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. 

SCKA 2021: The Nominees, the Finalists & the Experience

One of the best things about being a bookblogger is the book awards. Besides the “big awards” such as the Hugo and the Nebula Awards—which many of us have read at least half of the nominees—there are the SPFBO and the SPSFC—which gives bookbloggers and (indie) reviewers the chance to propel indie books towards more readers. How many of you have heard of SCKA? Well, I didn’t until I was asked to participate on the jury this year.

            SCKA stands for Subjective Chaos Kind of Awards, which was started by bookbloggers. This year, I was asked to participate as one of the judges. Even though I had some other things going on at the same time—i.e. grad school—I said yes. This has been a fun yet tense experience because there is a process that must be followed. It makes you have a stronger appreciation for the other literary awards.  

            First, was the categories. There are 12 of us, including myself, who make up the jury and we agreed on which categories we all wanted to include for these awards. We agreed on: fantasy, science fiction, blurred (a.k.a. genre blended), debut work, series, novella and short fiction. Next, we all had the opportunity to nominate a work for each category; but, there was a catch: if we nominated for a category, then we had to read ALL of the nominees. Some of us had to remember how much we could read within a given time. So no, I didn’t participate in the 1st round voting in every category. 

            As you can observe from this chart: we all nominated on our nominees while making sure we didn’t nominate the same book, the same series, or the same stories. For the short fiction, we all made sure sources—either links or anthology titles—were provided for everyone so they could access them. 

Here are the nominees for each category (I apologize for the list, but I couldn’t format the Excel chart onto WordPress):

Fantasy:

The Once and Future Witches by Alix E. Harrow

The Midnight Bargain by C.L. Polk

Comet Weather by Liz Williams

The Wolf of Oren-Yaro by K.S. Villoso

Black Sun by Rebecca Roanhorse

The House in the Cerulean Sea by T.J. Klune

Sci-Fi:

Deal with the Devil by Kit Rocha

Nophek Gloss by Essa Hansen

The Vanished Birds by Simon Jimenez

Goldilocks by Laura Lam

Repo Virtual by Corey S. White

Blurred:

The City We Became by N.K. Jemisin

The Bone Shard Daughter by Andrea Stewart

Harrow the Ninth by Tamsyn Muir

Mexican Gothic by Silvia Moreno-Garcia

Interior Chinatown by Charles Yu

Debut:

A Song of Wraiths and Ruin by Roseanne A. Brown

Legendborn by Tracy Deonn

The Scapegracers by Hannah Abigail Clarke

The Space Between Worlds by Micaiah Johnson

Cemetery Boys by Aiden Thomas

The Year of the Witching by Alexis Henderson

Raybearer by Jordan Ifueko

Series:

Dominion of the Fallen by Aliette de Bodard

Islands of Blood and Storm by Kacen Callender

Sweet Black Waves by Kristina Perez

The Poppy War Trilogy by R.F. Kuang

The Daevabad Trilogy by S.A. Chakraborty

Witches of Lychford by Paul Cornell

Novella:

Upright Women Wanted by Sarah Gailey

The Four Profound Weaves by R.B. Lemberg

The Empress of Salt and Fortune by Nghi Vo

Riot Baby by Tochi Onyebuchi

Sweet Harmony by Claire North

Ring Shout by P. Djeli Clark

Short Fiction:

“Tiger Lawyer Gets It Right” by Sarah Gailey

“Convergence in Chorus Architecture: by Dare Segun Falowo

“In Kind” by Kayla Whaley

“Volumes” by Laura Duerr

“You Perfect, Broken Thing” by C.L. Clark

“Yellow and the Perception of Reality” by Maureen F. McHugh

“Juice Like Wounds” by Seanan McGuire

Then, we read, and we read, and we read some more. 

Recently, we voted on our finalists. The finalists were determined based on votes, and whichever nominees received the highest and the 2nd highest (or, in some cases, the 3rd highest) votes moved on to the finalists round.

Here are the finalists for each category based on the most votes:

Fantasy:

The Once and Future Witches by Alix E. Harrow

The Midnight Bargain by C.L. Polk

Sci-Fi:

The Space Between Worlds by Micaiah Johnson

Goldilocks by Laura Lam

Blurred:

Mexican Gothic by Silvia Moreno-Garcia

The Bone Shard Daughter by Andrea Stewart (tie)

Interior Chinatown by Charles Yu (tie)

Debut:

Legendborn by Tracy Deonn

Cemetery Boys by Aiden Thomas (tie)

The Year of the Witching by Alexis Henderson (tie)

Series:

The Poppy War Trilogy by R.F. Kuang

Dominion of the Fallen by Aliette de Bodard

Novella:

Ring Shout by P. Djeli Clark

The Empress of Salt and Fortune by Nghi Vo

Short Fiction:

“You Perfect, Broken Things” by C.L. Clark (Uncanny Magazine, #32)

“Yellow and the Perception of Reality” by Maureen F. McHugh (Tor.com)

            Please note: the finalists do NOT take away from the rest of the nominees AT ALL! In comparison to the rest of the nominees, the finalists stood out the most. Now, we have to read ALL of the finalists to determine the winner for each category. Unlike the nominees, all of the judges are allowed to participate in voting for the finalists in any or in all of the categories. This means that all of the finalists must be read by each juror before voting, which is fair. You can expect an announcement of the winners within the next couple of months.

            Which one will be voted as the winners of SCKA 2021? Stick around and find out!

The Midpoint of 2021: Favorite Speculative Fiction Books…So Far

Well, we’ve made it to the halfway point of 2021. I won’t begin this post with the usual current events, but I will mention that I’ve been enjoying ALL of the sporting events that are taking place (i.e. Euro Cup, Copa America, NBA & NHL Playoffs, Summer 2020/21 Olympic Trials, etc.). More attention has been given to both books and video games as those who’ve been at home continue to remember that they’re both entertaining and artistic.

As for me, I’ve been recovering from an exhausted winter and spring. This is because, as a few of you know, I went back to graduate school in order to earn a MA degree in Library and Information Science. For the last 2 years, I’ve been taking classes on an accelerated pace in order to complete the program sooner rather than later. No, COVID-19 wasn’t an “imminent” threat when I started back in Fall 2019; and yes, it was an interesting experience completing the program throughout the majority of the pandemic, work my part-time job outside of my residence, and continue working on my blog. In addition, I’ve only told my closest friends and acquaintances (including you) about this, meaning I’ve managed to work on a degree without my ENTIRE family knowing about it. And, unless they read this post, then it will stay that way until I am ready to make an announcement, which will be sometime after I get a job within my field (whenever that may be).

Why am I mentioning this now? Simple, it’s because during my last semester, I had to work on graduating on time and in order to do that I had to cutback on SOME of my reading. Those of you who follow me on Goodreads will notice that I’m behind on my Reading Goal and I’m lagging on completing the books I’m reading currently. I won’t get into my TBR piles both from Netgalley and Edelweiss! It’s NOT that the books are bad in anyway, I’m still mentally exhausted from all of the work I had to do in order to graduate on time; not to mention all of the other events called life.

I am starting to feel better and I started to catch up on both my reading and my writing (including reviews). You’ve noticed that I started posting reviews again, but remember I read faster than I write. Which brings me to another announcement: I realized that my 200th post is upcoming and I plan on writing another “special” piece in order to commemorate the milestone. What will it be? You just have to wait.

Now, for what you’ve been waiting for:

Books I’ve Finished Reading:

Across the Green Grass Fields

First, Become Ashes

Tower of Mud and Straw (It was nominated for a Nebula Award for “Best Novella”!)

The Bone Shard Daughter (Yes, it was released in 2020, but the sequel comes out later this year!)

The Light of the Midnight Stars

Chaos Vector (Just in time to read the final book in the trilogy!)

Fugitive Telemetry

Over the Woodward Wall (Along the Saltwise Sea comes out this fall!)

Shards of Earth (My 1st Book Tour!)

And, A LOT of Paranormal & Fantasy Romance Books by Indie Authors (That’s for a future post!)

Books I’m Reading Currently:

The Empire’s Ruin

The House of Always

She Who Became the Sun

The Unbroken

The Jasmine Throne

The Gilded Ones

Books I Want to Read by the End of 2021:

The Broken God

Firebreak

The Fire Keeper’s Daughter

House of Hollow

The Unspoken Name

The Witch’s Heart

For the Wolf

The Two-Faced Queen

The Next 2 Books in The First Argentines Series

The sequels of the upcoming books mentioned; more paranormal & fantasy romance books; and, several MORE books I can’t list here because otherwise, this post would be never-ending.

I don’t know whether or not I will be able to read the books mentioned by the end of this year. I’m still trying to catch up from last year’s TBR! So right now, I want to thank the authors, the other bloggers, Fantasy-Faction, all of the publishers and the agents for being both supportive and understanding as I continue to work my way through the last 6 months, and for encouraging me to continue working on my other writings.

Speaking of “other” writings, please keep an eye out for any upcoming essays and lists I will continue to share here. Any and all feedback are welcome.

We’re halfway through 2021. What are your plans for the rest of the year?

Also, if you haven’t already, then please read the essay I wrote that was published on the SFWA website! Click here to access it.

Why You Need to Read: “Over the Woodward Wall”

The Up-and-Under, #1: Over the Woodward Wall

By: A. Deborah Baker

Published: October 6, 2020

Genre: Fantasy/Children’s Literature

            Because of their houses, Avery’s and Zib’s both, were on the side of the street where the forest loomed, there were no corners: they lived, unwittingly, only three doors down from one another. But across the street from them was another road, right between the one where Avery walked to school and the one where Zib walked to school. They approached it, Avery walking with quick, precise steps, Zib skipping and strolling and sometimes outright running, and they reached their respective corners at the same time, (One: The Same Ordinary Town). 

            Creativity and imagination are used interchangeably when fiction writers—especially genre fiction—are praised for their stories. The stories presented by these authors remind us how infinite creativity and imagination are to everyone else. The range of such talent goes from authors who devote their entire lives constructing 1 world with 1 extensive timeline, to authors who can juggle multiple worlds with their own set of characters, timelines, and—at times—rules about magic. Seanan McGuire is an example of the latter, and this time she is writing as A. Deborah Baker with Over the Woodward Wall, the first book in The Up-and-Under series, which is mentioned in her novel, Middlegame.

            The protagonists are 2 children—a boy and a girl—who are the same age and live 3 doors down from each other, but whose paths have crossed barely until now. Hepzibah, or Zib, lives with her “eccentric” parents, and Avery (Alexander Grey) lives with his “efficient” parents. One day, at the same time for the same reason, both children take a detour to school, come across a wall, climb over it, and find themselves in a new world. Avery and Zib—who focus more on their differences over their similarities—must travel to the Impossible City on the Improbable Road so they can return home. During their journey they meet: a crow, an owl, a queen, a page, and a king. Throughout their journey, both Avery and Zib must learn about each other, learn how to get along with each other (they are young children), and learn about the Up-and-Under—the world they entered unknowingly. The protagonists are as resilient as children can be, but they cling on to the rules of our world as they move away further from it. Avery and Zib are not complex, but the other characters are, which makes the protagonists more intriguing. 

            The plot of this book is straightforward in its own way. Two children stumble into a world that isn’t familiar to them (or, to us), and in order to return to our world, they must meet with the ruler who lives in the center of it. Hence, their adventure begins. Along the way, Avery and Zib meet the inhabitants of the Up-and-Under. Each meeting with each denizen is a subplot within the story. During these encounters, the children learn more about the world and its rules. Each subplot develops alongside the plot as the children travel closer to the heart of the world they stumbled into by accident.

            The narrative is presented from the points-of-view of both Zib and Avery in the present. In addition, the story is told in 3rd person omniscient which is relevant to how the story is being told. Given that the protagonists are young children, it would make sense for the narration to be from a figure who knows more about what is happening because otherwise, the story would be confusing for everyone. Not to mention, this type of narration makes Zib and Avery reliable narrators. Their streams-of-consciousness—and, the narrator’s—allows the story to be followed easily. 

            The style Seanan McGuire uses as A. Deborah Baker is both an allusion and a tribute to classic children’s literature, particularly adventure stories. The word choice and the sentence structure expands the audience of readers (children to adults), while the story itself will remind other readers of books written by Lewis Carroll, L. Frank Baum, C.S. Lewis, Holly Black, and others. However, this book tells its story in a way that is can be distinguished from the series by the authors mentioned. The mood in this book is improbable—which comes directly from the book. All of the events throughout this adventure should be unlikely, but occur because the Up-and-Under follows the rules of its world. The tone in this book is eccentric. From when we first meet the protagonists to the end of this book, EVERYTHING deviates from the norm from the protagonists’ actions to the Improbable Road.

            The appeal for Over the Woodward Wall have been positive. That being said, there has been some confusion about The Up-and-Under series. According to the author, this series is mentioned in Middlegame, but there is NO (direct) connection or tie-ins between the 2 series. This means that both series can be read and enjoyed separately. So far, this series belongs in both the speculative fiction and the children’s literature canons. Fans of Alice’s Adventures in Wonderland, Through the Looking Glass, the Oz series, and The Spiderwick Chronicles should read this series because they will enjoy it the most. The next book in this series, Along the Saltwise Sea—which will be released later this year, will pick up where the first book ended.

            Over the Woodward Wall is a brilliant series based on the Hugo nominated book, but you don’t have to read Middlegame to enjoy this story. A. Deborah Baker presents a story that is familiar to readers, yet it manages to stand on its own. Fans of the genre shouldn’t hesitate to read this book, and fans of Seanan McGuire should not wait any longer to read this book. The story is a delightful throwback to children’s (fantasy) adventure books. Seanan McGuire’s talent for storytelling is as lengthy as The Improbable Road.

My Rating: Enjoy It (4.5 out of 5). 

Reading Check-In: April 24, 2021

Hello everyone! This week’s post is another update on what I’m reading.

What did you finish reading?

I finished this book some about 2 weeks ago, but I haven’t written my review of it yet. For those of you who’ve read Middlegame, you will recognize the title of the series (The Up-and-Under) and the author’s name, A. Deborah Baker (a.k.a. Seanan McGuire’s pseudonym). This story follows two young children from opposite sides of the same community who come across a wall, climb over it, meet each other in a new world, and make their way through it while meeting everyone who resides there. The next book, Along the Saltwise Sea, comes out later this fall. Even if I don’t get a galley of this book, then I plan on preordering it.

What are you currently reading?

I was hoping to finish this book sooner so I would have my review ready BEFORE next week’s release. Tor.com was kind enough to approve my request for this galley, and I thought I had to read Network Effect before reading this novella. After a few of my fellow bookbloggers clued me in that this story takes places before the novel, I started it immediately. I LOVE MURDERBOT, and I’m aiming to finish this story and to have the review written and posted very soon!

Currently, I’m still listening to the audiobook (while re-reading the chapters in my galley), and I’m 75% done with this book. I believe I know what could happen by the end of this book. However, the cover reveal for Book 3 has me wanting to finish this book A.S.A.P.!

What will you read next?

Without getting into too much detail, I received an eARC of this book early. I’ve been meaning to read the books this author has written for a long time. In fact, I’ve read the 1st half of The Tiger and the Wolf, and I haven’t finished it yet (READ IT). I started this book, and so far it’s a space opera experience I won’t forget anytime soon. I’m looking forward to reading this book through. And yes, my review for this book will be SPOILER FREE.

This week’s Book Haul!

Do I have to explain how excited I am for this book?! The Broken God is supposed to take place right after the events at the end of The Shadow Saint. All I know about this book is that Cari returns as one of the main P.O.V. characters. And, the author announced recently that the series has been expanded to 5 books! Yes, I’m excited about that, and I’m curious as to what will happen between the end of this book and the end of the series.

The Nebula and the Hugo Award 2021 Nominees

If you are expecting a post about a “Shortlist Award Reading Challenge,” then I have some bad news for you. This year, it’s not happening! I’ve barely kept up with it during the last 2 years, and I do not have anytime to read all of the books for this year. That being said, you should at least read through the nominees in some of the categories for each award. There is a chance you’ve read some of them already.

Out of the many speculative fiction awards, we are most familiar with both the Nebula and the Hugo Awards. That is not to say that the other awards are not worth looking into: the Arthur C. Clarke Award, the BSFA, the BFA, the Aurealis Awards, the Bram Stoker Awards, etc. However, it is the Nebula and the Hugo Awards that receive the most attention. Some reasons for this are obvious and some are not. I’m not going to get into that in this post. I want to discuss some of the nominees.

These awards are great starting points for catching up with some of the many popular speculative fiction works of the past year. Yet, if you’re like me, then you’ll notice there are times when the nominees for both of these awards overlap each other. However, that doesn’t mean those nominated for “Best Novel,” “Best Novella,” etc. in these awards will win the same category in both of them. In fact, the last novel to win both awards was The Stone Sky by N.K. Jemisin; the last novella to win both awards was This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone.

I haven’t read all of the nominees yet, but I hope to read as many of them as I can before the awards ceremony. As for who I believe could win…It’s anyone’s game. Speculative fiction continues to release brilliant stories that continue to get better and better every year. And, because I haven’t read all of the nominees yet, I won’t be making any predictions. Then again, I noticed some of my favorite stories have been nominated.

For the nominees I’ve read so far, please read my reviews. I will try to add more before the ceremonies, but I’m not making any promises.

BEST NOVEL

BEST NOVELLA

BEST SERIES (Hugo Awards Only)

Other categories I will be paying attention to are BEST GRAPHIC STORY OR COMIC (Hugo Awards Only) and BEST YOUNG ADULT BOOK. I own many of the books that are nominated, but I haven’t read them yet. The Young Adult categories have come a long way, and the styles of the stories are changed a lot since the beginning of the century. As for Best Graphic Story, I mentioned before that I started reading that genre of literature again; but, I haven’t written any reviews yet. I’m hoping to do so before the end of the year. It should be mentioned that video games are being recognized for their contribution to the genre as well, but that’s for a future essay/post.

The Nebula Award Presentation will be presented during the SFWA Conference in a virtual presentation on June 5, 2021.

The Hugo Awards will be presented during DisCon III, which will be held December 15-19, 2021 (I want to say that this Con was pushed back due to COVID-19) in Washington, D.C., U.S.A. I do not know whether or not the ceremony will be virtual.

What are your thoughts about this year’s nominees? Which of the nominees have you read and enjoyed the most? Will you be streaming (or, attending) the awards ceremonies?

Why You Need to Read: “Across the Green Grass Fields”

Wayward Children, #6: Across the Green Grass Fields

By: Seanan McGuire

Published: January 12, 2021

Genre: Fantasy

            It had been so long since there was a human in the Hooflands. She didn’t like to consider what might be ahead of them that was bad enough to require human intervention. Humans were heroes and lightning rods for disaster, and none of those stories she’d heard about them when she was a filly had ended gently from them, or for the people around them, (8: Time and Transformation). 

            Destiny vs. chance; fate vs. free will. These opposites are disputed more often than we want to admit. Is it destiny, or did your choices lead you to this moment? Did fate or chance determine your current circumstances? Regardless of ANY beliefs—religious or not—just about every individual has debated these questions among others, or between their personal thoughts. In speculative fiction—particularly in fantasy—this debate is investigated further by including prophecies in the plot(s) of the stories. Nowadays, many fantasy authors go into the “dangers of prophecies” and how it can bring about more harm than good, emphasizing how free will is a more “realistic” approach to fantasy stories. This is one of the several messages that can be found in Seanan McGuire’s Wayward Children series, and the debate between destiny and chance comes up in the latest book in the series, Across the Green Grass Fields

            The protagonist in this book is Regan Lewis, and when readers first meet her, she is 7-years-old. This is significant because one day, during recess, one of her friends—Heather Nelson—brings a garter snake to show off to her and their other friend—Laurel Anderson. While Regan is fascinated with the snake, Laurel is disgusted with it and slaps it out of Heather’s hand. Laurel states that “girls don’t play with disgusting things like that,” because a first grader believes she knows more about the world than her friends. From that day into the 4th grade, Heather is ostracized by her classmates and Regan remains “friends” with Laurel due to fear of the same thing happening to her. The one thing Regan loves which is considered to be “girly” is horses, which her parents—who love her tremendously—indulge her. However, Regan learns at 10-years-old that she is not “completely female” due to an “anomaly.” This leads to Regan confiding in Laurel (which, was foolish), which causes Regan to flee her school in tears. As Regan is making the long walk home, she finds a Door and walks through it. Regan finds herself in Hooflands—where all mystical horse creatures reside—and is adopted by a herd of centaurs: Pansy, Chicory, Rose, Lily, Clover, Lilac, Bramble and Daisy (notice a pattern here?). Throughout her time in Hooflands, Regan is able to grow into the person she wants to be without the social constraints and the gender role expectations of her (our) world. Regan experiences the same amount of love with the herd as she did with her parents; and, she has a “true” friend in Chicory, something Regan realizes she never had with Laurel. The centaur herd, like Regan’s parents, do everything they can to keep her safe, while keeping her informed about the world around her. Regan grows up realizing that one’s sex and gender doesn’t define an individual, and she is able to think the same way when confronted about “why she was brought to Hooflands.” 

            The plot in this book surrounds the idea of friendship. As cliché as that sounds, Regan’s growth focuses on what having and being a friend entails. Yes, Regan was 7-year-old when she stopped being Heather’s friend in favor of Laurel, but such things and worse are everyday occurrences with children and adolescents (I am an educator, and I can attest to A LOT of schoolyard—and cyber—bullying). Regan—who knows she doesn’t have any friends amongst her classmates—confided her “secret” to Laurel because she didn’t have anyone else to talk to; and, knowing what Laurel’s reaction will lead to, Regan runs away. Regan learns what real friendship is in Hooflands and worries her “predestined task”—something she doesn’t believe in—will bring it all to an end, and she doesn’t want that to happen. The second plot in this book centers on the choices all of the characters make, and the “what ifs” asked by all of them. Regan realizes Heather would have been a better friend than Laurel. Regan’s parents should have given their daughter more time to process the life-changing news they had to tell her. The centaurs make many choices, which they know they had to live with, from protecting Regan to choosing husbands. By the end of the story, Regan is able to make her “ultimate” choice because she witnesses the consequences which outweigh the benefits. There is one subplot in this novella and it involves Regan’s sex (she is intersex). While this revelation comes as a shock to her and causes her to worry about how she’ll be perceived by her peers and everyone else in society, Regan experiences some of the “benefits” which she uses to her advantage unknowingly, especially for someone who loves to ride horses. The subplot is essential to the plots in this story because the subplot drives the entire story. 

            The narrative of this book is told from Regan’s point-of-view and in the past sequence. This is NOT a flashback, but a look back at what happened to Regan from when she was 7-years-old to when she is 16-years-old. The narrative is told in 3rd person omniscient (readers get insight to what happens to Regan’s parents and other characters) and through Regan’s stream-of-consciousness. Given everything Regan goes through and the growth that results from it make her a reliable narrator. 

            The style Seanan McGuire uses in Across the Green Grass Fields is part homage and part criticism of popular children’s media, particularly of the TV cartoon, My Little Pony (the first variant was based on the toys from the 1980s), and of The Chronicles of Narnia by C.S. Lewis. First, let me say many of you will make the comparison to the Oz series by L. Frank Baum—and, you wouldn’t be wrong. However, thinking over what led to the protagonist making her choice has resulted with me leaning more towards Lewis over Baum; and, I might be wrong in that as well. Anyway, the author has explained to her fans how a beloved cartoon series contained a lot of danger in a world of horse creatures. Not to mention, McGuire’s view on what happens to the human character, Meghan, makes you reconsider what you think you know about My Little Pony, fairy tales and magic. As for The Chronicles of Narnia, think about the premise made by the Narnians whenever a human—“a son of Adam or a daughter of Eve”—appears in Narnia. Those humans are expected to live up to a role which was “predestined” for them, and they must go along with it because “it is was they’re supposed to do.” McGuire allowed her protagonist to be more mindful about certain things and to consider how such beliefs and notions can affect everyone, something this character is very familiar with. The idea of destiny versus free will is explored in books by Brandon Sanderson, Katherine Arden and Jenn Lyons (and even more authors). The mood in this novella is anticipation of what is coming. The tone focuses on the choices that are made in response to the anticipation of the inevitable. Once again, Rovina Cai provides the illustrations in this book. This time, those illustrations are spread out more in the book and I want to say it is because more emphasis is placed on the world of Hooflands instead of its inhabitants (many of the readers know what minotaurs, unicorns, kirins, etc. look like).  

            The appeal for this novella have ranged from mixed to positive. So far, some of the readers have said that this book is not their favorite in the series, but they still enjoyed it. Other readers (and reviewers) have been very critical about certain parts of the story, especially the ending. Everyone is allowed to have their opinions, and I can see where many of them are coming from. Yet, I do agree with one statement about this book in the Wayward Children series, it can be read by middle grade aged readers (ages 8-12)—as long as they are mature enough to deal with the book’s content. This is because the context and the characters mirror their age group the best. That being said, I believe this book continues with the theme of “cautionary tales” fans have picked up on throughout the series. Adolescent and adult readers are forced to recall their experiences as (or with) schoolgirls and how those notions continue to influence and to hinder each new generation of young girls. And, for those of you who do not believe girls are not “vicious” should re-watch Mean Girls or any “cat fights” videos on YouTube. Across the Green Grass Fields is a great addition to the series and it will be enjoyed by fans of the series. Furthermore, we have to wait another year until we get to read the next book in the series, Where the Drowned Girls Go. Who knows, maybe we’ll meet up with Regan again? 

            Across the Green Grass Fields in the most amiable book in the Wayward Children series so far, but it is not without the threat of danger fans know to expect from Seanan McGuire. This novella about young girls and horses is a much-needed commentary about choices, femininity and friendship. Say whatever you want about this book, but there is little girl you know who wishes there was a world of horse beings where you get to talk and to ride them all day long!

I was able to get this DVD during a bargain sale! I still remember watching these episodes on Saturday mornings on the Disney Channel!

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

Why You Need to Read: “Juice Like Wounds”

Wayward Children, #4.5: Juice Like Wounds

By: Seanan McGuire

Published: July 13, 2020

Genre: Fantasy, Short Story

***This short story can be read for free here on Tor.com.

            They walked west, the three girls: Lundy with her knife, Mockery with her spear, and Moon with her sling. And when the trees loomed before them like the walls of heaven, they exchanged a look but not a word, ducked their heads, and stepped into the darkness.

            This short story is NOT an interlude, but an expansion on Lundy’s first “trip” to the Goblin Market. So, you need to read In An Absent Dream before reading this story. Juice Like Wounds explains why Lundy decided to return to her parents after her first trip to the Goblin Market. 

            Lundy is 8-years-old and is learning how the world of the Goblin Market operates. She has made a deal to stay with the Archivist, whose library Lundy has access to. This means Lundy has been able to read upon the world’s history. And, Lundy is hanging out with her new friends: Moon and Mockery. This is the first time Lundy has had friends, and she is about to lose one of them. Just like Lundy, Moon and Mockery are from other worlds who ended up in the Goblin Market and find themselves happy to be there. This trio of travelers decide to slay a monster in order to retrieve back what was once stolen. 

            The plot is simple: children go on an adventure so they can become heroes. Unfortunately, they are too young to understand adventures don’t always have happy endings. There are 2 subplots in this story. The first one is a further explanation of the world of the Goblin Market. There is more there than the Market, and Lundy and her friends want to learn more about it. The second subplot revolves around Mockery. Readers learn who she was, what happened to her, and her relevance to Lundy’s story. Both subplots are necessary for the plot, and the development of the characters. 

            The narrative in this short story is a continuation of Lundy’s first visit to the Goblin Market, which ended with blood and death. The points-of-view are those of Lundy, Moon and Mockery, and the Archivist, which makes it 3rd person omniscient. The sequence is of the past, and told in the past tense. Readers follow the streams-of-consciousness of the protagonists, and given what happens to them, it is fair to say the narrators are reliable.

            The style Seanan McGuire uses for Juice Like Wounds is a continuation of what she used in In An Absent Dream. The reference to Goblin Market by Christina Rosetti comes up again because the poem mentions a 3rd girl who died after buying and eating fruit from the goblins. Seanan McGuire goes further with her cautionary tale and mentions not only Mockery, but also Zorah—another young visitor to the Goblin Market who no longer lives there. This short story is the first of many cautionary tales about “fair value,” which goes over Lundy’s head. While the Wasp Queen could be a figure of foreshadowing, the story is about Lundy and the Archivist in equal measure. 

            Fans of Wayward Children will enjoy this short story. Juice Like Wounds lets readers know what Lundy was up to during her first visit to the Goblin Market and why she was so eager to return to her parents afterwards. It is unfortunate Lundy never understood the reason why Mockery died although hints were left throughout In An Absent Dream for her to pick up on—Lundy never forgot about Mockery; she just didn’t know what her death signified. 

            Juice Like Wounds is a short story which serves as a cautionary tale as readers travel back with Lundy to the Goblin Market. Seanan McGuire answers the question: who was Mockery? in this expansion of In An Absent Dream. I hope the author has similar stories for future releases because I have some questions about other characters I would enjoy reading in similar format. I know other fans of the Wayward Children series feel the same way.

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

Why You Need to Read: “In An Absent Dream”

Wayward Children, #4: In An Absent Dream

By: Seanan McGuire

Published: January 8, 2019

Genre: Fantasy

            This, then, was Katherine Victoria Lundy: pretty and patient and practical. Not lonely, because she had never really considered any way of being other than alone. Not gregarious, nor sullen, but somewhere in the middle, happy to speak when spoken to, happy also to carry on in silence, keeping her thoughts tucked quietly away. She was ordinary. She was remarkable, (1: A Very Ordinary Garden). 

            We’ve all asked the question: ‘How did ‘x’ come to be in existence?’ In our world, we have history lessons and oral tradition to teach us about historic moments and events, and changes in technology. In other worlds—in works of fiction—the audience receives the history as the narration continues explaining the scenario, the characters’ backstories, and—in the case of speculative fiction—how the world came to be. Throughout the Wayward Children series, readers have learned about the various worlds the travelers visited, and how Eleanor West’s Home For Wayward Children is a haven for these travelers. It makes you wonder how those who returned to our world readjusted in society before these schools existed. In An Absent Dream, the fourth book in the series, provides one infamous case.

            The protagonist in this story is Lundy, whom we met in Every Heart A Doorway. Everyone already knows how her life ends, but we’re given a look into her life—both with her family and in the Goblin Market. Katherine Victoria Lundy is the middle child in her family’s household. She is 6-years-old at the beginning of the story. She has an older brother, Daniel, who is 6 years her senior; and, her mother is pregnant with her 3rd child, which will be Lundy’s younger sister, Diana. However, Lundy isn’t Lundy yet, she is Katherine; it’s her birthday, and none of Katherine’s classmates are celebrating with her. The reason for this is because Katherine’s father is the principal at the school, which goes unnoticed by both parents. For another 2 years, Katherine is a model student, which isolates her even more. One day, 8-year-old Katherine is walking home from school when she finds a Door with the words: BE SURE. Well, Katherine is sure and she enters the world of the Goblin Market. There, Katherine meets “the Archivist,” who explains the rules and the ways of the Goblin Market; and, “Moon,” a girl around Katherine’s age who is a resident at the Goblin Market, who has trouble following the rules. The first thing Katherine learns there is NOT to use her actual name, but either an attribute or a family name. Thus, Katherine chooses to go by her last name, Lundy; and, Lundy is told she is not the 1st visitor to go by that name. Throughout her “trips” to the Goblin Market, Lundy grows into the person she was denied to be in her world (the story starts in 1962). Meanwhile, Lundy’s family cannot understand why she would choose to be anywhere else but with them, especially Lundy’s father. So, what does Lundy’s family do to her? They find ways to keep her from leaving them, even succumbing to enact guilt. This move begins a rift in Lundy as she tries to figure out a way to find “fair value” before the curfew.   

            The plot is a look back into Lundy’s early life—who can be viewed as a “tragic” character—and her childhood and her time in the Goblin Market. This is an intriguing view into how a child survives in “another world” with minimal adult guidance, which could be one of the actual dilemmas Lundy had to deal with as well, while remaining divided on which Home was her real one. The sad thing is Lundy was thriving in the Goblin Market for reasons her family was too blind to notice. There are 2 subplots and they are essential to the plot (and, the entire series). The first subplot regards the concept and the importance of the rules in each world. Throughout the series, readers learn which students haven’t returned Home due to the rules they broke, but there wasn’t too much context in their stories—except for Kade. Lundy is the first character who has to admit her choices to break the rules led to her permanent punishment (unlike Jill). The second subplot presents how and why schools like Eleanor West’s—remember, there are several others throughout our world—became the much-needed havens and fellowships travelers, especially children, never knew they needed. Lundy knew of 2 other travelers: Moon, who was already a permanent citizen of the Goblin Market; and, Franklin Lundy, Lundy’s father, who does everything in his power to stop his daughter from returning to the Goblin Market. Neither friend nor parent can give the guidance Lundy needs so badly. It makes you wonder what could have been if a school existed during Lundy’s childhood. It is obvious both subplots are necessary for the plot to develop throughout the story.

            The narrative in this story is told from Lundy’s point-of-view, but in 3rd person omniscient. This is because there are moments when the P.O.V. shifts away from Lundy—usually to her father—in order to fill in the smaller details of the story. The sequence is broken down into the events leading up to Lundy’s “trips” to the Goblin Market, particularly her first 3 visits. Each visit leads Lundy to staying at the Goblin Market for longer periods of time. However, it is the visits before the curfew, which receives the most attention. Lundy’s “trips” become more frequent, but for shorter visits, almost like they match Lundy’s hesitation instead of her heart. The narrative is a look back at the past, so it is NOT a flashback. This means most of the narration is told from Lundy’s stream-of-consciousness. And, because the narration leads to the end readers know is coming, Lundy is a reliable narrator.

            The style Seanan McGuire uses in In An Absent Dream is an intriguing one. The concept of the Goblin Market comes from the narrative poem of the same name by Christina Rossetti. The poem is about 2 sisters who meet goblins by the river encouraging all to “Come buy, come buy.” The synopsis of the poem is: one sister eats the fruit, while the other one does not. As time passes, the sister who ate the fruit begins to age unnaturally. This causes the other sister to go and buy some of the fruit to save her. The sister resists the temptation to eat the fruit, which saves her sister’s life. It is obvious the author took this children’s poem and retold it with the same dilemmas and the same morals. Seanan McGuire’s retelling of Goblin Market is easier to comprehend, but is just as much of a cautionary tale as the original poem. The mood in this story is the discord one’s desires can lead to within the individual, which is brought on by those closest to them. Once again, the illustrations done by Rovina Cai bring out the beauty in a world very few people know exist. 

            The appeal for In An Absent Dream have been positive. Not only was it nominated for a Hugo Award for Best Novella in 2020, but also it is one of the highest rated books in the Wayward Children series by readers on Goodreads and on other social media and (book) retail websites. This novella is an excellent addition to both the book series and the fantasy canon. I should mention that anyone who did enjoy this book because of the world of the Goblin Market should read both Goblin Market by Christina Rosetti and The Sisters of the Winter Wood by Rena Rossner. The latter is a historical fantasy novel with allusions to Goblin Market. After reading those, fans can move on to the next book in the series, Come Tumbling Down

            In An Absent Dream is a story so beautiful and tragic readers will be torn between wanting it to be real and wanting it to be a dream. This is my favorite book in the series next to Every Heart A Doorway. There are several reasons for this: the believable characters, the beauty of the Goblin Market, the split between family and where you belong, and the heart-wrenching end everyone knows is coming but doesn’t want it to happen. Not to mention, the reason and the importance of schools like Eleanor West’s for travelers in similar scenarios. Now, readers have a complete understanding of what these children really need: the desire to choose without any guilt. 

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

Why You Need to Read: “Beneath the Sugar Sky”

Wayward Children, #3: Beneath the Sugar Sky

By: Seanan McGuire

Published: January 9, 2018

Genre: Fantasy

            The Queen of Cakes would never have been defeated: Sumi had died before she could return to Confection and overthrow the government. Rini wasn’t just saving herself. She was saving a world, setting right what was on the verge of going wrong, (5: Places of the Living, Places of the Dead).

***NOTE: This review contains some spoilers from Every Heart A Doorway. That book should 

be read BEFORE reading this one. 

            Quests; adventures; journeys. Everyone is familiar with the numerous stories about “ordinary” people who leave home to go on a “hero’s quest” usually “to save the world.” Other journeys include a fellowship attempting to do the impossible, and most of them take place in different worlds. Stories about Narnia, Oz, Middle-earth and the gods involve quests. In fact, several video games such as Final Fantasy are about a group of individuals on an adventure to accomplish a goal. Seanan McGuire has her readers return to Eleanor West’s School for Wayward Children before they go on a quest, which is against the rules. Beneath the Sugar Sky, the 3rd book in the Wayward Children series, takes place after some time has passed after the events in Every Heart A Doorway

            Readers are reunited with the students from Eleanor West’s school: Kade, who is training to be the school’s next headmaster; Christopher, who is waiting for the Day of the Dead so his Door will appear, if it does; Cora, the school’s newest student, who was a mermaid; and, Nadya, one of the school’s longest residents, who talks to turtles. It is an ordinary day at school, until a girl wearing a cotton candy dress falls from the sky and into the turtle pond. The girl identifies herself as Onishi Rini, the daughter of Onishi Sumi, one of the students at the school. Rini claims she is from the future and she is searching for her mother—who disappeared from their home in Confection. There is one problem, Sumi is dead, which means she can’t have a daughter in the future, at least in our Logical world. However, Confection is NOT a Logical world, so there should be a loophole, right? Eleanor allows some of her students to go on a quest—which, is against the rules—”to put Sumi back together.” Kade, Christopher, Cora and Nadya travel with Rini on her quest bringing their knowledge and their skills as they attempt to do the impossible. Readers learn more about these characters, the worlds they call Home, and the worlds they travel to. Who else will they meet along the way?

            The plot in this story is straightforward. A few schoolmates are going to resurrect the dead friend with her future daughter leading the way. All they have to do is travel to the worlds where pieces of Sumi can be found so they can put her back together. Not too difficult right? Not to mention, with Sumi dead, Confection remains under control of a despot, who will do everything in her power to stop her nemesis from coming back to life. There is one subplot and it goes back to one of the plots from Every Heart A Doorway, which is the construction of the Great Compass. Kade, Christopher, Cora, Nadya and Rini all traveled to different worlds; and, those worlds are connected to each other somehow. As the students continue on their quest, they note which worlds are connected to each other, which serve as clues for the students who are trying to return Home. It seems like the Great Compass is forming into a larger map where one world has pathways to several other worlds. Someone just has to figure out a way to map them all out. The subplot develops alongside the plot as the characters note which Doors take them to which worlds. 

            The narrative follows the points-of-view of all of the travelers, but the focus is on Cora because she is the newest student. This means that the P.O.V. is 3rd person omniscient and the sequence is in the present as readers follow the events in “real time.” In addition, following the streams-of-consciousness of the characters make them reliable narrators that makes it easy to follow the story.

            The style Seanan McGuire uses in this story reminds readers of the adventure stories they’ve read (and, probably continue to read). Throw in elements of hero’s quest stories from myths and legends and some Japanese pop culture and you have a story everyone can enjoy. Allusions to Orpheus, the Underworld, JRPGsSailor Moon and Back to the Future can be found throughout the story and are recognized by readers who are familiar with them. Additionally, the allusions to magic objects and other tropes from folklore could be viewed as foreshadowing for future books in the series and as evidence that magic exists in our world. The mood in this story is adventure. The students go on a quest to save their friend and her future and her Home. They don’t know what’s going to happen, but they know it will be more fun than they’ve had in a long time. The tone in this story is fellowship. The students wouldn’t embark or assist in this quest if it wasn’t for the loyalty—both strong and fragile—they have for each other. They are not sure whether or not they will succeed in their quest, but they are willing to risk it all because of the friendship they share. There are illustrations in this book done by Rovina Cai. While they are few, they capture the essential parts of this quest, and the illustrations are beautiful.

            The appeal for Beneath the Sugar Sky have been positive. And yes, this novella was nominated for some of the literary awards its predecessors have won. However, fans of the series agree this book is a creative continuation about the lives of the students at the school. Readers learn through the characters that magic is brought over to Earth from other worlds, and the magic and the worlds are connected. This book is a portal-quest fantasy and it belongs in the fantasy canon alongside the other books in the series. This book can be read by fans of both Philip Pullman and Joseph Campbell. And, due to its connection to the first 2 books in Wayward Children, readers can and should reread all of the books in the series so they know how each book is related to each other. After reading all 3 books, they will be ready to read the next book in the series, In An Absent Dream

            Beneath the Sugar Sky is a sweet addition to the Wayward Children series. This book gives readers a quest with some of their favorite characters—both old and new—where they learn about them and some of the many worlds as they journey to save their friend. The author combines story elements from the past and the present in order to present this narrative to her fans. In all, this novella is a must read for fans of fantasy stories and of fantasy scholarship. 

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