My Favorite Speculative Fiction Narratives

***My 200th Blog Post!!!***

For this post, which marks a new milestone for me, I decided to discuss one of the most enjoyable—and the most dreadful—topics: favorites. We all know why favorites is a fun topic, but it can be daunting for opposing reasons: others have them as their favorites, they are ubiquitous, they are different from yours, etc. 

            Why am I using the term “narrative” instead of story? What is a narrative? MasterClass has a great definition of the word (no, I am NOT a member). “A narrative is a way of presenting connected events in order to tell a ‘good’ story. A narrative unites distinct events by concept, idea, or plot.” Narratives have existed since the start of humanity, and they range from folktales to poetry to visual media, etc.

            So, why am I using narrative for this post? It is because it is tied to the topic of my 100th post. In that post, I mentioned how speculative fiction genres and subgenres can be used for films and video games. Personally, I believe speculative fiction should include both visual art mediums more often because many films and video games are presenting narratives. Yes, many films (and TV shows) are based on text narratives (a.k.a. books)—and, some video games are based on books and films; yet, there are many films and video games that standout because they are excellent narratives that are NOT based on books.

            Think about it, which films and video games are considered to be the best based on their narratives? And yes, not everyone has seen the same films, and not everyone plays the same video games, but you’ve heard of the “popular” ones and the “excellent” ones. Most of the these are critically acclaimed within their own academy, but their narratives are what capture our attention the most as we progress through them. These narratives are so captivating, we appreciate them regardless of the medium they are being presented to the audience. 

            So, for this post, I will be discussing my favorite speculative fiction narratives. My (current) favorites span across speculative fiction genres and narratives formats. Expect not only books, but also films and video games as well. Many of my favorites shouldn’t surprise you, but I hope you understand why I continue to gush over these narratives. This is a Top 10 List, but the order is based on when I experienced each one.

  • His Dark Materials Trilogy (1995-2000) by Philip Pullman

Known as both “the most dangerous man in the U.K.” and “J.K. Rowling’s contemporary” this (now retired) Oxford professor has been enjoying the latest adaptation of this dark fantasy—with blended elements of science fiction and religion—trilogy which have been more faithful to the books. This trilogy was published right before the Harry Potter Phenomenon, which were released in tandem (to the first half of the Harry Potter series). And, while this series might not have the same amount of fans as Hogwarts, readers of this series became devoted fans who waited years for the same level of media adaptation as its counterpart. 

I’ll say it right now, this is my favorite book series from my childhood. That’s over Harry Potter, Animorphs, and other series (from the same decade). Why? Because this series had a narrative that presented various conflicts within a coming-of-age story with realistic elements—which we take for granted—told through a lens that is speculative fiction. In addition to the protagonist being a less than ideal heroine (she has flaws), she takes matters into her own hands in order to do what she believes is the right thing to do, regardless of what the authority figures tell her to do.

Not only was this series my introduction to portal fantasy—I read C.S. Lewis’ and L. Frank Baum’s series in college and in grad school respectively—and genre blending. This trilogy is fantasy that contains several elements of science, religion and folklore—dæmons are a belief from Ancient Greece and the shamanism dates back to the Pre-Socratic Era—which tie into the plot, the character development, and the world-building. You can recognize the series based on keywords mentioned from the beginning to the ending. 

This narrative is one of my favorites because it takes the familiar tropes of a fantasy story (i.e. family) with real life elements (i.e. science) and scenarios (i.e. identity) and allows it to be presented between science fantasy and reality. And, the idea that a single action can lead to the same ramifications in all worlds is extremely thought provoking as well. The series’ ending—given the circumstances—is satisfying. This narrative has you saying, “what is” instead of “what if.”

  • Spirited Away, Sen to Chihiro no kamikakushi (2001)

I remember when this movie was released in the U.S., but I didn’t get to see it in theaters. When I did sit down to watch this movie, I was mesmerized by both the animation and the narrative. And, while I understand the comparisons between this narrative and Alice’s Adventures in Wonderland—and even The Wonderful Wizard of Oz—this story, fused with Japanese folklore, stands out on its own.

Chihiro isn’t a curious young girl who wanders into a magical world. She is a whiny child who is saddened with moving to a new home with her parents who are more optimistic about the move than her. When they get lost, it is her parents whose curiosity leads them all into the spirit world, where they are trapped inside. Chihiro is forced to complete the “Hero’s Quest” by completing 3 tasks. However, Chihiro is a 10-year-old girl, and she behaves like one throughout the narrative. It won’t be easy.

I love the narrative within this movie because it explores the balance between fantasy and folklore. Some tales from a region’s religion, culture and/or superstitions are often dismissed as being “false” or “fantasy.” However, the fantastic often presents what is real in its own way; and, this movie presents a spirit world with more than one location within it, which demonstrates that world is as vast as ours. There is one unanswered question: how long were Chihiro and her parents in the spirit world for? 

  • Final Fantasy X (2001)

I’ve discussed my love for video games before, but I haven’t talked about them as much as I wanted to beforehand. Some readers of speculative fiction do enjoy video games of the same genres, but role-playing games—a.k.a. R.P.G.s and Japanese R.P.G.s—are visual narratives in which you play your way through the story until you reach its end. And, some of the games in this genre are both popular and laudable enough for all gamers to play at least once.

Everyone has their favorite Final Fantasy game; and, each game in the main series has its own superlative. For example, in my opinion, Final Fantasy VII is the “Most Popular” game in the series. Final Fantasy X has my favorite narratives in this series. In addition to this game having an excellent story—which the other games in the (main) series all have in common—this game presents a narrative in which all of the main characters develop and grow over the course of the game.

            You play as Tidus, a famous athlete who takes after his father (who he hates and has been missing for 10 years). During a game, the city is attacked by an entity, and Tidus is transported 1,000 years into the future. From this point in the game, Tidus (and the player) learn about the world they find themselves in, what happened to their world since the initial attack there, and how the two are tied together. Conflicts and themes surrounding power, identity, religion, beliefs, love and choice are presented in each of the main characters throughout the gameplay. Each conflict and its relation to each character is presented early within the narrative. However, as each “truth” is revealed to the party, they must decide on how they want to carry on knowing the consequences of their actions. While the ending is bittersweet, you finish the game’s narrative aware that the world will be able to start anew; which is something we can all learn from this game.

            Final Fantasy X is one of the games in this main series with a direct sequel. Final Fantasy X-2 (2003) takes place a few years after the events of its predecessor. This presents a unique, yet believable, look into how the world has changed, and how the main characters have changed with it.             

  • The Twelve Kingdoms (1992-Present, Japan; 2007-10, U.S.A.) by Fuyumi Ono

Personally, I believe we take narratives for granted. Yes, we learn how stories were told orally and passed down from generation through posterity, then collected and written down, and then translated into other languages so more can enjoy them. The 1990s saw the demand for Asian content to be presented to a Western audience, and not just action movies. TV shows, anime, manga, etc., were in high demand; some works of literature were translated as well. Battle Royale: The Novel and the movie have a strong cult following, but some light novels (Japanese YA novels) were being translated as well.

Sea of Shadow is the first book in The Twelve Kingdoms, and the narrative focuses on the trope of the outcast and presents it in a way that is both heartbreaking and inspiring. Yoko Nakajima has lived her entire life as an outcast. She is a high-schooler with red hair living in Japan with her traditional parents. Although she is an only child, she receives little love from her parents; she gets good grades in school, but she is ostracized due to her hair color. All Yoko knows is how to get through life by trying to please everyone around her. One day, a man with golden hair appears at her school—which is an all-girls school—abducts her from her classroom, and spirits her away to a world where Asian folklore and fantasy are authentic. After arriving, Yoko is separated from the man and now must survive in a world where she is even more of an outcast than in our world. 

This narrative is part coming-of-age and part survival story. Yoko is in a place where she is considered to be a criminal because she is an immigrant. After a few close calls, she is left on her own to survive in the wilderness. From there, Yoko grows into the individual she was forced to suppress due to her familial and societal notions. After accepting that there is nothing left for her in our world (she can never go home anyway), Yoko mush find a reason to keep living throughout all of the adversities she faces. Her goal matches a shocking revelation about herself.

The rest of the series introduce new characters and reintroduces fan favorites as the timeline of the 12 Kingdoms’ history is covered throughout each book. The same issues of immigration, regional biases and political conspiracies are covered in the narratives of each book. In addition, without too many spoilers, each of the protagonists in each book represent one of 3 types of societal outcasts within that world. 

Print copies of this series is limited; not to mention just 4 books in the series were translated to English. There is an anime series based on the first 4 books which you can stream online. Hopefully, one day we’ll get the rest of the series translated and released.

  • Pan’s Labyrinth, El labriento del fauno (2006)

I’ve discussed fairy tale retellings and fractured fairy tales, but I haven’t mentioned fairy tales and folktales as often as I should in my posts. In short, fairy tales are a genre of folktales in which there is a strong storyline and plot, emphasis upon magic and fantasy, repeated motifs and tropes, with a “happy ending.” Characters are represented as good or evil, and there are beings with magical powers or objects which serve a purpose for the characters. Director Guillermo del Toro wrote and directed his own fairy tale, Pan’s Labyrinth, in which he blends fantasy, magic realism and folklore into this poignant, yet dark film. 

The setting of the narrative grabs your attention immediately. It is the end of the Spanish Civil War (1936-9)—which occurred in tandem with the Second Sino-Japanese War (1937-45) and World War II (1939-45)—and a young girl, Ofelia, and her pregnant mother are traveling to her (new) stepfather’s residence. The protagonist’s stepfather is a captain in Franco’s army, which holds dominance over Spain. Ofelia does her best to cope with the changes by retreating into fairy tales, her favorite literary genre, which the adults all comment that “she is too old for them.” Amidst the violence that happens outside of the home, Ofelia comes across a magical faun who tells her her true identity and the 3 tasks she must complete in order to prove that she is “the lost princess.” 

The narrative is haunting and beautiful as it explores the reasons why anyone would read fantasy and fairy tales; besides escapism, they offer a semblance of hope during difficult times. Not to mention, this is one of the few “fairy tales” where there is a villainous step-father instead of a step-mother (and he’s not a child molester). Each of the 3 tasks correlate to the themes of war and violence—not to mention one of the scariest evil creatures in recent narratives to date—and whether or not magic does exist.

This new fairy tale resembles the older variants which were collected by the Grimm Brothers, and written by Perrault, Andersen, and Baum. In other words, it is for adults not children; that being said, anyone who is a fan of fairy tales will appreciate how new tales can emerge through the appreciation of previous ones. And yes, you can read the literary variant of this narrative—released in 2019—but the film presents how the audience, and the general public, continue to take these narratives for granted instead of seeing them for what they are: a much needed and a wonderful fairy tale. 

  • Shin Megami Tensei: Persona 5 (2016)

I’ve played both Persona 3 and Persona 4—which you should as well—and, while those entries in the series have great narratives, characters and gameplay, it does not have the same down-to-Earth element Persona 5 maintains throughout the entire game. The series is an urban fantasy JRPG with elements of folklore, science, horror and paranormal in it. Persona 3 delves into themes of depression. Persona 4 is a murder mystery which focuses on the effects of media coverage and urban legends. Persona 5 investigates how societal norms and conformity has a negative effect on individuals. 

The narrative focuses on a group of misfit students who are victims of misconceptions placed upon them by the adults in their lives and the rest of society. Anyone who remembers feeling like an outcast—even in adulthood—can relate to these emotions. And yet, the game explores how it is not only adults and power figures who mistreat other individuals, but also other children and adolescents. In addition, players realize how each of the antagonists ended up as they are because of societal expectations. Are the Phantom Thieves heroes, or “a group of meddling kids”?

The narrative within this game is the reality within the fiction. The unfortunate truth is that we all know more than 1 person in our life and “social circle” who is similar to the characters in the game. Another factor to consider is that the narrative forces us to look at ourselves and to determine whether or not we are mistreating anyone for our own gain. The game’s narrative serves as one part fable and one part entertainment.

I’ll mention the narrative within Royal as well. Without getting into too many spoilers, the narrative in this part of the narrative focuses on how manifested desires allows us to achieve a life that is too good to be true, and the causes and the consequences of living such a life. Living this life can lead us to being “out of touch” from reality, especially to those who might be suffering because life isn’t as good for them. Persona 5 (Royal) examines the lives we choose to live while fighting beings from folklore around the world. 

From the first page to the final sentence of this trilogy you are transported to a world where science, fantasy, history, magic and reality enmesh into one of the most engrossing narratives of all time. What if the seasons lasted for several centuries? What if Earth was unstable due to tectonic activity? What if there were individuals who could control seismic activity? What if life on Earth was dead for centuries? Would you be able to survive?

In the far future, Earth has become an unstable planet where earthquakes kill life for centuries at a time. In a twist of fate, some humans gained abilities to sense and to control the Earth’s tectonic activity; so what does the majority of humanity do? Resort to the old methods of societal oppression by practicing fear, control and slavery of these individuals for millennia, which leads to the beginning of the series where a woman arrives at her home to find her toddler son has been murdered, her daughter abducted by her father, and her secret exposed to her community. On top of that, the “fifth season” has begun, so she must hurry and find her daughter (and kill her now ex-husband) before the surface becomes too uninhabitable to survive. 

This series not only takes genre blending to a new level, but also reminds the readers of the dangers of repeating negative social norms instead of solving the bigger problem. Not to mention how such negative treatment and hostility affects posterity for the worse; and, how far will any mother go to protect her child(ren)? And, what will a child do to ensure their own survival? The world-building explains the current predicament the characters find themselves in and how the planet ended up the way it did. In addition, this is one of the few series in which the beginning chapters play a huge role in the narrative. Even the 2nd person P.O.V. chapters are well-written. You finish reading this series knowing it was an amazing narrative. There is a reason why every book in this trilogy won the Hugo Award for Best Novel, and in consecutive years. 

How do I describe Murderbot to someone who hasn’t read this series? Murderbot is a brilliant A.I. who is smart enough to gain control over itself, hates stupidity, has a bleak outlook on life to the point where it borders on nihilism, watches soap operas so that it can understand humans better, and is very good at its job at providing security and killing threats to those under its protection. On a serious note, I haven’t laughed so much regarding robots since watching the Star Wars movies.

The series follows Murderbot—which is what it calls itself—on its latest assignment, protecting a group of scientists as they explore a planet. After a close call, it wonders if something else was happening on that planet, not that it cares what happens to the humans. Basing its knowledge about humans on the T.V. show it watches (i.e. Sanctuary Moon), Murderbot concludes that some of the other humans are up to no good. So, it abandons its post to go on a mission to determine whether or not Murderbot is right; but, not because it cares about the humans who were nice to it. And, from there the narrative takes off. 

With 5 novellas and 1 novel (with more books expected in the future) readers get to look into how the future could look—and without any intergalactic wars, just corporate greed. Through Murderbot’s P.O.V., readers learn how various types of robots are created and are treated throughout the galaxy, and how they interact with each other when they have the opportunity to do so. Murderbot is a “Security Unit, or Sec Unit,” whose purpose is to follow orders and to protect those within its “contract.” But, Murderbot is smart enough to play dumb when it has to survive and to remain incognito from other bots, A.I.s, and humans. 

Each narrative is a “report” of events Murderbot has to submit. And, given its personality, expect a lot of laughs because you will get its inner thoughts as well; and they are on point! Anyone who wants to read a sci-fi action-adventure series with a funny and a unique narrative will enjoy this one as much as I do. 

After reading so many fantasy stories (and playing them), you ask yourself 2 questions. One, if I ended up in a fantasy world, then what would it be like? Two, if I found myself in another world I started to call, “Home,” then why would I consider returning to the world I came from? Seanan McGuire isn’t the first author to think about these things (read the Oz books by L. Frank Baum), but she is one of many to consider such worlds existing parallel to ours. 

Wayward Children takes the trope of “lost/wandering” children—they ended up in a different world with a different set of rules and time span—and transforms it into a new narrative with a twist. The ones who “return” are “changed” by their time in the other world, which they called Home. Their families don’t know what to do with them, so they send them to “Eleanor West’s Home for Wayward Children” (or, its sister school in Maine) so they can become “reacclimated” into society again. In truth, these students are searching for ways to return Home by looking for their Doors.

The series is divided into 2 narrative sequences. The first one follows the ongoings at the school, which is more like a school than the characters want to admit. There are disagreements about clothes, cliques are formed based on the sort of worlds they traveled to, and what their plans are for the future—in our world or in their Homes. Not to mention, when they do go on quests, they have to be quick about it, so Miss West doesn’t tell their parents. The second one focuses on each adventure each character, or characters, has in the world they traveled to, from how they found themselves there to the reason(s) why they had to leave it. The one thing these characters all have in common is that they’ll do anything to return Home. 

Worlds such as Fairyland, the Moors, the Goblin Market, Hooflands, and several more where beings such as mermaids, talking skeletons, resurrected individuals, centaurs, etc., exist in worlds next to ours. In fact, some of those worlds are connected to each other as well. How many other worlds exist? Which one would you find yourself in and why? Would you want to stay there or return to our world? 

The narrative of this novel begins with a familiar trope before twisting into something else. The protagonist, Sasha, is on vacation with her mother when she notices a strange man watching and following her. When she confronts him, he gives her strange tasks to complete. The catch is if she doesn’t complete them, then a loved one will suffer the consequences. After the first failure, she accomplishes all of the tasks given to her (which causes her to vomit gold coins). Afterward, Sasha is coerced into attending a university in order to “enhance” her knowledge.

Before you start comparing this book to Harry Potter, Percy Jackson, etc., remember, Sasha was coerced into attending this university (which is in the isolated and rural parts of Russia). In fact, all of the students are in the same situation as Sasha, but why are they there? What makes them different from their former high school classmates? What are they supposed to be learning? 

This narrative blends the college experience within a speculative fiction setting. Sasha and her college peers have to deal with roommates, classes, changing family relationships, and the changes that go with being away from home; but, they don’t have the option to flunk out of the university. If a student fails their classes or reveals the ongoings at the university, then their families will pay the price. This is done to ensure the secrecy of the university and the success of their students. As for what they are studying, well none of the students know until halfway through their second year. And then, they have to study for a test so that they can “attend” the graduate program.

Without giving away anything else, the narrative does an amazing job balancing college life with the unexpected. And, similar to the narrative, the college experience becomes an addiction you don’t want to give up. In fact, some of the students decide to stay at the university during the holidays, instead of returning home. No one is forcing them to stay there during that time, so why won’t they leave? And, what happens to the students—including Sasha—when they begin to comprehend their “schoolwork”?

            Those are my (current) favorite speculative fiction narratives. Yes, they are on my lists of favorites by medium as well, but I won’t be mentioning that topic anytime soon. I hope you all consider reading, watching and/or playing what I listed here. If anything, then I hope you enjoy the stories being told as much as I did, and still do.

            Coincidentally, I started my blog site 9 years ago, and it started as a simple hobby. It’s amazing what any individual can achieve when given the opportunity to do so. Thank you to everyone who encouraged me to keep my blog going from when I was just posting theories about A Song of Ice and Fire and pop culture essays. I wasn’t sure whether or not anyone would read the posts on this blog; then again, I didn’t believe I had so much to say about literature, social issues, pop culture, etc. I’ve been able to branch out and work on projects for other websites (i.e. Fantasy-Faction, SWFA). So, thank you for reading, liking, commenting, and sharing my work; especially when I was attending grad school and I had to limit the content in my posts. And, a huge thank you to the publishers, the authors (and their literary agents), and other bookbloggers for sending me ARCs and galleys of so many books so I am able to keep up with the industry; and, as I make my way through my never-ending TBR pile.           

            Obviously, I’ll still be posting on my blog while working on all of my many projects and any new ones that come my way. A few of you have asked me about one potential project (more like a revival). My answer: I’ll decide after the New Year because there are other things that require my immediate attention. So you’ll have to wait and see. 

            Here’s to 9 years and to 200 blog posts with hopes that I make it to the next milestone. 

Why You Need to Read: “Daughter from the Dark”

Daughter from the Dark

By: Marina and Sergey Dyachenko

Published: 2006 in Russian; February 11, 2020 in English

Translated by: Julia Meitov Hersey

Genre: Metaphysical/Speculative Fiction/Psychological

            Aspirin had to admit—he was his own worst enemy. He’d brought it on himself: the first time when he did not leave the girl alone where she was, and the second time when he refused to give her back to his camo-clad guest,(Tuesday).

            As you know, Vita Nostra is one of my favorite books of all-time. This translated book—from Russian and translated to English by Julia Meitov Hersey—introduced some readers and I to the metaphysical fiction genre—that is NOT a graphic novel—and to the creative minds of the authors: Marina and Sergey Dyachenko. Daughter from the Dark is NOT the next book in the Metamorphosis series, but a standalone story about a girl from another dimension, and the man who is assigned to be her guardian. 

            The main protagonist is Alexey Igorevich Grimalsky, who goes by his radio sobriquet—Aspirin, is a radio DJ host and a nightclub DJ who lives his life carefree with small comforts that keep him satisfied. One Sunday evening, he finds a young girl shivering in an alley holding a teddy bear. He asks the girl where her parents are before they are attacked by a group of hoodlums and their Pitbull; but, before anything can happen, a large shadow appears on the wall (the teddy bear?) looms over everyone and attacks the dog in self-defense. Shaken up and confused, Aspirin brings the girl into his apartment as a gesture of goodwill. However, the next morning (Monday), the girl refuses to leave or to say anything about herself or where she came from. Then, a stranger appears at his door with intention to take the girl back with him. When Aspirin refuses to let the girl—Alyona—leave with the man, Aspirin finds himself holding a birth certificate stating that he’s the father, which he is not. In a blink of an eye, Aspirin goes from carefree man to father, and it seems everyone else around him believes Alyona is his daughter from Pervomaysk. At the same time, Alyona has no intention in playing the role of “daughter.” Instead of attending school, she cleans the house and listens to CDs (remember those?). Alyona left her home so that she can find her brother, who is a musician. Alyona not only brought her teddy bear, “Mishutka,” but also “special” music strings. Her plan is to learn how to play the violin so that she can play a song, which will call out to him. That means Aspirin has to register Alyona for music lessons, to buy her a violin, and to put up with her aloofness and her eccentricities: feeding Mishutka, ignoring her pain and illness, making “claims” about other people, etc. Meanwhile, Aspirin sees Alyona as an annoying houseguest who keeps interfering with his life and daily lifestyle: going to work, attending parties, hooking up with women, etc. And, Alyona views Aspirin as a coward who is nice but afraid of commitment and wastes his musical gifts. The two characters become more like college roommates than father and daughter, but that living arrangement seems to work for them. Neither Aspirin nor Alyona develop much as characters, but they do demonstrate growth with help from Whiskas—Aspirin’s friend and colleague—and, Irina—Aspirin’s neighbor. Then again, complex characters (and people) don’t change their behaviors overnight, it takes several months. 

            The plot of Daughter from the Dark is straightforward. Aspirin becomes the guardian for 11-year-old Alyona and must learn how to put her needs before his own. It sounds like something from a movie or a T.V. sitcom, but that’s where the similarities end. This leads to the two subplots. The first one involves Alyona’s music. She learns how to play the violin at a rate in which she’s called a music prodigy, but she quits music school so she can focus on learning to play the song which will call her brother and send him home. The second subplot is Aspirin’s slow maturity during the duration of Alyona’s stay. Aspirin considers his music gifts more and more. He even starts a long-term relationship with Irina instead of hooking up with random women. Yes, Aspirin tries to get Alyona to leave more than once, but he learns how to deal with her and everyone who gets involved with her: their neighbors, her music teacher, etc. These subplots are essential for the plot because they explain the reasons and the reactions to Alyona’s unexpected arrival. It is obvious Aspirin doesn’t have a daughter, so allowing the subplots to become part of the plot is necessary and it allows for it to go at an appropriate rate so that the story seems believable. 

            The narrative is told from Aspirin’s point-of-view and his stream-of-consciousness. So not only do readers experience everything from Aspirin’s perspective, but also his thoughts as everything happens around him in real-time. Given the strange occurrences involving Mishutka, Alyona’s music and birth certificate, and the changes involving Alyona’s identity, Aspirin—for all of his flaws—is a reliable narrator. This is because several moments throughout the narrative leave us asking the same questions Aspirin asks himself: What’s happening? Is this real? Where did Alyona come from? Is Mishutka really a teddy bear? Readers are able to follow the narrative because they understand how confused Aspirin is because they feel the same way. The book is in 3 parts, which presents the length of time both Aspirin and Alyona live together. Part I is in days and Parts II and III are in months. These breakdowns are marked by what happens to both characters during those days and months. This sequence is significant because it illustrates ALL of the changes that occur around Aspirin and Alyona. 

            The style the authors—Marina and Sergey Dyachenko—use follows the rules of metaphysical fiction, but it’s written and presented differently. In Vita Nostra, a handful of individuals possessed talents which could bend reality and defy physical laws. In Daughter from the Dark, there are several moments where the extraordinary occurs, and there are several witnesses who experience those moments, but they react with discomfort and questioning whether or not that event actually happened. At the same time, the longer Alyona remains in Aspirin’s world (our world), her identity alters to match the “cover story” she and Aspirin came up with. So not only does Alyona have a time limit to learning the song and finding her brother, but also there is a time limit concerning Alyona’s connection to her world and when or if she’ll be able to go back there. This type of metaphysical fiction trope is similar to the theory about parallel worlds and alternate dimensions. The novel, and the authors, demonstrate what could happen if one or two “other worldly” beings find their way into another world. The mood in this novel is imperfection. Alyona points out constantly how imperfect our world is, which it is, and how it is inspiration for the creative mind. The tone is how a gifted individual can use creativity to seek perfection in an imperfect world. Aspirin, Alyona, Alyona’s brother and all creative artists seek their art in our imperfect world. Music is the central theme in Daughter from the Dark and the authors do an amazing job incorporating music and its techniques and truths within the story.

            The appeal surrounding Daughter from the Dark will continue to present English readers and fans of speculative fiction what they’ve been missing out on. I will reiterate that this novel is NOT the next book in the Metamorphosis series! This novel is a separate story about characters and metaphysical tropes. In other words, don’t read Daughter from the Dark expecting Vita Nostra! Readers of speculative fiction should know better than to expect identical stories form the same author! Daughter from the Dark is its own example of metaphysical fiction and translated work of speculative fiction. This novel is another great addition for the canon, and we have Julia Meitov Hersey to thank again for taking the time to translate the book. And, she is already translating another book by Marina and Sergey Dyachenko, and I can’t wait to read it! Readers and fans of Vita Nostra and Middlegame by Seanan McGuire will not be disappointed with this novel!       

            Daughter from the Dark is the latest translated work by Marina and Sergey Dyachenko, and the focus is on music instead of a hidden school. The narrative and the plot are more relatable and more action-paced than Vita Nostra, but fans of metaphysical fiction will enjoy this book the most. This novel is the most down-to-Earth mind-bending work by the husband and wife duo so far, and the books keep coming! Anyone who is interested in reading anything by them should start with this book. For everyone else, it’s not at the same level in terms of genre, but the experience is worth reading. Now, all I have to do is wait for the next book to be translated into English!

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