All the while, the reader(s) are attempting to figure out who the other narrators are besides Harrowhark. One of the narrators is someone readers did not expect to appear, but—in my opinion—the character’s revelation took too long to be confirmed by the author. I mentioned that the narrative is difficult to follow, but it is supposed to represent everything that is happening to Harrowhark. The narrative represents memory, trauma, and life, which are not always coherent, even to the individual experiencing it. In other words, Harrowhark is not a reliable narrator, but the other ones are; and, they take over whenever Harrow’s narrative begins to falter. 

            The style Tamsyn Muir uses in Harrow the Ninth is similar, yet different from the one she used in Gideon the Ninth. While the author continues writing her story following Gothic elements, she includes horror and science fiction in order to expand the world she has created. I mentioned Frankenstein by Mary Shelley in my review of Gideon the Ninth as one of the books that fall under the Gothic genre. I’m mentioning this book again because some aspects from that book can be found in this one. Another Gothic horror story that the author was influenced by as well is The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. The story is familiar to many people, but the book contains more of the reality of what was happening within the community and not just the “relationship” between the two “men.” Once you read both stories, then it should make (some) sense. The mood in this novel is one of anxiety. While it is clear Harrowhark suffers from anxiety, she is not the only one who is dreading the outcome of a potential end. The tone in this novel is a blueprint. Every character within this story was planning something; and they all carried it out. Whether or not the results came into fruition has yet to be determined. 

            Once again, I listened to the audiobook. Moira Quirk returns as the narrator and her performance and her pronunciation of the characters and the names were amazing and a huge help. It needs to be said that while the audiobook helped me with following along with the story, I still had to open the book (which was given to me by a friend) and reread portions so that I knew that I was keeping up with the story. So, in this case, I needed both the book and the audiobook in order to read this story. 

            The appeal for Harrow the Ninth have been mixed. Many fans who enjoyed Gideon the Ninth, loved the sequel. At the same time, other fans found themselves either torn or confused with how they were supposed to feel about the narrative. While everything falls into place by the story’s end, it shouldn’t come as a surprise that some of the readers have more questions than answers. Hopefully, these questions will be answered in the third and final book, Alecto the Ninth. It should be mentioned that this book is a great addition to the horror and the Gothic canon. Harrow the Ninth should be reread so that the readers can group everything that happened in the book. 

            Harrow the Ninth is a rollercoaster reading experience. There are several moments when your head jumbles and your thoughts move in loops, but once you reach the end, you are left with an unforgettable experience. I found this narrative to be confusing and incomplete compared to the first book, but the story kept my interest until the end. Everything starts to make sense towards the end, so I suggest that you don’t ignore everything leading up to that point. Other than all of that, my curiosity remains piqued. So yes, I will be reading the final book in this series. 

My Rating: Read It (3.5 out of 5). 

Why You Need to Read: “Ring Shout”

Ring Shout

By: P. Djèlí Clark

Published: October 13, 2020

Genre: Horror/Folklore/Supernatural/Historical Fiction

Thank you Tor.com for sending me an ARC of this book.

            “The Birth of a Nation” had delivered all the souls they needed to stir up them old evil powers. Across the country, white folk who ain’t even heard of the Klans surrendered to the spell of them moving pictures. Got them believing the Klans the true heroes of the South, and colored people the monsters, (TWO). 

            They are one of the most infamous groups in modern society; yet, for some reason, American society fails to call them what they are: a hate group. The Ku Klux Klan emerged during the Reconstruction Era and sought destruction, especially against several Black American communities throughout the U.S., particularly in the South. While their white hoods presented and hid their identities, the freed slaves had a new fear, and they weren’t from their folklore, but from actual fears which manifested. P. Djèlí Clark combines two fears—the known and the unknown—into his latest novella, Ring Shout. 

            Maryse Boudreaux is a 25-year-old monster hunter. However, she and her companions have “The Sight” so that they can distinguish one monster—the Klan—from the other one—the Ku Kluxes. To everyone else, they are one and the same, but Maryse and the other monster hunters know better. There is Sadie, the best shooter in the group; and, Chef, a war veteran who has a talent for explosives. Nana Jean is a Gullah woman who uses her skills to offer protection from the Ku Kluxes. And, Michael George, the man who provides Maryse with reprieve from and motivation for fighting. Then, there are Aunties Jadine, Ondine and Margaret, “spirits” who guide Maryse on her quest to eradicate the Ku Kluxes, including gifting her with the sword she uses throughout the war against the supernatural threat. Maryse has her reasons for hunting the Ku Kluxes, but she cannot grasp how far these monsters are willing to go for domination. And, who is conjuring them? The revelation pushes her to make “deals” so that she and her companions have a chance to survive. Maryse is a fighter, but she knows all too well that she cannot do it alone. Her companions allow her to develop into the person she must become in order to defeat this threat. 

            The plot is straightforward. It is July 1922, 7 years after The Birth of a Nation was released, and 4 years since the Great War (a.k.a. World War I) ended; and, there is to be a re-release of the film in Stone Mountain, Georgia. What many people—White and Colored—do NOT know is that the movie is based on a book written by a sorcerer. The sorcerer uses moving pictures in order to conjure a spell so that evil beings can be summoned and walk amongst humanity. The cost: human souls. The Klan offered their souls and became Ku Kluxes, which go on to terrorize Colored people. So, monster hunters—consisting of a group of Colored people with “The Sight”—continue to fight them off after the Ku Kluxes make their return to power. The storyline within this plot is how the characters fight, live, and survive during these trying times where a force of evil—which is fueled by hatred—is unseen by almost everyone. It is the subplot that drives the plot in this book. The subplot focuses on the Black American Experience during the 1920s, and it is not an easy time for them. In addition to fighting the supernatural, the characters have to maintain their way of life while remaining segregated. Jim Crow laws and lynchings are a common and an everyday practice. Combined, both the subplot and the storyline allows for the plot to develop an appropriate rate. 

            The narrative is told from the point-of-view of Maryse. The sequence is a combination of stream-of-consciousness and flashback, which are necessary for the story. The events and the sequence occur in the present. However, it is the dialogue (and the dialect) of the characters that will keep the readers engaged throughout the narrative. 

            The style P. Djèlí Clark uses in Ring Shout includes allusion, history and folklore. The history is obvious to anyone who is familiar with (actual) American history and Southern culture. The allusion refers to historical moments such as: Prohibition, the reemergence of the KKK, the construction of the Panama Canal, the Black Wallstreet Massacre, etc. Yet, it is the folklore that influences the story. The mention of fairy tales as cautionary tales are mentioned throughout this book (i.e. Bruh Rabbit, eating strange food, sharing stories, etc.) and drive the story in a way so that both the characters and the readers are familiar with all of the story’s ongoings. Another factor the author wants his audience to consider are the similarities between Black American and Caribbean cultures, particularly the practices of the Gullah and the Obeah. The mood in Ring Shout is hatred; and, the tone within this book is manipulation (for power using hatred). Readers should know that the book’s cover is essential to the events which occur towards the end of the story. 

            The appeal for Ring Shout will be positive. This is because the author does a great job fusing fear and hatred with folklore and dark magic. The former are human emotions which often lead to harm, while the latter are elements of several cultures that are believed and are practiced. Fans of horror, paranormal and supernatural stories will enjoy this story. Fans of recent and related novellas such as The Deep by Rivers Solomon and Riot Baby by Tochi Onyebuchi will appreciate the continuation of the Black American experience being told blatantly and directly in the speculative fiction genre. However, Ring Shout will be canonized alongside The Year of the Witching by Alexis Henderson in the horror genre. This book can be read again and again, and it is a great addition to the genre. It should be mentioned that this book can be read and enjoyed by historians and folklorists as well due to the information written into the pages of the story.

             Ring Shout is a brilliant horror and supernatural story which will force you to recall all of the “stories” and the “magic” you’ve been exposed to throughout your life as you try to come up with an explanation for “the unknown.” Once again, P. Djèlí Clark has found a way to present readers with a story combining history and folklore into a believable, yet scary, tale that serves as a cautionary tale against hatred and sorcery. 

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

End of 2020 Releases I’m Looking Forward to Reading

By some miracle, we survived to the end of September (2020). It seems that books and video games have managed to remain constant throughout the year—as in some delays and/or minimal postponement. I’m still working my way through my TBR pile as it continues to grow. Fall 2020—September-December—continues the unceasing releases within the literary world (not that I’m complaining). Here are some of the books being released between October and December 2020 I’m excited to read. 

            Please note, I haven’t listed all of the speculative fiction books that will be released by the end of 2020, just the ones I’m hoping to read. If some books are missing, then it’s because either they are part of a series which I haven’t read yet, or I am unaware of their upcoming release. 

Books I’ve Read

Between Earth and Sky #1, Black Sun by Rebecca Roanhorse

            For those of you who haven’t read my review of this book, you should read the book as soon as it’s released because this book doesn’t stop until its end. By the time you’ve reached the end of this book, you’ll realize that there will be a sequel, which will leave you asking: what else can happen? 

Ring Shout by P. Djèlí Clark

            If The Deep looks into the possibilities of the events surrounding the Transatlantic Slave Trade, and Riot Baby is the potential of the future surrounding current racial events, then Ring Shout presents a horror story of the consequences of hatred and violence within a society. Since this is based on U.S. History—a subject that continues to be glossed over—readers can expect Jim Crow Laws, and KKK rallies and attacks in this novella. 

Books I am Reading

The Once and Future Witches by Alix E. Harrow

            This is the second book by Alix E. Harrow. So far, it’s an amazing follow up to The Ten Thousand Doors of January. This time the story follows three sisters who use their magic to obtain the right to vote. So far, I can say that this is a clever look into how misogyny and sexist practices can lead to a small rebellion demanding equality by using unconventional methods, and magic. 

The Hollow Places by T. Kingfisher

            Finally, I’m reading a book by this acclaimed author. In this book, the protagonist is a recently divorced woman who moves into her uncle’s “museum,” only to locate a hidden passage inside the house. However, the length of the passage doesn’t equate to the perimeter of the museum, making her (and us) question as to where the passage leads to and whether or not anyone else knows about it. 

Books To Be Read

Over the Woodward Wall by A. Deborah Baker

            Anyone who has read Middlegame by Seanan McGuire is excited for this book. This book is a companion to Middlegame in that this is the book mentioned throughout the novel. Over the Woodward Wall is the book written by A. Deborah Baker in “code” for anyone who is interested in reaching The Impossible City. Think of it as a fictionalized version of The Secret: A Treasure Hunt.

The Invisible Life of Addie LaRue by V.E. Schwab

            There’s the “age-old” story that serves as a cautionary tale: immortality can be a lonely life. However, what if on top of living forever, no one will remember meeting you? Eternal loneliness is the ultimate sadness, but what if—by some miracle—someone remembers you? That miracle can blossom into the hope the protagonist needs in her immortal life. 

The Midnight Bargain by C.L. Polk

            There are a lot of books about witches and their magic that have been released in 2020. This book by C.L. Polk is the latest of them, as well as the author’s first standalone novel. In a world where women have to choose between magic and marriage, the protagonist seeks a way to have both. 

Eventide by Sarah Goodman

            This historical fantasy focuses on the Orphan Train and the superstitions within a small town. Sisters Lilah and Verity struggle to stay together after the death of their parents. Unfortunately, their family history and the dark forces within the town seek to destroy the siblings like it destroyed their parents. This YA novel is the author’s debut book. 

The Hanged God Trilogy #1, Northern Wrath by Thilde Kold Holdt

            Norse mythology continues to be a source of new fantasy stories, and this debut novel by the author is no different. This epic fantasy occurs when Christianity and Norse folklore clash constantly for dominance. The book follows several characters as they go on a quest to save their gods and Midgard. 

The Burning #2, The Fires of Vengeance by Evan Winter

            The Rage of Dragons started off as an African-inspired military fantasy became something even more by the time readers reached the last quarter of the book. Tau has lost everything he’s cared about at the same time he’s given a promotion that would make anyone else happy. Unfortunately, all Tau has left is his rage. And, although the queen needs his skills to end the war, it’ll take more than anger to get Tau motivated again. What will it take to get him to fight again?

War Girls #2, Rebel Sisters by Tochi Onyebuchi

            War Girls is the realistic dystopian YA novel about the cost of war and how it can affect children before, during and, after a war. Tochi Onyebuchi empathized the emotions felt by his readers throughout the book, especially the ending. Rebel Sisters takes place 5 years after the events of the first book, which sees Ify returning home to Earth. Those of us who read the first book already know to expect our emotions to pour out onto the pages, again. 

The Poppy War #3, The Burning God by R.F. Kuang

            After the release of The Dragon Republic, R.F Kuang announced who Rin, the protagonist, is supposed to represent in this historical military grimdark fantasy. Wow! And, with the way Book 2 ended and what that means for everyone who survived those events, I can only imagine how this trilogy is going to end. The title alone gives a hint as to what readers can expect from this finale. I hope I’m right about this assumption. 

The Graven #1, Nophek Gloss by Essa Hansen

            Hostile aliens, smart ships and humans can be found in this science fiction story. This debut novel follows the protagonist after he loses everything—literally—when his planet is destroyed. On a quest for vengeance, he travels to the home of those who destroyed his planet. Along the way, he learns more about the universe.  

The Tide Child #2, Call of the Bone Ships by R.J. Barker

            The Bone Ships was my surprise book of 2019; and, since I’ve finish it, I’ve been excited to read the sequel. I don’t know whether or not the sequel picks up immediately after the events of the first book, but I know that the subplot continues in this book and it’s going to be very interesting. More voyages ahead for the readers!

Poison Wars #2, Hollow Empire by Sam Hawke

            City of Lies is a great book about political conspiracies, history and folklore, and poisonous plants. Now, with the return of magic within the Empire, will it lead to something positive or to more treachery for the protagonists? We’ll have to wait and read what happens next. 

            Now, will I complete all of these books by the end of this year? Probably not. Yet, I’m aiming to read as many of these books as I can by December 31, 2020. If that doesn’t happen, then I’ll finish reading them in 2021! Which books are you excited to read by the end of 2020?

Adult Fantasy: Is There Such a Thing?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Midpoint of 2020: Favorite Speculative Fiction Books…So Far

Well, we made it to the halfway point of the year 2020, which will go down as one of the most pivotal (and the wackiest) years in living memory. Just like everyone else, I’ve been affected by both the COVID-19 pandemic and the murders which led to the international Black Lives Matter movement, as well as a few things in my personal life. I managed to adapt and I’m starting to catch up on everything that’s been going on. I am managing to keep up with all of my reading while expanding on my blog and my other projects. So, while my WIP remain in that state, I’m glad to say that I’ve been branching out and checking out new YouTubers and following fellow bookbloggers; and, I want to thank those who have asked me to be guests on their channels and on their blogs. Last, I want to thank everyone for reading my posts that are not reviews, but are personal essays and deep dives into literature, pop culture, and current events. It feels good to know that there are people who are interested in what I post online.

            As for reading in 2020, I’m reading, but I’m reading more than speculative fiction. You can look at my Goodreads page and you’ll see what I mean. In terms of speculative fiction, I’ve been catching up on some of what I missed, and I’m getting back into paranormal and urban fantasy. I have a stack of graphic novels that I need to read, too; but, I’ll get to them eventually. How many of 2020’s Most Anticipated releases have you read so far?

            So, what does that mean for my favorite speculative fiction books of 2020, so far? Well, I haven’t finished reading 10 books that were released this year, yet; but, I can talk about at least 10 speculative fiction books in 2020 that I’m enjoying, and ones I’m excited to read. In other words, this list will be different from last year’s, but I hope you find this list of reads as interesting, informative, and/or enjoyable.

Books I’ve Finished:

The Nine Realms: A Queen in Hiding; The Queen of Raiders; A Broken Queen; The Cerulean Queen

     by Sarah Kozloff

Wayward Children, #5: Come Tumbling Down by Seanan McGuire

Riot Baby by Tochi Onyebuchi

Daughter from the Dark by Marina and Sergey Dyachenko, translated by Julia Meitov Hersey

The Black Iron Legacy, #2: The Shadow Saint by Gareth Hanrahan

The Legacy of the Mercenary Kings, #1: The Kingdom of Liars by Nick Martell

The Order of the Pure Moon Reflected in Water by Zen Cho

Books I’m Currently Reading:

The Daevabad Trilogy, #3: The Empire of Gold by S.A. Chakraborty

The Kingston Cycle, #2: Stormsong by C.L. Polk

Malus Domestica Trilogy, #1: Burn the Dark by S.A. Hunt

The Protectorate, #2: Chaos Vector by Megan E. O’Keefe

A Chorus of Dragons, #3: The Memory of Souls by Jenn Lyons

The Reborn Empire, #1: We Ride the Storm by Devin Madson

Books I Want to Read by the End of 2020:

The City, #1: The City We Became by N.K. Jemisin

The Murderbot Diaries, #5: The Network Effect by Martha Wells

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

Anasazi Series, #1: Between Earth and Sky by Rebecca Roanhorse

The Invisible Life of Addie La Rue by V.E. Schwab

Burningblade & Silvereye, #1: Ashes of the Sun by Django Wexler

The Only Good Indians by Stephen Graham Jones

Race the Sands: A Novel by Sarah Beth Durst

Docile by K.M. Szpara

Chronicles of the Bitch Queen, #1: The Wolf of Oren-Yaro by K.S. Villoso

The Locked Tomb, #2: Harrow the Ninth by Tamsyn Muir

Rook and Ruin, #1: The Obsidian Tower by Melissa Caruso

Mexican Gothic by Silvia Moreno-Garcia

City of Sacrifice, #2: Ash and Bones by Michael R. Fletcher

The Drowning Empire, #1: The Bone Shard Daughter by Andrea Stewart

Stealing Thunder by Alina Boyden

The Burning, #2: The Fires of Vengeance by Evan Winter

The Once and Future Witches by Alix E. Harrow

Scholomance, #1: A Deadly Education by Naomi Novik

Master of Poisons by Andrea Hairston 

Malus Domestica Trilogy: I Come with Knives and The Hellion by S.A. Hunt 

The Year of the Witching by Alexis Henderson

The Hanged God Trilogy, #1: Northern Wrath by Thilde Kold Holdt

AND, A LOT MORE!!!

            I hope to read 100 books by the end of the year, with at least 30 of them being speculative fiction books that were released this year. Which books will be on my Top 20 (or 25) Favorite Speculative Fiction Books of 2020? We’ll have to wait and see. 

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

Speculative Fiction: A Label for the Growing Spectrum of the Genres: Fantasy, Science Fiction & Horror

*My 100th Blog Post!*

For the past year in which I have devoted more time to working on my blog, I have gained a larger audience—followers, readers and other supporters—than I thought possible. Remember, even the most successful bloggers and vloggers start out as “small channels” and are thankful for those who support them. I feel the same way. Knowing that you all have taken the time to read, to comment, to subscribe/follow, and to share my content is a great feeling. I’m extremely grateful for all of you, and it’s because of you all I know what I’m doing is being appreciated by the macrocosm. 

            One of several topics I’ve been discussing with other fans, readers, bloggers and vloggers is the concept of genre and the limitations its definition bestows upon it. The notion that genres can and should be placed within “fixed” classifications is similar to the concept that gender is binary—which, it isn’t! Over the last 100 years, the genres have become more ubiquitous and more successful due to books written by L. Frank Baum, J.R.R. Tolkien, C.S. Lewis, T.H. White, J.K. Rowling, Frank Herbert, Arthur C. Clarke, Octavia Butler, Samuel R. Delany, Ursula K. LeGuin, Shirley Jackson, Isabel Allende, Haruki Murakami, Alan Moore, Stephen King, Anne Rice, etc. And, due to movies such as: The Invasion of the Body Snatchers, E.T., the Extraterrestrial, Star Wars, Star Trek, Pan’s Labyrinth, Akira, etc. Toward the end of the 20th century, other formats of literature and visual entertainment such as comics, graphic novels, manga, video games and music were becoming more popular and expansive. Imports from around the world—i.e. Japan, India, Spain, etc.—have presented popular works of these genres to fans as well. 

            Before the 2000s—I want to say around the 1970s—an emergence of works were presented and released to the public. Besides the Harry Potter Phenomenon and The Lord of the Rings movies, there was Buffy, the Vampire Slayer, The Matrix, and the continued book releases by Stephen King, Anne Rice and Robert Jordan. In addition, video games were growing in popularity and in addition to Mario, Sonic and Zelda there were Final Fantasy, Resident Evil and Shin Megami Tensei. Even those who weren’t reading the books, watching the TV shows or movies, or playing the video games were exposed to fantasy, science fiction and horror. Yet, why did some people prefer Harry Potter over The Lord of the Rings? What was it about Laurell K. Hamilton’s books that had some readers prefer her books over Anne Rice’s? What is it about Shin Megami Tensei, which has several spinoffs—including Persona—that has more of a cult fan base that players find appealing? 

            What I’m getting at is: how would you describe a book like The Northern Lights/The Golden Compass, the Dragon Quest video game series (besides Japanese role-playing games, or JRPGs), or even the Batman comics? Yes, one is a Young Adult novel, one is a JRPG, and the last is a superhero comic book series; but, aren’t there other genres to classify these works besides their marketing ones? Philip Pullman’s His Dark Materials Trilogy is a blend of fantasy, science (fiction), religion and philosophy—what did you expect from an Oxford professor? Dragon Quest is a JRPG with elements from the fantasy and adventure genres. Batman—one of the oldest and greatest superhero series of all-time—is a gritty and dark story about a traumatized man who uses his wealth and his wits to go up against the most dangerous criminals in his city. Nowadays, we would consider Batman to be a psychological thriller superhero series with elements of grimdark. Then again, with the recent success of the TV shows Game of Thrones and The Walking Dead, there were many non-readers and fans who said things like, “I don’t like fantasy, but I love Game of Thrones,” or “I don’t like zombies, but The Walking Dead is a great show,” etc. Yes, those shows were media adaptations, which are examples of fantasy and dystopia books that “divert” from “traditional” or “familiar” tropes. However, there are fans of those tropes who are not interested in neither the TV show nor the books. So, why are those the exceptions? They are NOT!

            Speculative fiction is a term that is being used more and more in order to describe literature and media that fall under the “traditional” genres of science fiction, fantasy, horror and comics. According to Marek Oziewicz, speculative fiction, “includes fantasy, science fiction, and horror, but also their derivatives, hybrids, and cognate genres like the gothic, dystopia, weird fiction, post-apocalyptic fiction, ghost stories, superhero tales, alternate history, steampunk, slipstream, magic realism, fractured fairy tales and more,” (3). In other words, speculative fiction includes: urban fantasy, mythological fantasy, zombies, paranormal, space operas, metaphysical, silkpunk, occult, military, historical, romance, etc., etc. Any and all of the genres and subgenres makeup this term.

            So why do some people—authors, writers, readers, critics, academics, fans—use this term? It’s because there are times when a medium either has more than two genres associated within it or displays aspects of speculative fiction that doesn’t fall under any of the “fixed” genres. For example, the Super Mario Bros. franchise is a video game series classified under both “action/adventure” and “platformer,” but could it be categorized in the fantasy genre due to the levels being in an imaginary world, or could it fall under horror or paranormal due to the ghosts and the skeletons, or even science fiction, especially in the context of the Super Mario Galaxy games? In this case, the term speculative fiction would fit best for this gaming franchise. I should mention that I’m not the one who should be recategorizing video games. Then again, this is proof that the term speculative fiction is becoming both recognizable and interchangeable. 

            Speculative fiction seems to become the more acceptable them to use when explaining works and forms of non-mimetic fiction without listing all of the many subgenres associated with it. Recent examples include The Broken Earth Trilogy by N.K. Jemisin and Gods of Jade and Shadow by Silvia Moreno-Garcia. The first has been categorized under fantasy, science fiction, dystopian literature and magic realism (the last one was on Amazon); and, the second has been categorized under fantasy, mythology, magic realism and historical fiction. Which is easier: listing all of those genres and subgenres in a description, or saying speculative fiction containing elements of certain genres and subgenres such as: a story about the end of the world and Mayan Gods during the Jazz Age? While speculative fiction is an umbrella term, many of us have been using it as a shortcut to explain a collection of books, films and video games. 

            Another factor surrounding speculative fiction concerns education and academia. How many of you remember reading Edgar Allan Poe and/or Turn of the Screw by Henry James in school and in college? How many of you remember reading The House of the Spirits, One Hundred Years of Solitude, or Haroun and the Sea of Stories in school or in college? And, how many of you remember reading one of the many dystopian books: Lord of the Flies, A Handmaiden’s Tale, 1984, Fahrenheit 451, The Giver, Brave New World, etc., in school and in college? Now, how many fantasy, fairy tales, and myths and legends were assigned to you after primary/elementary school? Keep in mind, there are courses and electives about these genres in college, but not everyone gets to take those classes (I was lucky enough to do so). Without going into too much detail, I’ve had disputes about fantasy literature with a few academic professors. Some of them believe that fantasy has no place in higher education except for in Children’s and Adolescent Literature (i.e. teaching, library science). However, scholars are responsible for some of the most recognized works in fantasy. Lewis Carroll, J.R.R. Tolkien, C.S. Lewis and Philip Pullman were Oxford professors. In addition, there are academic scholars who study and write books and articles about fantasy, science fiction and horror such as: Edward James, Farah Mendlesohn, John Grant, Nnedi Okorafor, John Clute, Jack Zipes and Tzvetan Todorov. This history and the study of these genres are just as essential as reading the fiction. I hate to say it, but speculative fiction seems to be the “safer” and the “more acceptable” term to use when it comes to discussing these genres. 

            So, why do I use the term speculative fiction? My simplest answer is because it signifies all of the genres I enjoy to read, to watch, to write and to game the most. Saying speculative fiction instead of the longlist of genres and subgenres is the easiest and the quickest way to describe certain works of media. If a book can be categorized in more than one genre or subgenre, then why not save the breakdown for a discussion with others in a fandom, or with authors and publishers? Most important, using the term speculative fiction does not limit the story of any medium to one genre. It allows a fan of a metaphysical book to say that “there’s elements of fantasy in this story,” or “the religion in this book is based on the myths and the history of this ancient civilization.” Speculative fiction is a term that allows an audience to observe the broader spectrum of a medium with similar beginnings and interconnecting styles of storytelling. However, there will continue to be moments where a book is categorized as “hard sci-fi,” a video game is of the “horror” genre, and Disney continues to fracture fairy tales. This is the new Golden Age of Speculative Fiction so we might as well enjoy everything that is presented to us while opening the doors for an open interpretation. 

            Thank you for reading my post(s), following my blog and my social media pages! Here’s to many more posts in the future and to several open discussions! Please like and comment here or on my other posts; and, be sure to check out the following references about our favorite genre(s). 

                                                                        References

James, Edward and Farah Mendlesohn, editors. The Cambridge Companion to Fantasy. Cambridge University Press, 2012.  

James, Edward and Farah Mendlesohn, editors. The Cambridge Companion to Science Fiction. Cambridge University Press, 2003. 

Martin, Philip. A Guide to Fantasy Literature: Thoughts on Stories of Wonder & Enchantment. Crickhollow Books, 2009.

Oziewicz, Marek. “Speculative Fiction.” Oxford Research Encyclopedia of Literature, March 2017, p.1-22. doi: 10.1093/acrefore/9780190201098.013.78

Stableford, Brian. The A to Z of Fantasy Literature. The Scarecrow Press, Inc., 2009.  

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

Molly Southbourne #2: The Survival of Molly Southbourne

By: Tade Thompson

Published: July 9, 2019

Genre: Horror, Science Fiction, Sequel 

WARNING: Spoilers from The Murders of Molly Southbourne and The Survival of Molly Southbourne. You have been warned.

            Molly Southbourne was a freak whose blood grew genetically identical duplicates of her. One drop of blood, and a new molly popped up, but it wasn’t cute. It wanted to kill her. Molly spent her whole life killing her duplicates just to survive, (Chapter One).

            Similar to many of the recent sequels in speculative fiction, The Survival of Molly Southbourne starts where its predecessor, The Murders of Molly Southbourne left off. In the sequel, Tade Thompson answers the questions Molly Southbourne (and readers) have had about herself. And, like other works of sci-fi horror (i.e. Alien), there are more eerie forces at work than anyone else knows. 

            Molly Southbourne is a protagonist who is “a fish out of water” because she has no identity and no purpose to her life. Molly Southbourne—the one who survived both the attacks and the fire—is now Molly Southbourne and is living as Molly Southbourne whether or not she wants to. While Molly is a duplicate of Molly “Prime,” as she calls her, she is NOT Molly Southbourne. She lacks both the knowledge, and the skills Molly Prime had. In addition, Molly does NOT have the same problem with bleeding like Molly Prime did (“hemoclones”). All Molly has are the looks and the memories of someone who is dead. Unfortunately, the new Molly Southbourne is the only one who knows, and it’s driving her crazy, literally. 

            The plot in The Survival of Molly Southbourne is how the new Molly Southbourne is adjusting to life as a 27-year-old woman who is supposed to be living as someone else. Molly has more questions about herself than Molly Prime did; and, unlike Molly Prime, Molly decides to get answers to those questions. To say that Molly’s discoveries come straight from a spy novel—complete with multiple conspiracies—would be an understatement. After she gets some answers to her questions from “several” people, Molly must decide how she is going to survive. She doesn’t have to become Molly Southbourne, but she cannot get rid of that part of herself. There is a subplot, and its focus is about a minor character from the first book who was intimate with Molly Prime. In this book, that character attempts to fight the fate Molly Prime left him with unknowingly. Will the efforts be successful? Will Molly be able to help him?

            The narrative in The Survival of Molly Southbourne is an interesting one. While Molly is the protagonist, and the story of the aftermath is told from her point-of-view (1stperson), the sequence is a combination of Molly’s actions and daily life—told in present time—with the memories of Molly Prime—also her memories—bombarding her. The combination of the flashbacks, the stream-of-consciousness, and the present gives readers insight to the adaption and the chaos that is Molly Southbourne. Her struggles and her inexperience make the narrative reliable and believable. As discombobulated as it sounds, the narrative is easy to follow. 

            The style Tade Thompson uses in The Survival of Molly Southbourne is the same as it was in The Murders of Molly Southbourne. The author continues with telling this story using tropes and style based on previous sci-fi horror stories. However, it is the mood—apathetic—and the tone—bizarre—that have changed in the sequel. Molly is making sense of everything that is happening around her, only this time those involved behave as it’s not a big deal. Molly is neither unique, nor lethal as Molly Prime was, but she manages to survive and to adapt to her life as we see through the author’s style. Readers will be pleased with this (continued) style of storytelling. 

            So far, the appeal to The Survival of Molly Southbourne have been positive. Released a month ago (at the time of this posting), readers who were curious as to how Molly’s story would continue is answered. The mysteries and the conspiracies are addressed, and the continuation of the characters from the previous book lets readers know that neither Molly Southbourne, nor Tade Thompson have forgotten about them. Both novellas can be read and enjoyed in one reading. Fans and readers of sci-fi horror need to read these books.

            The Survival of Molly Southbourne is an amazing follow-up to its prequel. While the narrative and the perspective have changed from what came before, the story is as fast paced and as haunting as The Murders of Molly Southbourne. Tade Thompson does an excellent job in bringing Molly Southbourne’s story the resolution it needs. 

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