Hints on how A.E. Graves spends her imaginary spare time
I have watched this. Many times. Possibly too many times.
It’s fun to be excited about this.
Also, I just love to see San Francisco in films. (This was really filmed here, in part: there were many excited sightings of filming downtown, and some pretty funny warnings from the public health service letting us know what the helicopters downtown were for. 🙂 )
Gods, Monsters, and the Lucky Peach
by Kelly Robson
published by Tor
2018
One of the funnier recommendations I’d read for this book observed that it was hilarious that, even in the future, scientists will devote entirely too much of their time writing grant proposals. Yes, this book EMPHASIZES that in a way that feels a bit too real!
Without revealing any spoilers, this is a science fiction story of first contact (my definition of it), environmental devastation, underfunded environmental restoration, practical business applications of time travel, and the risks of the combining those things!
Robson tells the story in a non-linear way, which is fair and even appropriate for time travel stories. Her approach develops an excellent tension while reading: you know from the first page that something will go wrong, but HOW it will go wrong and how the wrongness will be resolved is the mystery.
Robson’s world-building is done well – you learn about the different ways humans have survived the devastation they wrought without being bogged down with too many details. The way the world works is experienced as characters accomplish other things, which is efficient and makes the characters’ efforts feel appropriate. It is great to have some grown-up characters in the book: people whose experience, scientific knowledge, and past successes made them valuable. (I live in a youth-worshipping culture, so this stood out.)
I had my doubts about the book during the proposal writing sections (because, as someone with a procurement certificate and experience writing grants: TOO REAL), but was rewarded for my persistence with a book I couldn’t put down once the time travel started.
I write legal and technical materials professionally, AND I recreationally write a range of other things. Blogs like this, web pages, a surprising number of letters and postcards, diaries, notes for stories, and fiction. Writing is something I have always enjoyed, and I am always writing something, at least for my own satisfaction.
As with so many other fiction writers, the current pandemic has been a wake up call that the popular fictional narratives we have around plagues are not accurate. Yes, in nearly every popular movie, there is a warning from scientists that goes unheeded, and there is needless suffering. Yes, there are rumors and superstitions and panics, and we see those in films and playing out similarly in real life.
Yet, the level of denial visible in real life in response to the global COVID-19 pandemic is shocking. People are devoting significant time to announcing that the pandemic is: a hoax, a domestic conspiracy (despite its global nature), a foreign plot (it is somehow not real but also a foreign bioweapon), a domestic power grab (preventing illness is oppression?), a disease carried by outsiders (again, somehow it is not real but also something strangers bring? WHAT?), something that isn’t real so they flout precautions, something that isn’t real so they sabotage the medicines (but if it isn’t real, why bother sabotaging medicines?), a situation where the vaccine is free but a counterfeit card that falsely claims you were vaccinated costs $400 (so it would be cheaper to go along with the treatment than pretend you did), a private sector plot to embed microchips into people (for generally unexplained purposes, though when they are explained, it always involves something like the location your smartphone already records, which means an additional device would not be necessary)… In this bizarre current reality, the pandemic is somehow BOTH a situation where precautions against catching the illness are banned by a governor AND a situation where that governor’s state requires federal emergency supplies of hospital ventilators and monoclonal antibody treatments for the seriously ill, which the governor suggests people somehow self-medicate with for this illness he says isn’t serious?
If I had written ANY of these things into a fiction story, my writing would have been rejected as implausible. The publishers would have told me that people are not that stupid, and that I should feel bad about making my fellow Americans look so ridiculous.
-I mean, really.
I want people in my fiction writing to be both realistic and smart, but it feels like I can only have one of those two.
I’m sorry, what? https://t.co/KGCWsuqDtp pic.twitter.com/CF0qqqCOoG
— Vera Bergengruen (@VeraMBergen) August 9, 2021
I am inspired to post this after reading the tweet above, about news that a sci-fi movie has been interpreted as reality by the anti-vaccine-far-right (who failed to even grasp basic details about the movie they are basing their nonsensical conspiracies on). Their nonsense has gotten so much press that the screenwriter for this remade sci-fi movie had to make public statements emphasizing that it is fiction:
(It is still strange to read something on Twitter and later find the tweets I read subsequently inspired news articles…)
The past several years have inspired many discussions about the death of parody in the face of an absurd reality, but the current absurd reality also is killing off the premise that the vast majority of people could consistently act intelligently. Maybe we could get to half, or nearly half, but not an overwhelming majority.
I want a future where people ARE actually intelligent. I want to WRITE futures in which people are intelligent!
I suppose my defense for stories with predominantly intelligent populations will be: yes, but I told you this is fiction.
Book:The Space Between Worlds
by Micaiah Johnson
audiobook read by Nicole Lewis
published by Penguin Random House Audio Publishing Group
2020
Here’s a great premise for a sci-fi story: rather than developing time or interstellar travel, scientists find a way to travel between a limited number of parallel universes with parallel earths, and then use information from those earths to adjust our earth for success. Though not for EVERYONE’S success…
This conceit has a catch, and it is a brilliant one: the only people who can travel to parallel earths can’t be alive there. Those with a living equivalent die a horrific death in transit due to [mysterious law of physics]. So, the most valuable potential multiverse spies alive on earth zero are those who live in dire circumstances. This means interworld travel is NOT safe for members of the ruling elite – only the marginalized, living marginal lives, who have the odds stacked against them in a way that killed them off in other universes.
Cara, our heroine, had a rough upbringing that was fatal to her on most earths, so she can go to more earths than anyone else. She is recruited to the small force of traversers, and finds herself working for the predominantly white elite, living in their fancy walled city, and manifesting on other earths where everyone looks so familiar, but where the other versions of herself are dead. Her position on Earth 0 feels tenuous, her crush is cold toward her, and she experiences racist and classist snubs as a black woman from the desert. A forthcoming scientific breakthrough OR being too ethical about what she sees (and what her bosses collect) could end her job and her chance at a safe life with clean water and fresh food.
When something goes terribly wrong on another earth, she has a chance to shake things up, though she may not survive it, and has no way of knowing what the result will mean…
This book didn’t go where I thought it would go; it wasn’t over when I thought it was over; and it was filled with thrills and surprises in all the best, ultimately epic ways. Cara is a savvy, smart, opportunistic, determined heroine. (I only yelled at her for saying something dangerous when she was delirious/medicated, and it couldn’t be helped. Note: yelling at an audiobook is best done when you are home alone, so as not to startle others.) She isn’t some perfect superhero – she gets hurt, she carries scars, she’s loved/hated terrible people, she’s survived horrific abuse, she wallows in self-doubt and self-blame, she put ethics aside in favor of survival – but her determination and ethical evolution as she makes a place for herself in the world(s) is a solid, stimulating heroic journey.
This audiobook (libro.fm) is performed by the remarkably talented Nicole Lewis, who reads beautifully, acts brilliantly, represents the many characters by voice clearly, and makes a fantastic Cara. The author, Johnson, provided excellent dialog in the unabridged version, and Lewis made it come to life. (I discovered this audiobook on Libro.fm’s Playlist, “Black Narrators You Should Be Listening To” from June 2021. Nicole Lewis is fantastic. She sounds like black women I know, and hearing her perform these characters so brilliantly was a delight. I would have appreciated this list even if I wasn’t half black myself, the same way I research and enjoy great books by Asian writers without being Asian.)
This book is impressive sci-fi, I loved it, I zealously recommend it, and I’m hoping for more brilliant work like this from Micaiah Johnson.
William Gibson’s Archangel
by William Gibson, Michael St. John Smith, Butch Guice, and others
published by Idea and Design Works LLC (aka IDW)
2017
This World War II spy thriller incorporates William Gibson’s recent theme of branching alternative futures in an action-packed, dark comic book.
A brief synopsis: a despotic American leader on a toxic earth goes back to 1945 to create a new branch reality in which he has even more power. A small resistance force plans to interfere…
The story is fast-paced, and the action is dense. The compositions are dynamic, with lots of diagonals, fists, kicks, and planes flying at steep angles. The panels are sepia-tinted and dark, with deep colors and deeper shadows. The characters have a lot of texture, shading, wrinkles, coarse fabrics, and the sort of surface definition that comes with harsh lighting. (Or orthochromatic film, which played such a big part in the noir look of movies of past eras.) The faces are expressive and stern. (Characters’ faces sometimes look unfamiliar, which is a minor distraction in a solid series like this). The drawings set a really remarkable mood, and I’m especially impressed that I’m even THINKING about the coarse look of fabrics!
The individual issue cover art by Tula Lotay (tulalotay.com) is more vivid, with a different palette (remarkable greens and purples), and slightly different interpretations of the characters. These look fantastic.
This is a well produced, action packed, very William-Gibson story, but with WWII noir and timeline-splinters that started far back in time, which distinguish it from his other works. There are additional cover art panels and sketches of each of the characters the appendix, to round out your appreciation of the effort that went into this great book. I’m so glad I found the compilation!
Unexpectedly, IDW has very little promotional content on their website about this comic, but did produce a lightly animated preview!
Lagoon
by Nnedi Okorafor
published by Saga Press (Simon & Schuster), NewYork
2014
This ‘first contact’ sci-fi story by Nnedi Okorafor immediately delighted me, because the first earth being the aliens communicated with was not human. Hooray for other species getting their moment to shine!
This is a story of aliens turning up off the coast of Nigeria, and the chaos that erupts when they announce themselves and walk among the residents of bustling, cosmopolitan Lagos, Nigeria.
The aliens are good at making friends, and so three humans find themselves taken by a wave into the sea for deep (heehee) conversations, and then tasked with assisting an alien representative in meeting the public and authorities. The humans have their own messy lives and drama, and get abundant additional drama served up to them by their relatives and neighbors. I hope I would be as smart, curious, and enthusiastic as the marine biologist of the group if aliens dragged ME into the ocean!
It’s a fun ride! Lagos is depicted as lively, corrupt, dangerous, bustling, and nearly addictive; the humans of Lagos are curious, food-obsessed, friendly, opportunistic, self-aggrandizing, helpful, loyal, violent, religious, superstitious, music-loving… It’s a great setting, and the dramatic reactions the public has to the news seem entirely fitting. (Especially now, years later, during this global pandemic, it is even more convincing!)
I enjoyed this VERY much, and having already enjoyed Binti, I’ll now need to find some additional Okorafor (nnedi.com) books to dive into.
Binti (2015)
Binti: Home (2017)
Binti: the Night Masquerade (2018)
Binti: Sacred Fire (2019)
by Nnedi Okorafor
published by DAW Books, Inc., New York
2020
Binti is a very good student, a math genius, and a traditional Himba girl adorned with fragrant red clay. When she’s the first of her people to be accepted to an interstellar university, her family just shrugs it off – Himba girls don’t DO that. An education would just upset her family and damage her chances of marriage.
She goes anyway, and just when she is getting to know the other students on the university-bound starship, the massacre occurs…
Binti won a Hugo and a Nebula, and it’s easy to see why! This collection of novellas covers so much ground, from living ships to parental disapproval, from bullying to interspecies mass murder, from tradition to homesickness, from the weight of being the first of your people to do something to the awkwardness of having your friends meet your family, and the rather outrageous burdens that are put upon the heroine’s shoulders while she copes with what she has experienced…
Okorafor moves at a fast pace, and does compelling worldbuilding without getting bogged down in minutiae. It’s fun! There are lots of characters, but they all have a purpose. There is ancient tech of unknown utility, which is one of my biggest weaknesses. (*squeal!*) Descriptions of organized university biomes and the seeming madness of people with hidden communication devices were some of many satisfying elements in Binti’s world.
I’m especially glad I read this collection after it was fully compiled, so I wouldn’t suffer suspense over what happens next.
P.S. The author also gives a concise explanation of the difference between Afrofuturism and Africanfuturism, which is referenced in the list of Africanfuturist recommendations on Tor.com.
Fugitive Telemetry (the Murderbot Diaries)
by Martha Wells
published by Tor
April 2021
Yes, everyone’s favorite socially-awkward security unit is back for the sixth novella in the Murderbot Diaries. Yes, due to the fast nature of the novellas, you MUST read them all in order, as the characters and situations that brought them together are all assumed to be understood by the time you arrive at this novella.
I also recommend reading the short scene, Home, Habitat, Range, Niche, Territory that Wells published on Tor.com before reading this volume, as it refreshes your memory about why everyone is… a little high strung! (It’s charming!)
Without spoilers, I can say that this novella is… a MURDERBOT MURDER MYSTERY! No, I didn’t see that coming. This fast-paced adventure allows Murderbot to help station security solve the murder of a human within their ordinarily very boring jurisdiction. Is the killing related to Murderbot’s favorite humans? Are they in even more danger than usual? Is Murderbot itself a suspect?
One novelty to this novella is that Murderbot ordinarily provides great running commentary of all of its thoughts/fears/fluid-losses, and this time around, it HOLDS BACK so you have to find out during an action sequence who did it. That was a sneaky surprise!
Of course, this novella just makes me want another, and while I’m happy that Wells has signed a contract to write more, I WANT THEM NOW. You’ll want them, too, and I recommend this volume to tide you over slightly longer while you wait impatiently for more.
Lena
by qntm
published online at Things of Interest (qntm.org/mmacevedo)
2021
I’m going to classify this as a book, because I am using that classification for novellas, and I make the rules here. [ahem]
This story gave me the CREEPS. The best way I can think to describe it is as ethical horror for the Amazon.com age.
If technology was available to image your brain and make an AI copy of your mind and personality, how would others want to use that copy of you? How would scientists want to use it? How would your EMPLOYER want to use it?
See how dark your thoughts just went?
It’s somehow all the more creepy by the matter-of-fact, research-abstract tone.
I would have found this relatable for many reasons, including some geeky ones relating to emotional responsibility I felt over my clones in a 1990s role playing game. (You don’t need to know more about that.) But it also feels… appropriate to the moment in late stage capitalism that we are in.
Just go read it. It’s concise and remarkable. (The author moderates the comments, so the comments are readable!)
The Stone Sky, book three of the Broken Earth Trilogy
by N. K. Jemisin
published by Hachette, New York
2017
I finished this BRILLIANT trilogy, which I enjoyed as an audio book read by the extremely talented Robin Miles, and have taken a few days to really reflect on it.
The writing is excellent, and I’m admiring it technically before getting to gush about the story. It is brilliantly paced; the introduction of narration by a key character in the second volume opened a path for some brilliant development of Stone Eater themes in this volume; and the development of various parallel storylines makes this volume feel VERY high stakes. I’m just floored by the talent it took to lay out this story so skillfully! This is what I’ve been dwelling on – not just this book as a standalone, but how it fits so WELL with the other books, while still feeling like a distinct yet internally consistent part of one story. This is just such a great structure, and is so well put together… I’m awed.
Story: This third volume continues following Essun, who has lived multiple lives in her way, as she attempts to save the unstable, constantly quaking, ash-covered world. She has already experienced life detours, tried to start afresh in new locations and under new guises, lost and regained hope of ever reuniting with her lost daughter, found community, survived attacks, killed with her powers, and taken on some friends/followers with ambiguous motivations. Despite how cruel the planet and the people on it both have been to her, she is determined to save the world, using ancient technology and her newfound abilities to use that technology to do it. The task at hand feels impossible, but she’s already practiced doing a seemingly impossible thing, and has been growing in skill and perception. And her adoring Stone Eater is by her side. (I love that character, and its affection for her!)
Working against her is her own daughter, whose absolute child’s belief in extreme right and wrong has already turned deadly, and is ready to end it all – not her life, but human life across the world. And she has allies of her own…
Why I like this trilogy: it’s got the perfect depth in its world-building; the way the planet’s past is revealed is perfect – I had thought some of the knowledge had been lost forever, and to have it revealed after I’m already deeply attached to the characters, and have it be a drama unto itself, was SO EXCITING I couldn’t stop listening; the technology that is present is used at just the right level – it is an enabling device, never a crutch; the technology is both a benefit and a threat, which is so true to the nature of technology generally; Essun’s world-weariness feels so right, as does her stubborn determination to see things through; the people in the world have their own motivations, flaws, and strengths — no one feels like a drop-in generic type; the descriptions of how things feel (without getting down to some crazy level about the types of screws used) is quite successful…
The build up to the story’s resolution is great; I have favorite characters, and had creepy feelings in scenes with the villains (who also evolved in their way); there were a great ratio of relatively calm moments to crises or surprises (at one point, a character has a cup of Saf(e) that turned a color and I freaked out completely, because I had context they didn’t); travel on foot took a long time, AS IT SHOULD; the ultimate patterns of humans fearing other humans and establishing castes and bigotries and exploitation felt true to human nature; and this is just a ripping yarn. It glided along, and I was at the edge of my seat for exactly the right amount of time to feel stimulated rather than exhausted.
N.K. Jemisin wrote a fantastic trilogy in a world that I found compelling, with great characters, ideal pacing, and tantalizing ways of revealing how things worked, and I zealously recommend it.