Why You Need to Read: “Gideon the Ninth”

The Locked Tomb #1: Gideon the Ninth

By: Tasmyn Muir                                                                   Audiobook: 16 hours 50 minutes

Published: September 10, 2019                                              Narrated by: Moira Quirk

Genre: Dark Fantasy/Gothic

            When as a young and disinclined member of the Locked Tomb Gideon had painted her face, she had gone for the bare minimum of death’s-head that the role demanded: dark around the eyes, a bit around the nose, a slack black slash across the lips. Now as Harrowhark gave her a little palm of cracked mirror, she saw that she was painted like the ancient, tottering necromancers of the House: those ghastly and unsettling sages who never seemed to die, just disappear into the long galleries of books and coffins beneath Drearburh. She’d been slapped up to look like a grim-toothed, black-socketed skull, with big black holes on each side of the mandible.

            Gideon said drearily, “I look like a douche,” (5). 

            Hype and marketing for a book is an interesting feat some people find themselves in. Publishers and bookstores—usually through marketers—are paid to advertise such books for sale. Librarians read these books in order to determine whether or not the book(s) are “appropriate for their library and/or community.” And, reviewers—including book critics and bookbloggers—read these books and give an opinion on why each book should or should not be read. There are moments when reviews are controversial because they don’t match with the public’s opinion or the hype surrounding the book. That’s not to say that the book is “bad” or written poorly, but it didn’t meet the expectations of the reader. For me, this is what I felt while reading/listening to Gideon the Ninth by Tamsyn Muir.

            The protagonist is eighteen-year-old Gideon Nav, an indentured servant of the Ninth House, who are the Keepers of the Locked Tomb. Gideon’s life at the Ninth House has been nothing but harsh, neglectful, and mysterious. Readers meet Gideon as she tries to leave the Ninth House for the 33rd time. Instead, Gideon is bribed by Harrowhark Nonagesimus—the daughter and heir to the House of the Ninth—to train to be her cavalier so that she can train to become a Lyctor, one of the Imperial Saints for the Emperor. Gideon is promised her freedom if she does this “for the Ninth,” so Gideon and Harrow travel to the House of the First to train and to serve. There Gideon meets and interacts with: Teacher—one of the Keepers of the First House and servant to the Necrolord Heights; Abigail Pent and her cavalier, Magnus Quinn, of the Fifth House; Coronabeth Tridentarius and her cavalier, Protesilaus Eldoma, of the Seventh House; and several other heirs and their cavaliers from the other Houses, and a lot of skeletons. Gideon—while reluctant to serve the Ninth House—does take advantage of being away from the only place she’s known, leaves the planet, and trains in swordsmanship. Gideon does have to follow Harrowhark’s orders—to an extent—but, through her interactions with the other Houses and the tasks she manages to complete with Harrow, Gideon grows into the person she wants to be without interference from the Ninth House: helpful, caring, and strong (in a fight). Meanwhile, the other Houses learn that there’s more to the Ninth House than its titular role. 

            The plot of the novel is straightforward: The Emperor (of the First House) has called for the heirs of the other eight Houses to train to be Lyctors in order to serve as replacements for the current Lyctors. So, each heir and their cavalier travel to the First House where they are trained and are tested to the best of their knowledge and their strength. The nominated Hands must figure out the “puzzle” of their House with their cavalier so that the Hand can become a Lyctor. All of this is easier said than done, but all of the Hands are willing to do it. There are a few subplots in this novel. The first surrounds what it takes and what it means to be a Lyctor. Harrow wants to become one, and she is an extremely talented necromancer, but the testing to become a Lyctor is a process that must be solved by the Hand and the cavalier working together. This is interesting because Gideon and Harrowhark do NOT get along. So, in order to get what they both want, they’ll have to put up with each other to accomplish the goal. The second subplot is the mystery of the Ninth House and its establishment, from the Locked Tomb to the childhoods of both Gideon and Harrow. The other Houses are more curious by this than Gideon is, but Gideon doesn’t know, and Harrow isn’t going to talk about it to anyone. Or, will she? The last subplot focuses on the strange occurrences that begin to happen to the Hands and their cavaliers. Everyone is interested in new recruits arriving at the First House, right? All of these subplots work alongside the plot of the novel in order to embellish the world, the characters and the current predicament within this novel. 

            The narrative in Gideon the Ninth follows a present sequence from Gideon’s point-of-view. Her stream-of-consciousness gives readers insight into her thoughts (cynical, yet curious) while learning about the other eight Houses, which is something that didn’t interest her until now. The world-building—which includes the history and the culture of each House—comes from Gideon’s learning of them. The fight sequences and the many revelations come from Gideon’s P.O.V. Some of what is presented to her is told as a recitation and not as a flashback. This means that Gideon’s reactions are genuine and relatable, which make her a reliable narrator. The narrative is intriguing and is easy to follow. 

            The style Tasmyn Muir uses in her debut novel follows Gothic romance. In short—and, according to A Glossary of Literary Terms—“The locale was often a gloomy castle furnished with dungeons, subterranean passages, and sliding panels; the typical story focused on the sufferings imposed on an innocent heroine by a cruel and lustful villain, and made bountiful use of ghosts, mysterious disappearances, and other sensational and supernatural occurrences,” (p. 151). Fans of Frankenstein by Mary Shelley, The Monk by Matthew Gregory Lewis, Wuthering Heights by Emily Brontë, and Jane Eyre by Charlotte Brontë are familiar with this genre of literature. However, I’m saying that Gideon the Ninth has elements of a gothic novel, NOT that it is one! The “villain” isn’t lustful, the supernatural occurrences—necromancy—is part of the world, and while it does have dungeons and secret passages, the First House isn’t described as being gloomy (when compared to the Ninth House). These gothic elements enhance the story the author is telling, which she does very well. The mood in this novel is anticipation. The summons from the First House does not only contain orders to attend, but also a chance to serve the Emperor, which is something the heirs are taught to do from childhood; and, their cavaliers get to serve their Houses. The tone in this book is dread. In a world where necromancy is the magic used and the setting is gothic, readers should expect more than a few unpleasant things to occur throughout the narrative. 

            I listened to the audiobook, which was narrated by Moira Quirk. She does a great job with narrating the story, voicing the various characters, and with the pronunciation of the characters’ names. I would not have been able to pronounce ANY of those names on my own, so to say that the audiobook was a huge help would be an understatement. The narration kept me engaged with the story as well.

            The appeal for Gideon the Ninth have been positive. Not only has the book, and the author, received a lot of fan and critical acclaim, but also has been nominated for several awards including the Nebula and the Hugo Awards. I can see how this book can become part of the (dark) fantasy canon and how it will have lasting appeal. However, this book neither was worth the hype nor was the best debut novel I’ve read. I’m not the only bookblogger who feels this way about this book. Then again, I’m not saying that you shouldn’t read it. The story itself kept my interest to the end; enough so that I want to read the sequel, Harrow the Ninth, when it is released in September 2020. This book wasn’t my favorite one, but my interest is piqued to where I’m okay with rereading parts of Gideon the Ninth in order to understand the sequel.

            Gideon the Ninth is an ambitious debut which hits enough marks to make for a good and fun reading experience. While I did not enjoy this book as much as other bookbloggers, the story and the world intrigued me enough to finish this book and wanting to read the sequel. Please understand that just because I didn’t enjoy this book doesn’t mean that you’ll feel the same way. That being said, if you want to read a story about necromancers and sword fighting, with gothic elements, then this book is for you.

My Rating: Read It (3.5 out of 5). 

Works Cited 

Abrams, M.H., and Geoffrey Galt Harpham. A Glossary of Literary Terms. 10th ed., Wadsworth, 

            2012. 

Why You Need to Read: “The Stone Sky”

The Broken Earth 3: The Stone Sky

By: N.K. Jemisin

Published: August 15, 2017

Genre: Science Fiction/Dystopian/Fantasy

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

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

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

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

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

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

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

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

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

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

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

Why You Need to Read: “The Obelisk Gate”

The Broken Earth 2: The Obelisk Gate

By: N.K. Jemisin

Published: August 16, 2016

Genre: Science Fiction, Dystopian

*Winner of the Hugo Award for Best Novel 2017*

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

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

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

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

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

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

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

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

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

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

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

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

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

What We Can All Learn From Virtual Cons and Events

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

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

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

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

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

My Shortlist Award Reading Challenge 2020

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

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

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

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

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

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

BSFA: https://bsfa.co.uk 

Nebula: https://nebulas.sfwa.org

Aurealis: https://aurealisawards.org

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

Hugos: http://www.thehugoawards.org

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

Compton Crook: http://www.bsfs.org 

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

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

BFA: http://www.britishfantasysociety.org

Locus Awards: https://locusmag.com

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

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

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

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

The 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

Why You Need to Read: “The Ten Thousand Doors of January”

The Ten Thousand Doors of January

By: Alix E. Harrow

Published: September 10, 2019

Genre: Fantasy, Historical Fiction, Coming-of-Age

            I almost didn’t notice the Door at all. All Doors are like that, half-shadowed and sideways until someone looks at them in just the right way, (1, The Blue Door). 

            Portal fantasies are one of the many subgenres in fantasy fiction, going back to the emergence of the genre. Popular portal fantasies include: C.S. Lewis’ The Chronicles of Narnia, L. Frank Baum’s Oz series, Philip Pullman’s His Dark Materials, and—more recently—the Wayward Children series by Seanan McGuire and Shades of Magic by V.E. Schwab. Academic scholar Farah Mendlesohn defines portal fantasy as, “a fantastic world entered through a portal,” (xix). Note how the definition does NOT state that it has to be “our” world. Alix E. Harrow, author of The Ten Thousand Doors of January and recent Hugo Award recipient for Best Short Story—“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies”—reminds readers that portal fantasies can lead from one world to our world (planet: Earth, galaxy: Milky Way).  

            January Scaller is our protagonist. She tells her story of growing up in Vermont at the start of the twentieth century. January is the ward of Mr. William Cornelius Locke, a billionaire and an archaeologist. Her mother is deceased and her father, Julian Scaller, is a scholar who is employed by Mr. Locke to search for and to collect artifacts for him. Throughout her childhood, she’s kept under Mr. Locke’s watchful eye with only her childhood friend, Samuel Zappia; her father’s appointed guardian for her, Jane Irimu; and, her dog, Sindbad. January doesn’t know much of what is happening around her, until the day before her 17th birthday when she finds a leather-bound book titled: The Ten Thousand Doors. That book introduces January (and readers) to Adelaide Lee Larson—a woman born during the Reconstruction Era—and, to Yule Ian Scholar—a man from the City of Nin in the year 6908, who is the author of the book January finds—and their encounters with Doors and each other. Both Adelaide and Yule Ian have different experiences surrounding Doors, and January—who shares the same curiosity as them—learns more about these other worlds through them. However, this book reveals the truth of her father’s “work” as well as Mr. Locke’s “intentions” for her. From there, January discovers and uses this information to break away from her guardians and to repair the damage that’s been stricken to her loved ones. January’s coming-of-age story stands out more than other ones I’ve read recently; and, I couldn’t stop learning along with her. 

            The plot in the novel surrounds January Scaller’s unique upbringing. Because her father travels around the world while working for Mr. Locke, January was always left behind. And yet, January had tutors and would travel to places around the world with Mr. Locke; not to mention, Mr. Locke disapproved of January’s companions. It’s as if Mr. Locke is afraid to have January out of his sight. Throughout her childhood, January is Mr. Locke’s “good girl,” but longs for her father’s affections. This comes to an end when 3 events happen around and on January’s 17th birthday: her father disappears, she finds The Ten Thousand Doors, and she learns of Mr. Locke’s plans for her life. From there, January must find a way to escape her guardians and discover the truth surrounding Doors and her father’s connection to them. There are 2 subplots in this novel. First, is the story of Adelaide and Yule Ian and their discoveries about Doors and other worlds. Second, is the way January, Samuel, and Jane survive in a society that is dominated by wealthy, Caucasian males who do all they can to control other people. The subplots are intertwined with the plot, and everything comes together, slowly; yet, the pace of the development fits the story the author is telling. 

            The narrative in The Ten Thousand Doors of January consist of 3 different points-of-view: January Scaller, Adelaide Lee Larson, and Yule Ian Scholar. The entire novel—except for the Epilogue—is told in flashback. January’s narrative is told in the past tense in stream-of-consciousness, Adelaide’s narrative is written as a biography, and Yule Ian’s narrative is written as a journal. The sequence of these narratives takes some getting used to but, readers will be able to follow along after the first few chapters. Readers are led to believe that all of the narrators are reliable because the story is told from their P.O.V.s. 

            The way Alix E. Harrow tells her story is a combination of “tradition” with allusion alongside history. In the “tradition” of portal fantasy, “‘the journey’ serves to divorce the protagonists from the world,” (Mendlesohn 7). In other words, the protagonist must separate themselves from their “home” world and travel to another world. In this novel, several worlds are mentioned and traveled to, but there is a strong hint (the title) that there are a lot more. In terms of allusion, the names January and Sindbad, Locke and Scholar are not given by accident. These names serve as epithets to the story being told. The mood is oppression and the tone is escapism. In the midst of the novel is the setting. January turns 17 in 1911. During this time, racism, sexism, and imperialism were practiced throughout the world. January, Julian, Samuel, and Jane are victims of these societal practices. The author uses our history to explain why some individuals would desire either to leave, or to travel to our world. If someone who was suffering under the societal hierarchy was given a chance to live elsewhere, then who is to say that they shouldn’t take the opportunity? The author wants readers to question the existence of other worlds. 

            This novel will appeal to fans of fantasy, especially portal fantasies. The Ten Thousand Doors of January is a reminder that adults can travel to other worlds as well as children. This is a standalone novel, so there is a chance that it could fall behind in the popularity of similar books that are in a series. Yet, because this novel explains the concept of other worlds in existence (not just one), I believe this novel will be read and enjoyed by many readers. Plus, the author just won a Hugo, so I doubt this book will ever fade from popularity. 

            The Ten Thousand Doors of January is a beautiful debut novel about other worlds, love, and sacrifice. It does take a while for the story to pick up, but once it does, readers will learn about other and new worlds that never crossed their minds. The protagonist grows from a suppressed and isolated individual to a world trotter makes for a believable, yet traumatic, bildungsroman story. Alix E. Harrow is an author with more worlds to present to readers, and I can’t wait to learn about all ten thousand of them!

My Rating: Enjoy It (4.5 out of 5)!

This is because Alix E. Harrow said I had “neat” handwriting.

                                                            List of Works Cited

Mendlesohn, Farah. Rhetorics of Fantasy. Middletown, CT, Wesleyan University Press, 2008.

Why You Need to Read: “Trail of Lightning”

The Sixth World: Book One: Trail of Lightning

By: Rebecca Roanhorse

Published: June 26, 2018

Genre: Science Fiction, Native American Literature, Dystopian, Post-Apocalyptic, Folklore

NOTE:Understand that any incorrect use and/or spelling surrounding the culture mentioned is unintentional.

            “But I’m no hero. I’m more of a last resort, a scorched-earth policy. I’m the person you hire when the heroes have already come home in body bags,”(Chapter 1).

            There are numerous ways readers find out about which books to read by which authors: school assignments, friends and family, book clubs, random recommendations, the Internet, etc. In this case, it was from the 2018 Hugo Awards. One of the awards presented—the John W. Campbell Award for Best New Writer—announced its winner…Rebecca Roanhorse. If anyone watched my reaction video (https://www.youtube.com/watch?v=1oyX_U2U8kE&t=11s), then you know that I was shocked upon hearing this announcement because I believed either Katherine Arden, or Jeanette Ng should have won that award. Yet, I never heard of Rebecca Roanhorse, or her stories, before, and she did win a Hugo for Best Short Story that same evening. Suddenly, I had a new author to read and her debut novel is titled: Trail of Lightning. And, I’ll admit, I was wrong about my assumption!

            Maggie Hoskie is the protagonist. She is a survivor of a climate apocalyptic event known as “The Big Water,” when the water levels rose and engulfed most of the Earth’s terrain and its inhabitants. After this event, the Navajo Gods, heroes and monsters returned to Earth and to humanity. One of the gods, Neizghání a.k.a. “Monsterslayer,” trains Maggie to become a Monsterslayer like himself. When Neizghání suddenly leaves Maggie, she is able to accept jobs for her handiwork. Maggie’s skills as both a survivor and a monster hunter reflect all of the emotional traumas she’s experienced. However, when a job becomes something more than she can handle, Maggie, reluctantly, agrees to work with Kai Arviso, a medicine man who is also unsure about his supernatural abilities. Throughout the story, readers learn about Maggie and Kai’s past lives including how they survived the flood and how their supernatural abilities are both assisting and restraining them. Other characters, such as Kai’s grandfather, Grandpa Tah, notice how the relationship between Maggie and Kai could be a good thing for the survival of their community, but in a post-apocalyptic world, one should know better than to hope for such a thing. 

            The plot of the story is Maggie and Kai searching Dinétah (the Navajo reservation) for the source of dark magic that’s hunting the surviving humans. The subplot, which will probably carry over to the next book, is the concept surrounding “clan powers.” Clan powers are gifts from the “Holy People” and the gods to mortals. Maggie isn’t a fan of her gift and Kai views his only as a way to survive. However, readers—and Maggie—don’t know what Kai’s gift(s) is, so there is that small mystery to consider. Maggie’s superhuman abilities are not what she would call a blessing from the Diyín Dine’é (people with supernatural powers). Yet, Maggie uses her gifts to make a life for herself. This subplot comes up again throughout the novel, and it is safe to say that this subplot won’t be resolved as quickly as the plot. Both the plot and the storyline of Maggie’s training go hand-in-hand. This is because readers learn how Maggie became acquainted with the gods and how to harness her gifts to become a Monsterslayer. At the same time, we learn about Maggie’s friends and her relationships with other people living in Dinétah. The plot development is appropriate for this story, allowing it to unfold through the characters. 

            The narrative in Trail of Lightningis 1stperson point-of-view from Maggie’s perspective. The sequence begins and ends with murder and the protagonist’s reaction to each one, which is the same reaction, indifference. However, by the end of the novel, Maggie’s reaction makes a lot of sense. Maggie is a reliable narrator who tells Kai and his grandfather her past and how she survived the first wave of chaos after “The Big Water,” many of which she is not proud of doing. Maggie recounting her past actions through flashback allows the author to present her protagonist as flawed and traumatized, yet relatable. This narrative lets readers follow Maggie’s story—both the present and the past—with ease. 

            Rebecca Roanhorse depicts Navajo Gods when an ethnic group of people would need them the most, after an apocalyptic event. While the retelling of gods, heroes and legends are similar to Neil Gaiman and Rick Riordan, Rebecca Roanhorse has the gods of her ancestors return to Earth when the lifestyle of humanity reverts. Many myths and folklore tell of a simple lifestyle, when humans needed the gods to survive. This style of writing lets readers know that the lifestyle changes, but the culture doesn’t. As long as humanity thrives, so will their gods. The author’s tone within the novel, humanity’s failure of taking care of Earth, reflects the mood, an urban apocalypse where everything has to be rebuilt in order to achieve a sense of normalcy. In addition, Rebecca Roanhorse incorporates Navajo diction for both authenticity and reality, with an explanation (and translation) of each meaning. If other cultures incorporate words of their own into everyday language, then why not learn Navajo ones?

            The appeal surrounding Trail of Lightninghave been very positive. Called, “one of the Greatest Science Fiction & Fantasy Debut Novels Ever Written,” by Barnes & Noble, this novel received praise for the portrayal of Native American (one tribe) culture, too. Not to mention, Trail of Lightninghas been nominated for both the Nebula and the Hugo Awards. The follow-up to Trail of LightningStorm of Locustswill be released in April 2019. And, the author’s YA debut, Race to the Sun, which is part of the Rick Riordan PresentsUniversal Literary Pantheon, will be released in Fall 2019. This will expand Roanhorse’s readers and her universe, explaining the Dine’é to the rest of the world. Obviously, I’m looking forward to reading both novels. 

            Trail of Lightningis a brilliant debut novel that allows for an immersive story about Native Americans—Navajo—and their culture and folklore in an ironic apocalyptic urban fiction book. This narrative is slow at times because the world-building overtakes the pacing. I believe the next book in the series and any other one set in this universe will be just as memorable as the first one. I believe Rebecca Roanhorse will be publishing stories for many years to come, and I will read them all. 

My Rating: Enjoy It (4 out of 5). 

An Update on My Shortlist Award Reading Challenge 2019

On Tuesday, April 2nd, the nominees for the 2019 Hugo Awards were announced, and just like everyone in the SFF Community, I was excited over all of the nominees and offered my congratulations (and consolations) to the authors, artists, editors and other nominees. The good news is, once again the nominees of the Nebulas and the Hugos contain different selections within each category, which means there are different works to consider for each category. In other words, someone who wasn’t nominated for a Nebula was nominated for a Hugo! The bad news is, I’m still reading (and watching) my way through these nominees. I’m going to have to start being realistic about how I’m going to present my predictions for the upcoming awards.

            One of the issues about reading the nominations for literary awards is the actual reading of them. Time and money are the usual suspects as to why I’m falling behind on the reading. However, I can say that I fell behind in the reading of some of these nominations because I’m behind on the series. Dave Hutchinson, Yoon Ha Lee and Emma Newman are nominated for some of the awards for their novels that are part of a series. Unlike Nnedi Okorafor, Martha Wells and Seanan McGuire, reading novels takes longer than reading a novella. And, while I’ll be working my way through both Yoon Ha Lee’s and Becky Chambers’ series in time for the Hugo Awards Presentation, I won’t be able to complete them in time for the BSFA Awards. That being said, the nominations for “Best Novel” are just as puzzling as the “Best Novel” nominations for the rest of the awards, the novels/series are that good.   

            Another issue I’ve been having is the access to the stories themselves. I’ve been making numerous trips to the public libraries in my neighborhood and in the neighboring neighborhoods. Amazon Unlimited—Amazon’s digital library service—has been a huge help, as well as the many sales on e-books both Amazon and Barnes & Noble have had since January. However, many of the short stories and the novelettes are not as easy to access as you may think. Some of the nominees are available online for free by the publisher or the magazine that published them. The rest are not even available to purchase online unless you buy the entire issue the story was featured in. As of right now, I don’t know what I’ll do as each awards presentation gets closer. 

Please keep in mind that I’m doing the Reading Challenge. I know about the nominations in the categories involving movies, television shows and video games. I’m working my way through those as well and I’ll give my predictions on those potential winners, too.  

            In terms some of the other awards, I tweeted a message to The Arthur C. Clarke Award Committee. They said that their awards ceremony will take place in July 2019, although the dates are still TBD. I want to say that we’ll probably get their nominations either at the end of April, or at the beginning of May. I don’t know which books will be selected for their nominations, but it wouldn’t surprise me if some of the nominees for the other awards are selected for this one. I’m looking forward to The Arthur C. Clarke Awards because their nominations are made up of both familiar and new names, as well as series a reader—such as myself—might have overlooked. I should also mention that as I’m posting this update, the nominations for the 2019 Locus Awards have not been announced yet. If there are any other awards I should look into, then please let me know. 

            On Monday, April 15th, the winner of the 2019 Compton Crook/Stephen Tall Award will be announced, but the award will not be presented to that winner until Balticon 53, which is taking place after this year’s Nebula Awards Presentation. I have either read or read most of the books of all the nominees. I have an idea of who my pick for this award is going to be, but that doesn’t mean that the author I choose is going to win. This will be the first of my awards videos I plan on making and uploading to YouTube. I can say all of the nominees on this list are worth reading, especially because three of the authors are nominated for other speculative fiction literary awards. However, this does not mean that the other three nominees should be overlooked. I have a feeling that we’ll receive more intriguing stories from them for a very long time. 

            That’s my update. I’ll be reading and posting my reviews and updates about each award presentation as they come and go. I’m making progress with my reading and I’m excited and conflicted about this year’s nominees. This means that many of the stories the authors have gifted readers with are that good, so it’ll be hard to determine just one winner. I’ve heard of ties happening in some cases and I doubt that it could happen this year, but you never know. 

The Shortlist Award Reading Challenge 2019

It seems that my #1 goal for 2019 is to exhaust myself into completing all of the other goals I have made for myself: get a job, read 100 books, read and post about ARCs, connect with authors and editors, work on my content for my social media pages, finish some of my WIP for submission, etc. Now, I’ve decided that I’m going to read the books that are nominated for various book awards.

            I’m going to call it: The Shortlist Award Reading Challenge. Last year, I followed the Hugo Awards closely because I knew that The Stone Skyby N.K. Jemisin was going to win “Best Novel,” and All Systems Redby Martha Wells was going to win “Best Novella.” However, as I was looking at the shortlist for the other categories, I realized that I read many of the books and watched many of the media that were nominated. So, I decided to read as many of the other nominees as I could before the winners were announced. Not only did I caught up to many recent series, but also I started reading works by authors who had been writing in the genre for several years. I read what I could access through libraries, bookstores, and the Internet. This process was very insightful. Soon, I was able to select whom I believed should win the Hugo Awards. While I was correct in who won in categories such as Best Novel and Best Novella, I was wrong in other categories such as John W. Campbell Award for Best New Writer. 

            After the winners of the Hugo Awards were announced, I made a reaction video and posted it on my YouTube channel. Then, I continued looking into the nominees and their works. For example, while I am a huge fan of Katherine Arden’s Winternight TrilogyI understood why Rebecca Roanhorse won the award in the category—Best New Writer—over her. And, I realized that some works won in the same category at other awards, and then there were a few awards in which one book won over another book. It makes you wonder if there was a difference in who voted based on preference and/or guidelines. Not to mention, one notices that other works win awards due to the way they stand out from the rest of the nominees per category.

            Like everyone else, I read what is released when I am able to do so. In addition to reading my usual genres—fantasy, science fiction, magic realism, contemporary, classics, graphic novels, etc.—I read many debut novels and I catch up on series that were unknown to me previously. Now, with the 2019 Award Season gaining momentum, I’m excited to see what is nominated and who could win. TV shows and movies can be viewed from at least one viewing before comparing them. Video games are similar to books in that one must invest the time needed to immerse themselves within that narrative. I will comment on these categories for the given awards as well. As of right now, I noticed that once again, there are many books that I have not read, but I am willing to read as many of them as I can before the winners are announced. 

            I want to be able to determine for myself why these books and media have been nominated for these awards. I keep using the terms “books” and “media” because both fiction and non-fiction works get nominated, and movies, television shows, and video games get nominated, too. This is not only a chance to insert myself into what I might have missed otherwise, but also learn how and why these selections were nominated in the first place. 

            So, between now and the end of the 2019 award season, I will read as many of the nominated books and watch as many of the nominated media as I can. This way I can give my critiques before and after the awards. If you want to see the compiled list for the awards I will be following, reading, and critiquing, then please checkout this list on my Google Docs page: https://docs.google.com/document/d/1yzQEUvGTILR2LaGMVCibEbeZXp1q5PlSQIch9c0Q-IQ/edit. This list will be updated throughout the award season in order to add to the list, to highlight my reading progress, to provide access to my reviews of the nominees, and to mark the winners of each award in each category.

            In addition, I will be continuing to upload reviews to this blog. Some of the nominees were reviewed previously, and I will continue to add more to my website so that you all have a better understanding of what each book is about. In other words, I’ll do the reading—which, you can do as well—and I’ll let you look over my notes, similar to what I did back in high school. As I complete the list of nominees—regardless of which award each one is nominated for—I will write, upload and share my review. As each awards ceremony gets closer, I will upload both a blog post and a YouTube video with my “prediction” on who should win and why. And, after each award ceremony, I will upload my reaction video on the winners. This is an arduous path I’ve put myself on, but I’m eager to attempt and to accomplish this ambitious goal. 

            Just so everyone knows, this will slow down my progress on my ARCs, essays, theories, and other reviews and content I am currently working on. However, they will get completed, eventually. The only thing that will put a complete halt on everything I’ve been doing is starting a new job—which I really, really need right now—and reworking my schedule to accomplish everything.

            All that being said and addressed, I hope you either follow me, or participate with me as I read as many books as I can and offer my opinions on them. There will be many awards that I won’t be able to add to this challenge, but I’m open to the names and the nominees of each of them. Who knows? I might have read some of those books already, too. This year’s award season is going to be very exciting due to ALL of the nominees. It’s going to be very close, so close that I might have to predict a (potential) second winner within some of the categories. Bring on the 2019 Shortlist Award Reading Challenge! Will you join me?