Thursday, November 26, 2020

Microreview: HENCH: A Novel by Natalie Zina Walschots

 In Hench: A Novel, Natalie Zina Walschots brings a ground level view of a world with superheroes and supervillains, with analysis, data and cost benefit analysis being as powerful a superpower as x-ray vision.

Anna Tromedlov (spell her last name backwards) has a problem. She’s a paper pusher in a variety of temp and short contract jobs for, primarily, supervillains. When she stumbles into a more permanent position with *the* premier supervillain, Leviathan, it seems that she might have it made. But then being in the wrong spot at the wrong time leads her to being physically and a bit psychologically  broken by a superhero. Anna gets mad, and more so, a determination for her to use her skills at analysis and data to break HIM and all of his kind in a far less kindly way. Revenge is a dish best served with spreadsheets and Pareto curves.  Exit Anna, enter The Auditor.

This is the story of Natalie Zina Walschots novel, Hench: A Novel.

Life is full of coincidences and ideas percolating at about the same time, and you will be forgiven, as I was, to talk about the 900 pound supervillain in the room, and what Hench parallels to: The Amazon series The Boys. Given the time and effort and the vagaries of publishing, Hench is not riffing off of or stealing from the series, but the harmonization of the story and the world between Hench and The Boys is unmistakable. A world which is just about ours, except Superheroes and Villains are common and accepted as a thing. Check. Superheroes being callous and uncaring about what sort of damage they do to others. Check. Superheroes having falling outs and all sorts of drama, to be exploited. Check. The Boys focuses on superheroes behaving badly and how grey characters deal with that, but Hench brings us the Villain side of the equation--how does someone who has wandered into the dark side of things, and then shoved there by superhero action, decide to take revenge, in a methodical and calculated way?

This is the heart of the book and where the book sings the best. We get to see Anna’s evolution, how she is radicalized from a temp hied by villains to a position of leadership, and how she uses her superpower, as it were, to apply data and analysis to the problem of how to take down superheroes. There is a lot here, that the author explores and unpacks--how does her relationships with others, outside of the Leviathans’ organization, evolves and changes as she rises from being Anna to becoming The Auditor. There is a lot of true-to-life office politics and maneuvering and a real sense that an organization, even one under a supervillain, is going to conform to norms and practices, archetypes and personalities, dramas and divisions, recognizable to anyone who has worked in a corporate office. Given my own role as being in a Quality department, I appreciated and enjoyed Anna’s role and arc within the supervillain corporate sphere. 

The novel is strong on representation and depiction of queer and transgender characters. It feels like a fully inclusive and diverse version of our own world.  I am ambivalent though, about other aspects regarding the worldbuilding of the book, which has both positive and negative qualities. On the plus side, we do get a good look at how superheroes and supervillains do their thing, with enough but not an excess of technobabble to make the reader break the suspension of disbelief as to how superpowers actually work. The novel does go into detail at points, sometimes very strong detail, and in others takes a more vaseline-on-the-lens look at how it all works. The author, and the book, know when to focus on character drama, for the most part, and when not to do so and to look at the fun of super powered individuals. On the other hand, the novel is a bit watery and waverly on exploring the ramifications of a world with superheroes --how long HAS the world had them? What is the background on that, and have they had a net influence on the planet? I am not certain the author has considered these issues, not even by the iceberg approach does it seem to be a there, there.

My major critique of the book is that it really feels like a first novel in some of the worst ways. There is a thread that runs through the book that hints and sets up Anna to actually BE a superpowered villain. Not just in some of the augmentations she gets (after being broken by a superhero) but there are a couple of points where Leviathan more or less states outright that he has more than a suspicion that Anna has powers of her own, latently, but this thread ultimately gets no payoff and goes nowhere. While the end of the book suggests that this COULD be a potential series, and there is much more for Anna to grow, having a touch back to this, even if it is going to be paid off in the second book, would have made that plotline and thread feel far more satisfactory and resolved. There is some roughness in other parts of the writing, too, but nothing out of the unexpected for a first time author.

Despite some of its roughness, I enjoyed Hench, and look forward to seeing what the author will do next. I get the sense that this is a story that the author has been extraordinarily eager to tell. There is a palpable and real anger and passion to this book, and to Anna's story that comes through on nearly every page.  With this under her belt, where she will go next is of interest. 


The Math

Baseline Score: 7/10

Bonuses: +1 Good follow through of central character and a look at someone who descends into villainy by a non traditional route, despite its comparisons to a major media property.

Penalties: -1 A major throughline of the book is not tied off or developed sufficiently

Nerd Coefficient: 7/10  an enjoyable experience, but not without its flaws

POSTED BY: Paul Weimer. Ubiquitous in Shadow, but I’m just this guy, you know? @princejvstin.

Reference: Walschots, Natalie Zina  Hench: A Novel [William Morrow, 2020] 

Wednesday, November 25, 2020

6 Books with Mur Lafferty and S.B. Divya

Podcasters and Writers Mur Lafferty and S B Divya, in addition to their own CVs of novels and novellas are the co-editors of Escape Pod: The Science Fiction Anthology, in celebration of the fifteenth anniversary of the Hugo-nominated podcast, Escape Pod. 

Together, they tell us about their six books.

1. What book are you currently reading?

SBD: I just finished Consider Phlebas, by Iain M. Banks, and I’m currently beta reading a draft novel from another writer. Of my recent reads, my favorite is The Space Between Worlds, by Micaiah Johnson.

ML: I feel guilty not saying science fiction - but I’m reading some isolation murder mysteries. Just finished An Unwanted Guest by Shari Lapena and then started One by One by Ruth Ware. Then I’ll be moving to Even if We Break by Marieke Nijkamp. Recent genre books were Harrow the Ninth by Tamsyn Muir and Savage Legion by Matt Wallace.

2. What upcoming book you are really excited about? 

SBD: Next up in my TBR are The City Born Great, by N.K. Jemisin and Chosen Spirits by Samit Basu. I’m also looking forward to Architects of Memory by Karen Osborne.

ML: Excited to read the Nijkamp book mentioned above, and then I’m looking forward to reading Beneath the Rising by Premee Mohamed and catch up on my T. Kingfisher books (Paladin’s Grace and Wizard’s Guide to Defensive Baking).

3. Is there a book you're currently itching to re-read?

SBD: I have so many great new books to read that I can’t keep up with! But I would love to have time for a re-read of two of my favorite books from my teenage years: The Snow Queen, by Joan D. Vinge, and Dune, by Frank Herbert.

ML: I’d love to re-read Gideon the Ninth by Tamsyn Muir and I am often listening to an Agatha Christie book for dissection and inspiration. 

4. How about a book you've changed your mind about over time--either positively or negatively?

SBD: I used to love Asimov as a kid, but I’ve found that I don’t care for his style anymore. Some personal behaviors of his have also put me off of recommending his books to others.

ML: I remember loving the puns and adventure of the Xanth books as well as the concept behind the Incarnations of Immortality by Piers Anthony, even while feeling that discomfort when reading about the depictions of women. I can’t even imagine recommending any of those to my daughter right now. 

5. What's one book, which you read as a child or young adult, that has had a lasting influence on your writing?

Divya: if I have to choose just one, I’d probably say Cyteen, by C.J. Cherryh. I greatly admire Cherryh’s prose as well as her ability to blend character-driven fiction with science.

Mur: The Hitchhiker’s Guide to the Galaxy. I think it was Neil Gaiman who said that there wasn’t a word for what Douglas Adams did, and novelist was the closest thing. He was a rare, absurd voice and possibly the person who I regret never meeting the most in my life. He showed me how space and absurdity could make for some amazing storytelling. 

6. And speaking of that, what's *your* latest book, and why is it awesome? 

SBD: my latest is also my first novel! It’s called “Machinehood,” and it explores the meaning of intelligence as it relates to the conflict between human and machine labor. The elevator pitch is, “Homeland meets Zero Dark Thirty.” It’s also full of cool near-future tech, including tabletop biochemistry, microdrone swarms, self-organizing materials, and private rocket clubs. It’ll be out March 2, 2021.

ML: My book has no title yet! Waiting on marketing for that. I refer to it as “Murder She Wrote meets Babylon 5.” I hang a lantern on the fact that if there was a woman around whom murders happen and she had to solve them, no one would ever want to be around her. She escapes humanity to an all-alien space station, but eventually humans, and more murder, follow her.  

Joint Answer: we are, of course, very excited about the Escape Pod anthology, which we co-edited. It’s full of amazing authors whose stories have appeared at Escape Pod or who are otherwise connected with the podcast. It’ll be our first print anthology, and we hope our fans will enjoy having a book that represents 15 years of the fun science fiction that we’re known for. It’ll be out on October 20, 2020, in the U.K. and November 17, 2020, in the U.S.A.

Thank you Both!

Tuesday, November 24, 2020

Microreview [Book]: Sweet Harmony by Claire North

A story exploring the brutality of perfectionism that manages to be pretty close to perfect.

Our bodies are flawed prisons. We’re stuck with skin that could be clearer, brains that could work faster, and smiles that could be brighter. And some of us go to great lengths to try to improve our bodily prisons so its tolerable. Great sums of money are spent to improve our aesthetics and mentality, but that want can never be satiated. And in a world like Sweet Harmony’s in which people can use nanotechnology to purge flaws, that want becomes heightened. Because what keeps us leveled is knowing that we share flaws. Stories, for example, are better when we identify and feel less alone by characters’ weaknesses. But when less people have weaknesses and tower over us with imposing beauty, our insecurities tornado into something worse and our venture to become better can turn into an impossible pursuit to perfectionism.

Sweet Harmony follows Harmony, a young woman living in a world in which nanotechnology (nanos) can not only improve your health, but your libido, mentality, and physicality. Harmony’s surrounded by people obsessed with superficiality, and the more she is deemed unworthy by them, the more insecure she becomes. She becomes beholden to nanos, with almost all of her expenditures dedicated to keeping her esteemed beauty. But that obsession comes with a price.

This novella tackles domestic abuse, unattainable beauty standards, familial conflict, selfishness warring with selflessness, and vocational biases. Not one of those themes is undercooked or scattered. The secret is that Claire North uses the nanotechnology as an underpinning to all these themes. The story spotlights Harmony’s experience and growing dependency on the nanos and touches all the themes along the way, never losing focus because as it moves from idea to idea, it’s always grounded in a center.

The nanos also work so well in the story because Claire North uses it as a powerful vessel for the worst of humanity to come out. Humanity’s universal want to be better becomes heightened and distorts people into base, perfectionistic, selfish monsters. Mentality and physicality may improve, but morality is something that’s left unchecked. Money becomes even less of something we use to satisfy our needs and transforms into something that satisfies our wants. Our perspective becomes skewed, our health becomes impaired, and a world of materialism and superficiality festers until a healthy smile is prioritized over a healthy heart.

The way these themes are communicated is done in a wholly fluid, impactful way. None of the characters are underdeveloped—they’re distinctly drawn. Nor does the limited word count dilute the story’s potency. Every word matters and the novella concludes in a satisfying way that didn’t leave me wanting. It’s wordsmithery and economy of language of the highest order.

By exploring the pursuit of flawlessness, Sweet Harmony illuminates so many of our flaws. It doesn’t arrive at any easy answers, but how can it? Insecurities are intractable, and every human will always be a different gradation of flawed. One weakness many of us have is never coming to terms with that. But Sweet Harmony prods its reader to try to get out of that rut. It pushes you to see yourself in the mirror or observe your imperfect work, and let you to be the best you can be, while shrugging off the fact that you’re not perfect. The key is to work to be better, but understanding you’re not the best. Sweet Harmony puts you through the ringer. It doesn’t arrive at a bursting light at the end of the tunnel, but there is a faint glimmer. Even though the light may not be perfectly iridescent, or even mildly stunning, it asks its readers to follow it, and is well worth the effort.

The Math

Baseline Score: 8/10

Bonuses: +1 For never wasting a word or story beat.

Nerd Coefficient: 9/10

POSTED BY: Sean Dowie - Screenwriter, stand-up comedian, lover of all books that make him nod his head and say, "Neat!

North, Claire. Sweet Harmony [Orbit, 2020]

Monday, November 23, 2020

Nerds on Tour: Before She Sleeps by Bina Shah (2018 novel)

: Before She Sleeps by Bina Shah

Location: Pakistan

Package Type: Book

Itinerary: Before She Sleeps is set in the futuristic Green City, in the newly reconstituted nation of South West Asia, a few decades after wars and a pandemic of mutated HPV have brought the old world order to its knees and caused the deaths of a disproportionate number of women. To rebuild itself, South West Asia has instituted strict citizenship rules which require women to be married to multiple men, and to have their fertility constantly monitored and artifically boosted in order to increase the population once more. It's a system which utterly disempowers women and has wide-ranging impacts on human relationships in general, and a small number of women have found a way out of the system, escaping to a haven called the Panah where they live underground and out of view of the authorities. However, to maintain the Panah, women are expected to engage in what is effectively sex work in all but the most literal sense: they are sent out to the homes of wealthy, allegedly trustworthy men, where they spend the night in intimate but non-sexual companionship - a form of relationship which is apparently missing from Green City under its current regime.

Sabine is one of the Panah's women, having grown up in a relatively stable, traditional family until the death of her mother under suspicious circumstances. Sabine is relatively content with her life on the margins with the Panah, although she is having trouble maintaining boundaries with one particular client; she's also an insomniac, and the other women around her express concern over her inability to sleep. Also prominent in the book are Lin, the niece of the Panah's founder and its current leader; Rupa, another member of the collective who, unlike the others, feels she was forced into this life and that she would have been content within the system if circumstances hadn't conspired against her; and Reuben, a senior Green City official and secret benefactor of the collective. When things start to go wrong for Sabine, she finds herself coming into the radius of Julian, a doctor whose commitment to medical ethics comes into conflict with the Panah's rules. The relationship between the two of them, and the attempts of the rest of the characters to untangle what has gone wrong with Sabine and whether she - and the Panah - can be saved, is what drives Before She Sleeps to its ultimate conclusion.

Travel Log
Before She Sleeps is an intriguing entry in the canon of patriarchal dystopia - a story set in a future west Asia that combines the phenomenon of "missing women" with a level of extreme government control over reproduction. Unlike the obvious comp title, The Handmaid's Tale (and if it seems dull to bring that up, I note that my copy of Before She Sleeps has a Margaret Atwood quote on the front cover and makes direct reference in the blurb, so the comparison is very much invited), Shah's book focuses on the lives of women who have in some way escaped from that system, drawing attention to the ways they (and female relatives) exerted agency before and after joining the Panah. It also allows Before She Sleeps to explore the crushing weight of patriarchy even for women outside its direct control: the Panah, far from being a utopian space for the women who find it, is effectively a brothel which gives its residents no choice in whether they want to engage in the work it gives them. That work exists at the mercy of elite men, and is particularly subject to the whims of Reuben, who becomes an increasingly antagonistic figure in the novel's landscape as it progresses. By portraying how constrained even an escape from the official systems of Green City is, the novel drives home the extent of patriarchy and the systems which prop it up, while still offering the reader protagonists with agency and decisions about how they live. Before She Sleeps also differs from The Handmaid's Tale in that the patriarchy it builds up is not a religious one: in this future, religiosity is frowned on as a relic of the past, but patriarchal attitudes towards women are upheld through a medical focus on their reproductive role and the insistence that good citizenship for women means doing one's reproductive duty to the nation, sacrificing all aspects of themselves for its continuation and a hypothetically better future. (Note: Like most books in this sub-genre, there's no space for trans folk in the world of Before She Sleeps, and the book itself doesn't have any exploration of how trans people try to exist in its world.)

As the book progresses, the focus shifts from a more mosaic novel approach with the relationships and circumstances in the Panah (including some flashback sequences), to a more narrow focus on Sabine and Julien - and it's ultimately their relationship and the circumstances in which they end the book that provides its tentative note of hope. While the second half was just as satisfying as the first in its way, and the growth of the relationship between Sabine and Julian, while fast, is nicely done. Julian is, perhaps, a little too perfect for the society he's grown up in: a doctor who prizes his own ethical integrity above his own security within the regime, and who immediately overcomes any ingrained biases against women (in fairness, as a younger man in a junior position he's apparently met very few of them aside from his mother) to form a bond of equals with Sabine and to continue to risk his job and his life for her well beyond the point where he might have an escape that would preserve his own position. Then again, Before She Sleeps isn't a long book, and it's clear that there are avenues that might have been explored had the book gone into more depth with some of its characters - a greater role for Rupa with more internal growth, or a more in-depth reckoning with the way men like Julien have taken in patriarchal attitudes and how that affects the way they react to the women of the Panah and their attempts to secure freedom. That said, Before She Sleeps does hang together effectively with the length and story that it does have, and I didn't feel that anything was missing that affected my enjoyment of its closing pages, even if they were quite focused on just two of the characters I'd originally become invested in.

Before She Sleeps is a worthwhile book, one that offers a vision of dystopian patriarchy that complements its forerunners (Maggie Shen King's An Excess Male is another interesting book, one that also takes place in Asia and deals with missing women and subsequent polyandry, which could easily be read in conversation with this) while offering its own speculative take. Before She Sleeps does contain mentions of rape (though no graphic depictions) and of other abuses towards women, and extensive discussion of pregnancy, including complications and miscarriage, so readers will want to be aware of that before taking it on.


The Adventure: 4/5
The Scenery: 4/5.
NerdTrip Rating: 8/10

POSTED BY: Adri, Nerds of a Feather co-editor, is a semi-aquatic migratory mammal most often found in the UK. She has many opinions about SFF books, and is also partial to gaming, baking, interacting with dogs, and Asian-style karaoke. Find her on Twitter at @adrijjy

Friday, November 20, 2020

Microreview [book]: How The Multiverse Got Its Revenge by K. Eason

Former Princess Rory Thorne finds that her actions, or inaction, may yet cause the multiverse to break once more

Retiring from being a Princess, one who was central to an interstellar conflict, isn’t as easy as it looks. Sure, Rory Thorne, blessed by fairies, has opted out of the politics and political games that got her in trouble for the first place. But when xenos, aliens show up seeking a weapon, politics drags Rory and her former companions and allies into the mess. And when that weapon turns out to be something unexpected, Rory is going to have to relearn something a Princess-turned-space-salvager has tried to avoid for years: Politics.

This is the story of How the Multiverse Got Its Revenge, followup to How Rory Thorne Destroyed the Multiverse.

The narrative voice is a strong point of the novel and a real highlight that carries over from the first book. Voice and tone and grounding the reader into an immersive and distinctive voice is a way for a novel to center and be grounded, I think, especially given the gonzo weirdness of an unabashedly science fantasy universe. This is a novel, a world, a series that only puts the lightest of foundational touches to align the SFnal and Fantasy elements and it likes it that way. So tone and narrative voice carry the reader even as they wonder just how fairies, otherwise unexplained even as aliens, line up with spacecraft, space stations, and the magical art of arithmancy. Having recently watched the She-Ra reboot, I saw this sort of sensibility at work in a visual medium, and people who dig that science fantasy feel in She-Ra are going to like and accept that feel in the first novel, and here in the second novel as well. 

It makes for a relatively breezy and easy read, too. The narrative voice likes to do asides, comment on the narrative and otherwise be self aware of what is happening in a historical context. The conceit impressed in the novel suggests this was written long after the events by parties unknown. Readers who liked the writing style of the first novel are definitely going to appreciate its triumphant return in this novel and it is for me far and away the best thing about the novel.

There is a central plot and social question in the novel that doesn’t get explored or delved as much as it should be, and there is no way to really discuss the hole without spoiling it in detail. The very center of the novel, the central question it appears, and for lack of a better word the inciting incident that launches Rory and her friends and allies into an interstellar conflict is a weapon discovered by Rory and her companions. This weapon, called Rose, turns out to be sentient, a potential planet killer but with thoughts of their own. I immediately thought of the Doctor Who Episode Day of the Doctor and I am pretty sure other readers will too.

 Rose’s fate and who controls Rose become central to the novel, but the fate of Rose and how their fate is handled thereafter just doesn’t quite stick the landing. Given the importance, the game changing nature of Rose, Rose’s fate and the fate of those Rose interacts with just doesn’t come off quite right.  This is something that I felt for a lot of the book. Getting the band back together is hard after you dispersed it, and a lot of the novel feels like its treading water as a conflict happens in utter slowness, like molasses. The novel does wave in the direction, in its metatextual way (as noted above) of how war and conflict are depicted and how they are in reality, but too much of the novel feels like a slog. Rory herself just doesn’t come alive on the pages as she so boldly did in the first novel. There is a potential relationship/romance thing between two different characters in the novel, but that too, feels like it doesn’t come together, even in the denouement. It frustrated me. 

In all, though, the disappointing feel I get from How the Multiverse Got its Revenge is that it is ultimately unnecessary. It doesn’t snap and crackle like How Rory Thorne Destroyed the Multiverse. There is an interesting question posed in the entity of Rose and Rose’s rights as seen above, hopes and wishes, but this ultimately feels a bit underbaked and undercooked for all of that and given its resolution, it was not worth the effort for me. There is a bunch of interesting worldbuilding going on, but it's a thinly spread worldbuilding that leaves more frustrating questions than answers. There is a fair amount of butter but it's spread all over the bread too thinly to taste it.

Finally, there is a lack of essentialness to the book. I don’t know if there will be more in the series. The flashes forward mentioned in some of the narrative at the end makes it uncertain if there is going to be another book or if one is even really is indicated, but the events here, especially and tragically the central interesting question the book offers regarding Rose, are all in the end supernumerary and unnecessary. Like some sort of medieval angel in a morality play, a fairy does explain to Rory that her actions here HAS precipitated a wider conflict, that her actions in the novel have doomed the multiverse to conflict, but I just couldn’t buy it. The other possible paths and consequences and the nature of the threat seem to be pointing instead toward an inevitability of the conflict. Ultimately, the fate of Rose doesn’t make a whit of difference in the overall narrative and life story of Rory Throne and having spent many pages to be potentially invested in Rose’s fate, and how Rory connects to that, that’s a damning statement. 

In the end, the book simply did not satisfy me.

The Math

Baseline Score: 7/10

Bonuses: +1 Strong narrative and authorial voice as first seen in the first novel.

Penalties: -1 worldbuilding so thinly spread that it raises more questions than it answers; -1 plotting and setup that are ultimately underthought and underdeveloped; -1 for the book, ultimately, not feeling   integral to Thorne’s story.

Nerd Coefficient: 5/10 problematic, but has redeeming qualities

POSTED BY: Paul Weimer. Ubiquitous in Shadow, but I’m just this guy, you know? @princejvstin.

Reference: Eason, K. How the Multiverse Got Its Revenge [DAW,  2020] 

Thursday, November 19, 2020

Microreview [book]: The Burning God by R.F. Kuang

Fang Runin's journey comes to a fitting close

Look, if you're here reading this review of the third book in a trilogy, especially one that's had the reach and popularity of The Poppy War trilogy, one of three things is probably true: you've read the previous books in the series and are looking to confirm whether the last one is going to live up to the expectations you've already developed about the series; you've avoided or bounced off earlier books and are wondering if my opinions are going to change your mind about if the series is for you; or you've read the book and you're wondering if I can a) contextualise what just happened or b) otherwise add to your reading experience with my #opinions. Let me put you all out of your misery quickly: Group A, the answer is yes, Group B, the answer is no, and Group C, I have no idea but I'll do my best for you. The Burning God brings to a close a very particular series in a way that stays very true to its core themes and aesthetic. If its what you're here for, you're going to like this one very much.

The Burning God picks up right where The Dragon Republic leaves off, with Fang Runin - a shaman able to harness the power of a super destructive god called the Phoenix - having thrown in her lot with a Southern Rebellion after being betrayed by the other rebellion forces she had helped to overthrow the Empress Su Daji. From that starting point, The Burning God proceeds to cover so much ground that it's hard to know where the scene-setting stops and the spoilers begin: there's the return to reclaim her southern home from foreign occupation by the remnants of the Mugenese troops who Rin and co. fought off in The Poppy War; her attempts to build relationships with rebel leaders who refuse to see her as anything more than an inconveniently powerful young girl; the reconnection with former enemy powers and the attempt to harness them to her cause; and of course, the reckoning with the forces of the Dragon Province, led by sometimes-ally mostly-enemy awkwardly-also-a-love-interest fellow Sineguard graduate Yin Nezha. Also thrown into the mix is the ongoing agenda of the Hesperians, the more technologically advanced, scientifically racist foreign power which has thrown its lot in with the Dragon's elites in order to further their own religious and cultural agenda. And, of course, the effects of the previous two books, including Rin's connections with the Cike, the Empire's now decimated shaman forces, her reckoning with her legacy as the last surviving descendent of the Speerly ethnic group, and her relationships with the few remaining allies she has from her time at the Sineguard academy. Getting through all of that is a serious undertaking, and while none of the events of The Burning God feel rushed, per se, there's certainly a relentless sense of action driving things through to their conclusion, and there were certainly emotional moments (particularly those involving Chen Kitay, Rin's oldest friend and ally) which could have benefitted from more space to breathe. I also suspect that the amount of shifting scenery in The Burning God was what allowed a transparent Tibet parallel called "Dog Province", complete with a reference to its people as "Dogs", to slip through sensitivity reading without challenge: an uncomfortable moment of unexamined, throwaway chauvinism that sailed far too close to oppression in our own world for my liking.

In-keeping with the rest of the trilogy, there are historical parallels here to the war between the Nationalist and the Communists, including a surprisingly understated (mild Cannibalism notwithstanding) version of the Long March from Rin's forces. There's also depictions of famine brought on by the war, and scenes of villagers turning on and punishing collaborators after occupation in various creatively brutal ways. Most of the descriptive brutality takes place at the beginning of the book, and I definitely felt there was a difference between the various horrors depicted, particularly towards the end: large-scale destruction seems to pass almost without comment from Rin, entire armies and cities just disappearing into the maw of destruction, whereas the pain and death inflicted on individuals outside the main battlefields is far more detailed and emotionally affecting. It's a difference that's very much inkeeping with Rin's emotional arc, as she progresses from a frustrated general trying to undo the horrors of war in her own home, to a leader drawn to increasingly bold and high-risk tactics to turn the tables on her enemies and secure herself enough power to do things differently. To me, it quickly became clear that it's Rin's emotional journey that provides the storytelling beats here rather than any hope of systemic change. Readers who know my tastes will know this isn't really where I personally wanted things to go, but that's really besides the point: The Burning God has always been clear that this is Rin's story, albeit one that draws heavily on its backdrop to inform who Rin is and why her journey takes place in the way that it does.

The way that this series takes on historical events in Sino-Japanese history has been extensively covered elsewhere, and I recommend this particular primer to understand where Kuang draws parallels not just from 19th and 20th century events but from classical Chinese stories as well. Having studied a bit of 20th century Chinese politics, what intrigued me most about the character work in The Burning God is how, more so than the other two books in the series, it plays with parallels between the characters of the series and the major historical figures whose cults of personality dominated what came next in our own history. Rin's attempts to establish herself as a leader in the rebellion - first one among many, and later as its head - are easy to compare to Mao Zedong, leader of the Chinese communist forces and ruler of the People's Republic of China from the end of the civil war until until his death in 1976. But Rin has been through a great deal of other experiences, not least those shaped by her identity as a Speerly and a woman, both aspects which are absent in her historical counterpart. It's that tension between the historical record and the character's experience that made The Burning God's ultimate dilemma so compelling: when faced with a choice between embracing the feeling of total power over her people bestowed upon her by her god, or following the forgotten heroes of her own heritage along a different path, it's impossible to know what Rin will do until the book's last, dramatic pages.

I can't call The Burning God satisfying - it's not meant to be. It tells the story of a society that was broken from the very beginning, and whose subsequent experiences have only driven it further into ruin, and of a character whose attempt to escape poverty within that society turns into a desperate, miserable struggle for survival that was never going to turn out well. I come away from the Poppy War feeling I've read an important series, one that is likely to be talked about for a long time to come, and which readers should go into with their eyes open to the difficult subject matter it covers and the historical context on which it draws. For those who have been waiting for this moment: you're not going to be disappointed, but you are going to need a calming beverage and something to cuddle afterwards. Good luck.

The Math

Baseline Score: 8/10

Bonuses: +1 character work that blurs the lines of historical events and the book's own powerful mythology to great effect

Penalties: -1 There's so much ground to cover that some secondary characters don't get much time to breathe

Nerd Coefficient: 8/10

POSTED BY: Adri, Nerds of a Feather co-editor, is a semi-aquatic migratory mammal most often found in the UK. She has many opinions about SFF books, and is also partial to gaming, baking, interacting with dogs, and Asian-style karaoke. Find her on Twitter at @adrijjy

Reference: Kuang, R.F. The Burning God [Harper Voyager, 2020]

Wednesday, November 18, 2020

Nerds on Tour: Interview with Translator Andy Dudak

Thanks to magazines like Clarkesworld and Samovar, not only am I gaining access to more translated science fiction, but I'm also getting to see who the translators are. An author might write the most amazing short story the planet has ever seen. . . but if they didn't write it in English, I'm never going to see it unless a translator comes to the rescue.  

While on a Clarkesworld kick, I noticed that Andy Dudak's name cropped up over and over in that magazine, as a translator of Chinese stories.  When Dudak agreed to an interview about his work and experiences, I was over the moon!  His Mandarin to English translations have appeared in Clarkesworld, Asimov's, Apex, Pathlight Magazine, and elsewhere. Dudak lived in China for 10 years, and the authors he has translated include Liu Cixin, Chen Qiufan, Tang Fei, Jiang Bo, Bao Shu, A Que, among others.

An accomplished author himself, Dudak's original fiction has appeared in Interzone, Analog, Science Fiction World, and multiple anthologies. His story ‘Love in the Time of Immuno-Sharing' was a finalist for the Eugie Foster Award.    You can learn more about Dudak's work and his translations at his website,, and by following him on twitter, where he is @Andy_Dudak.

Dudak let me pick his brain on everything from how he got his start, to how he managed to get his own fiction translated into Mandarin and published in China's Science Fiction World, what's happening right now in Chinese science fiction, and so much more.  And I was good, I promise, I didn't send him the fifty (at least!) other questions I wanted to ask.  Let's get to the interview!

NOAF: How did you get started with translating science fiction and fantasy? What languages do you translate? 

Andy Dudak: I translate Mandarin to English. I’d been translating contracts and other business-related documents for a few years, and I’d been writing my own fiction for many years, when Tod McCoy suggested I try translating fiction. This was at MidAmericon in 2016. That night I approached Neil Clarke at a bar con and asked him to give me a try. Neil had published a few of my originals by then. I think that helped him take a chance on me. A couple weeks later I was translating ‘Western Heaven’ by Chen Hongyu. Somehow, I never thought of this on my own. It’s all down to Tod really.

NOAF: How do you find works to translate into English? Does the author contact you, or do you contact the author? 

AD: I get a lot of commissions directly from Neil Clarke, who has a deal with StoryCom, a company in China that provides him stories for Clarkesworld. Neil and Ken Liu negotiated this deal with StoryCom years ago. So, about 2 to 5 times a year I get an email from Neil with a story attached, or several stories to choose from. At other times I’ve approached writers directly, either on WeChat or at a con, and asked them to let me translate a story on spec, betting that I could sell the translations. I’ve done this 5 times now. I’ve sold ‘The Heaven-Moving Way’ by Chi Hui to Apex, ‘Casualties of the Quake’ by Wang Yuan to Analog, and ‘Forger Mr. Z’ by Chen Qiufan to Asimov’s. Tang Fei’s award-winning story ‘Spore’ is still on submission, and a story by Gu Shi is currently at the rough draft stage.

NOAF: What do you do, when you run into a word or phrase in another language that just doesn't translate to English? What about rhymes or word puns, how do you deal with those?

AD: I often have to choose between literal or figurative translations of Chinese idioms (usually of the four-character Chengyu variety). Most of the time I go for a figurative translation, since as Ken Liu has pointed out, translating fiction is about recreating a reader experience, not just ferrying literal meaning from one language to another. For example, 九牛一毛 literally means “nine cows and one cow hair.” A good figurative translation would be “just a drop in the bucket.” There have been a few times I translated idioms literally, to preserve some Chinese flavor if I felt that fit the story, counting on context or an endnote to clarify the meaning. If I come up against something—an idiom or word or cultural reference—that stumps me, I go to my Chinese friends and colleagues for help. Luckily, after a decade living in China, I have a wide support network.

NOAF: You recently tweeted that you were working on translating a story that consisted entirely of dialog. Is translating dialog a different art than translating a paragraph of exposition, or are they about the same?

AD: This is the Gu Shi story mentioned above. Dialog is a bit different because you’re considering the voice of a character in addition to the voice of the author. But I also find it a bit easier because you’ve got an additional layer of context (you know who’s talking) to help you when it comes to ambiguous language.

NOAF: At the Virtual ConNewZealand Worldcon, you were part of a panel titled “Post The Three-Body Problem: What is Happening in Mainland Chinese Science Fiction?”. I wasn't able to attend the panel, so I'll ask you right now – what is happening in Mainland Chinese science fiction? Did The Three-Body Problem change contemporary Chinese science fiction, and if yes, how?

AD: I don’t know that Liu Cixin directly influenced style or subject matter, but his Hugo win shined a spotlight on Chinese sci-fi, which is extremely diverse. There’s no pithy way to characterize it. It’s as if the eras and genres of Anglophone sci-fi (Golden Age, New Wave, Cyberpunk, Cli-fi, etc.) are all happening at once in China. You have surreal Han Song, a kind of Chinese Kafka, contemporaneous with Chen Qiufan, whom you could compare to Paolo Bacigalupi. Both of those are crude comparisons though. What’s happening in Chinese sci-fi is a diverse flowering of styles, hybrids, and the utterly new. China is an entire civilization, and it has changed radically over the last 40 years. The science fiction reflects this. It is audacious (Tang Fei), socially trenchant (Hao Jingfang), grimly prophetic (Yan Leisheng), heartbreaking (Wang Yuan), psychedelically mind-boggling (Zhang Ran, ShakeSpace), dreamlike (A Que), and visionary (Jiang Bo).

NOAF: You've had your own work published in Science Fiction World, China's premier SFF magazine. Did you do your own translating? How is the publishing experience in China different than the publishing experience at an English Language magazine (such as Clarkesworld, Analog, Apex Magazine, Interzone, and other magazines where you've been published)? 

AD: I only translate in one direction, Mandarin to English. It’s easier if the target language is your native tongue. I could go the other way, but I would take forever and require a lot of help. It was Ladon Gao (@GaoLadon on Twitter, follow and hire him!) who translated my originals ‘Taste the Whip’ and ‘Cryptic Female Choice’ into Mandarin. ‘Taste the Whip’ ended up in Science Fiction World, the biggest sci-fi mag on the planet by readership. Ladon was my student at Beijing Language and Culture University, School of Translation and Interpreting. As to how publishing in China is different… much shorter response times! Incidentally, ‘Cryptic Female Choice’ also ended up in a prestigious magazine, with Tang Fei’s help. The magazine is Works (作品), and my story was in the same issue as Nobel-winner Mo Yan. Ladon is a machine, and a talented writer himself.  

NOAF: Thanks so much for this amazing interview Andy!

 POSTED BY: Andrea Johnson lives in Michigan with her husband and too many books. She can be found on twitter, @redhead5318 , where she posts about books, food, and assorted nerdery.  

Tuesday, November 17, 2020

Microreview [book]: Black Sun by Rebecca Roanhorse

A tapestry of worldbuilding inspired by a variety of pre-Contact cultures and societies in the Americas, with an interesting and striking trio of main characters

CW: Violence against children, suicide

It’s nearly the winter solstice on the continent of Meridian. In the city of Tova, it is even more an auspicious occasion for a society which watches the stars: for the first time in a long time, there will be a solar eclipse on the Winter Solstice. The Convergence is a time of possible change, when the doors of the world might open, and when long simmering tensions might explode.  

Young Serapio might be is destined to play a role in this eclipse, making it a Convergence like none other, if he could get there, across a great distance of ocean, in a very short period of time. And it's most certainly a Convergence like none other for Naranpa. Unlike every other member of the Priesthood, she is from the mean streets of Tova, having risen to Sun Priest rank right as this auspicious event is about to occur.  And then there is Xiala, of the mysterious Teek, challenged by society, an outsider, an exiled member of a mysterious mariner people. But she's also bound by the prospect of a handsome profit if she can get Serapio to his date with destiny in record time: a task perhaps even beyond a Teek captain. 

Their three stories are the center of Rebecca Roanhorse’s turn into epic fantasy, Black Sun.

Black Sun’s Meridian is a continent, a world, a set of peoples and cultures inspired by a variety of pre-Contact cultures and societies in the Americas. The Tovans at the heart of the action, with their canyon cities, are inspired by the Ancestral Pueblans of the American Southwest. The Teek seem to reflect the pre-Contact cultures of the Caribbean. Cuecola, origin of Serapio, has definite notes of Mesoamerican pre-Contact cultures. The richness of these cultures are on full display and there is a deep and abiding worldbuilding that happens over the course of the book. As Tova is the location of one of the main characters, and the destination of the other two, it gets the major focus of the worldbuilding and a view as to how its society works, from the heights of the Priesthood to the mean streets that Naranpa came from. Foods, clothing, methods of address, architecture, style, and the small touches are all brought to life and really immerse the reader into this unfamiliar landscape. This is part and parcel of what a lot of Epic Fantasy is geared for, and the author delivers. The novel and the author avoid an othering or exoticization of these elements (given Roanhorse’s background, extremely important nuance is on display) and it feels natural and strongly rendered.  And there is plenty of invention, including giant, ridden crows that remind me of the Justice Eagles from the work of Kate Elliott. And there are plenty of other surprises, too. Seeing some Ancestral Pueblan architecture on my recent trip just as I was reading this book really helped make the book resonate for me.

In this tapestry of worldbuilding, we get an interesting and striking trio of main characters, and secondary characters that reflect and make a rich character map of connections. For Serapio, this is mainly done in a serious of flashback scenes, showing how he came to be as he was as we see him on his journey to Tova. This is nicely aligned with how he interacts with the crew of Xiala’s ship, and how events on the ship eventually come to a climactic conclusion.  Xiala’s background and personality are mainly fleshed out on the ship, contrasting and comparing her to the rest of the crew, and exploring the differences how outsiders are seen, how they see themselves, and how prejudices can lead to tragic results fill her narrative.  Her brashness and boldness infuse her story, too. With Naranpa, we also get an outside narrative, but someone who has been in the higher echelons of society for so long that she has mostly put aside her past as being from the lower parts of society. We get to see how those higher echelons work, and how they rule, reign, scheme and plot, and more importantly, how do they really feel about an outsider like Naranpa. Behind these three characters, we also get Okoa, who is of the clan of Carrion Crow, also drawn back toward Tova as events unfold. In some ways he reminds me of Evan Winter’s Tau from Rage of Dragons. Young, pushed by events, and also by duty and a sense of self. He gets a little less play than the other main characters, but Roanhorse’s characterization comes through. 

The author does a great job at immersing a reader into the society, customs and mores of this world. There is a lot of invention here, and the basis for that invention is a set of cultures that many readers are not going to be familiar with. In epic fantasy, there is a shorthand involved in using cultures based on medieval Europe, because they are so familiar to the genre. A fantasy novel can use Kings and Queens, Dukes and Barons, use a Greco-Roman Pantheon, sketch in a scene from a Flanders-like market town, and the reader, having absorbed it as part of their general milieu or from countless fantasy novels and stories can absorb it on the go. The society of Black Sun is very different, and so the author has a lot more work to do for a reader without prior knowledge of the cultures it is based on, with little of that foundation to rely on. It is a testament to Roanhorse’s writing that she succeeds in this, in spades. Yes, it is a pretty deep fall into the plunge pool of the world, and I would not think this is a 101 epic fantasy novel in the slightest in that regard. Having the experience of the cues and the patterns to pick up and run with the worldbuilding is a key to success and full enjoyment of reading Black Sun. 

The major issue with the novel - and what might well cause a reader to pass on the book - is there in the first chapter. This chapter should come with a heavy content warning, because of permanent horrific violence done to a child and another character’s suicide. The novel usually isn’t that dark afterwards but it lays down a marker that this is often a harsh and unforgiving world. It frankly surprised me and it was a barrier, an obstacle for me. It didn’t nope me out of the novel but it is clearly not for every reader, and may be dangerous to those sensitive to the subject matter.

The other thing that the reader should know is that the novel ends on a cliffhanger, something that irks me as a reader in a first novel in a series. I do prefer having an off-ramp and while I am very invested enough to go to the next book, it is a weakness for a reader looking to read broadly but not deeply.

However, as a fantasy set beyond "The great wall of Europe", on a continent and culture based on pre-Contact societies in the New World? Black Sun delivers in spades and I am ready for the next volume in the series.

The Math

Baseline Score: 8/10

Bonuses: +1 for a strong and interesting set of main characters

+1 for fantasy that is wholly and completely beyond the Great Wall of Europe, expanding the boundaries of fantasy fiction.

Penalties: -1 The very dark matter in the first chapter may put off readers.

Nerd Coefficient: 9/10 very high quality/standout in its category

POSTED BY: Paul Weimer. Ubiquitous in Shadow, but I’m just this guy, you know? @princejvstin.

Reference: Roanhorse, Rebecca. Black Sun [Saga Press, 2020] 

Monday, November 16, 2020

Nerds on Tour: Taty Went West by Nikhil Singh (2015 novel)

Dossier:  Taty Went West by Nikhil Singh

Location: South Africa (Author)/The Outzone (Book)

Package Type: Novel

Itinerary: Taty is a teenage girl who has run away from her home and her mother after accidentally killing her brother, into a place called "The Outzone": a dense jungle hiding various hidden settlements, otherworldly ruins and supernatural mysteries. Armed with enough money for a bus ticket to the outskirts of the Zone, and a walkman playing the hits of her latest favourite Holo Singer, Taty finds herself taken in by a sinister woman who traffics her into (non-graphic) prostitution at the Nebula Sea Shell Hotel, a hub for various lowlives, quasi-religious figures, robotic nuns and criminals. Taty initially comes across as a passive observer to the various strange goings-on in the Outzone, with her own exploitation and emotional response to the world around her filtered through a sense of ennui that mutes the impact of any abuse described in the text. The hotel is only the start, though, and as events push Taty further into the Outzone and into contact with an even wider range of characters, she's forced to step up and start to take control of her own destiny as an active participant in this weird, unforgiving new society. 

Taty Went West is the first novel by author Nikhil Singh, and was shortlisted for Best African Novel in the first Nommo Awards.

Travel LogTaty Went West combines a strong sense of place and a cast of colourful characters and spins them up into an absolute fever dream of a narrative, propelling its hero through an increasingly bizarre set of circumstances. From the relatively mundane setting of the Nebula Sea Shell Hotel, Taty's adventures into the jungle take her through a disorienting range of natural, industrial and supernatural settings, culminating in otherworldly pyramids and a mission into space. These settings seem to shift around the needs of characters, who are luridly illustrated by the author within the text itself (both in the textual sense and in the form of actual pictures, which are cartoony and nightmarish in equal parts and fit perfectly with the aesthetic of the book). Add in the somewhat drifting, omnipotent narration style, which is quite happy to segue into a conversation between two minor characters or divert into unpicking their inner lives and motivations (and/or robotic programming), and Taty Went West is the kind of book where it's hard to predict what's going to happen from page to page, let alone over the course of a 400-page journey. That it's all told in a lush prose style makes concentration all the more important, and Taty Went West is a book that demanded a lot of attention from me as it leapt from one vignette to another.

That it is a journey built on the abuse and exploitation of a young woman is something I'm not sure how to feel about. As well as the prostitution mentioned above, there is also an explicit rape scene, which is perpetrated by a genderqueer individual who appears to have entirely different personalities and memory depending on whether they are presenting as male or female: thus, the female personality befriends Taty after the male personality has raped her, and a great deal of the third quarter of the book is dedicated to this relationship and to its eventual gory closure. To say "well this isn't a very accurate or positive portrayal of trans identities and queerness" is a pretty obvious point, but Taty Went West is doing too much, too thoughtfully to deserve for that to be the end of analysis on that point. The book's approach to queerness mirrors its iconoclasm in many other areas - particularly the religious, one of the characters is walking around living her life while nailed to a cross - and, for almost all of its characters, this iconoclasm is just there. It's not minimised, it's not played up for titillation or performative grittiness, it's just part and parcel of the weird outsider landscape that Singh (who is, for the record, a creator who refuses the label "trans" but elsewhere identifies as Venusian) is building up.

In most genre works I am used to reading, we analyse sexual assault and other problematic content by weighing up the harm of the portrayal against its "purpose" in the narrative. If a character is raped we ask ourselves if it contributes meaningfully to the plot or understanding of the characters involved (particularly the victim) in a way that couldn't be done otherwise, and if it does, then does the story involve the bare minimum to get that contribution across without crossing into titillation or misogynistic punishment? And do those perpetrating the harm get sufficient comeuppance for doing it, if not within the story in itself then in terms of whether we are expected to view them as sympathetic? Taty Went West satisfies itself with the second question: yes, there is comeuppance for abusers, though not in the context of their abuse; yes, Taty's journey is impacted by the assault she goes through. The first, though, seems really orthogonal to what the book is trying to achieve. What would Taty's journey be if she wasn't in a landscape whose dreamlike decadence and decay doesn't involve the constant reality of violence? It's an element that will put a lot of readers off of experiencing this book, and it's certainly not an element that should be taken lightly for those deciding whether or not to check it out, but it's not something that the book takes lightly or that should take it off our radar automatically.

I don't know if I enjoyed Taty Went West, but I certainly appreciated it: a constantly shifting, bizarre world which seems a perfect, if surreal, stop for our tour. I will be watching Singh's future releases with interest.


The Adventure: 3/5

The Scenery: 4/5

NerdTrip Rating: 7/10

POSTED BY: Adri, Nerds of a Feather co-editor, is a semi-aquatic migratory mammal most often found in the UK. She has many opinions about SFF books, and is also partial to gaming, baking, interacting with dogs, and Asian-style karaoke. Find her on Twitter at @adrijjy

Thursday, November 12, 2020

Microreview [Book]: Prime Deceptions by Valerie Valdes

The continuing adventures of Captain Eva Innocente, using a dark part of Eva’s history as a hook for further shenanigans among the crew of La Sirena Negra.

When last we left Captain Innocente and her crew, Eva had gained a co-Captain to her enterprise (Pink), a relationship with another crew member, and a continuing problem with the crime syndicate of The Fridge. More than that, though, a crew’s got to eat and a ship always needs fuel. But what Eva doesn’t expect in taking a mission to find a missing scientist is a trip back to a dark and painful place in her past, the planet of Garilia. The sins of Eva might yet break the small found family she has built on the La Sirena Negra. And, in addition, the scientist  might yet give the science organization The Forge (including Eva’s sister)  the chance to build and activate something truly dangerous.

All of this is the matter of Prime Deceptions, the sequel to Chilling Effect, by Valerie Valdes.

For all of its interstellar Gates, the worldbuilding on the planet Garilia, and the various plot lines, where the novel shines is in the personal story of Eva, and her connections with the crew. The novel poses a thorny question--if you have done what is unquestionably a very bad thing (and no mistake, the revelation of Eva’s past on Garilia shows what she and her father got up to is definitely a horrible set of actions, no matter what mitigating factors exist), can you go forward from that? How do you tell people, today, about something looming so large in your past that it threatens to overwhelm the present? How will you handle their reactions? How can you live with yourself for withholding that past? The central story of Prime Deceptions (and the titular reference) is to Eva’s activities on Garilia years ago. The author handles the internal pain of Eva rather well, and it’s an interestingly crafted balancing act.

The introduction of the darker material and the ghosts of Eva’s past is an interesting evolutionary development for the character, the book and the series. It does force the reader, as well as the crew of the ship, to reassess Eva, her past and her story in the light of new information, and it was for me, a humanizing and deepening moment for Eva. It also explains a nagging part of Eva’s backstory, and that is why she wound up in her sometimes hardscrabble existence in the first place. It puts some of the things that Eva has said and done in Chilling Effect in a whole new light and I wonder if this part of Eva’s story hasn’t been in the author’s pocket all along. 

I do want to assure readers, though that for the dark plotline of the past of Eva, the novel is more akin to Chilling Effect in the main.  Like Chilling Effect, the tone of Prime Deceptions is generally humorous and light (althjough there are some dark things in Chilling Effect, too, Prime Deceptions takes it deeper). Pop culture references, lots of Cuban swearing, and always the sense of fun adventure are the main tone of the book. The author doesn’t brush Eva’s history under the rug, but in the main the novel keeps on with the style of the previous novel. There are character developments (as Eva and Vakar humorously try to work a relationship), Pink’s status as co-captain, Min (whose story ties up with the main plot) and then of course the psychic space cats. Despite them being on the cover, the psychic space cats of the first book really were there in a cameo capacity, and in a way gave the novel an outside looking even fluffier feel and look than the book actually had. In Prime Deceptions, the psychic space cats (one in particular,Mala ) have a larger, and also plot-relevant role.The story is meta enough that Eva, when she meets the Forge for the first time, complains openly that it does sound a lot like The Fridge. Fighting robots, space battles, epic shopping trips, and Eva colliding with her Mother (a formidable a personage as Eva’s father, and we see a lot of where Eva gets some of her personality from) are all here, and keep the pages turning. 

I also enjoyed the expansion of the worldbuilding and the world provided. Eva’s universe feels like a cross between Mass Effect, with a hint of Borderlands, run through Valdes’ creativity and point of view. One delightful and frustrating consequence of reading Valdes’ novels is a craving for Cuban cuisine. Younger me, long ago, reading novels with food pills and barely discussing food in a SF novel would have been amazed at Eva lamenting that she could not get any of her mother’s meatballs. Food is culture, personality and worldbuilding, and Valdes knows and leverages that. And there are amazing places depicted, even beyond the thorny and complicated Garilia, which dominates the narrative and could be reviewed on its own for its exploration of themes of colonialism, dominance, revolution and cultural appropriation. There's Evercon, ,the equivalent of a Comicon (but running 24/7/365)  on Pluto’s moon Charon. Abelgard, a garden world with an underground society of robot fighting. The Ancient Alien Proarkhe technology gets explored and deepened throughout the novel, too. It’s a rich and interesting ‘verse and we get to see a sheaf of interesting places, with a found family set of characters to bring us to them.

Finally, there are the plotlines. Valdes, like in Chilling Effect, is very good at layered and intersecting A and B plots, providing reason and through lines to give the reader, and also her characters, reasons to bounce around the local group of stars on their Fed-ex like chases. Be it the mystery of Min’s brother, whatever the heck is going on with the mysterious Pokemon like Pod Pals, the Forge-Fridge Cold War and what both sides are up to on their own, and the consequences of Eva’s previous time on Garilia all braid and weave together. It keeps that light tone from the first novel in terms of its plotting, which can be a feature for some. I do think readers who want a decent amount of crunch to their space opera plotting might be put off, just like in Chilling Effect. Overall, I think Prime Deceptions is an entirely more successful novel than the first and I look forward to more books from Valdes, hopefully with this set of characters and verse. 

See Adri Joy's review of Chilling Effect, right here on Nerds of a Feather.

The Math

Baseline Score: 7/10

Bonuses: +1 Interesting depth and development to the main character and her history, which meshes interestingly with lighter tones of the book; +1 for interesting and diversely described and explored worldbuilding. Valdes’ verse would be a fascinating place to visit.

Penalties: -1 Breezy plotting is a delight to read--but it might put off some Space Opera readers looking for more heft.

Nerd Coefficient: 8/10 Well worth your time and attention

POSTED BY: Paul Weimer. Ubiquitous in Shadow, but I’m just this guy, you know? @princejvstin.

Reference: Valdes, Valerie. Prime Deceptions [Harper Voyager (US)/Orbit (UK), 2020] 

Interview: Cole Nagamatsu, author of We Were Restless Things

Cole Nagamatsu and I have something in common: we have enjoyed writing down our dreams, to be able to remember the interesting ones.  Nagamatsu uses her dream journal as a writing exercise, and on the other hand I haven't done a dream journal in years and I should really start one again (submitting dream to Daily Nightmare doesn't count as dream journaling!).   I bring up dream journaling because it's fun, and because it is a goodly part of Nagamatsu's debut novel We Were Restless Things, which came out in October.  An atmospheric contemporary fantasy, We Were Restless Things is a coming of age story where teenaged friends are dealing with the mysterious death of a friend, along with all the other things that make a coming of age story so engaging.

With and ensemble cast and multiple points of view, We Were Restless Things is perfect for readers who enjoy stories that unfold slowly, as the characters put the pieces together. We all have secrets we keep, things we don't even know about ourselves, which can make the puzzles of our family and community even harder to put together.  Among other things, We Were Restless Things touches on how we communicate our needs, when we don't know how to communicate, and aren't sure what we need. That last phrase, if you were wondering, is me in a nutshell.  (which makes me really, really want to read this book!)

While this is her debut novel, Nagamatsu is no stranger to the art of writing well. Her short stories have appeared in West Branch, Tin House, Podcastle, cream city review, and elsewhere, she has been involved with Pitch Wars for a few years, and is also the co-founder and editor-in-chief of Psychopomp Magazine. You can learn more about Nagamatsu by checking out her website and by following her on twitter at @JuniperJazzz.

Nagamatsu was kind enough to chat with me about We Were Restless Things,  her writing process, dream journals, the adventures of Pitch Wars, and more!


NOAF: Congratulations on We Were Restless Things! What is this story about and where did the idea for this story come from?

Cole Nagamatsu: Thank you! The book takes place in a small, fictional Minnesota town in the aftermath of a local high schooler’s death. Link Miller was found drowned on dry land in a small forest, miles from the nearest body of water. The book follows a few characters as they deal with the loss and piece together what happened. Link’s friend, Noemi, believes his death is tied to a lake only she is able to find, which disappears and reappears in the woods unpredictably. She’s fairly certain of this because she’s getting text messages from Link’s ghost, telling her so.

As for the story idea, it came from a few places. I’d moved to Minnesota for work not long before starting the novel. I’m from the east coast, so living somewhere so far from the ocean made me homesick in a way I hadn’t anticipated. In part, creating the setting of the book may have helped me settle into my new home. The antagonizing force of the woods in the novel was somewhat inspired by reading Angela Carter’s “The Erl-King” from The Bloody Chamber. Following reading that story, I read more European fairy tales about forest and freshwater entities, so to some extent the plot of my book was sparked by the question of what it might be like for one such entity to live in the modern day midwestern US. Finally, my main character, Noemi, keeps a dream journal that eventually influences the plot. I’ve always written down my dreams as well, so I can better remember the really interesting ones. It’s a sort of writing exercise for me, so I started to recreate that same exercise for my novel: crafting dreams the main character might have and deciding how they reflect her feelings about the tensions in the novel.

NOAF: We Were Restless Things is told from multiple points of view. Which character's point of view was your favorite to write? Whose point of view was the most challenging to write?

CN: Link may have been my favorite to write. He is not one of the predominant POVs, so it was a refreshing change of pace when I got to explore his voice. Also the fact that he’s a ghost, narrating the story in first person was fun. He had access to a lot of information other characters did not.

The POV of Amberlyn, Link’s sister, was probably the most challenging to write, just because her role over the course of revising the novel changed a bit, whereas the other characters stayed closer to what I had outlined for them in the beginning.

NOAF: I kept a dream journal for years, so I love that you include Noemi's dream journal as part of her chapters. Dreams can be meaningful, metaphorical, peaceful, but they can also be completely absurd. Why did you decide to include whole sections about her dreams?

CN: There were even more of them originally, but not all of them were necessary. Some just explored different anxieties Noemi had about aspects of her life—not knowing her father, for instance—but those entries that didn’t center on the major plot were the ones I cut. The ones I kept tied directly into the woods imagery. They’re all sort of bizarre metaphors for how she’s feeling, and the woods then interprets them literally. She stages photographs inspired by her dreams, and that’s all the woods knows of her. So what would something as intimate and surreal as a dream look like to a person who doesn’t even know the dreamer? I thought that was really interesting. It let two characters who both have trouble communicating their feelings to others connect in an unexpected way, even though Noemi doesn’t realize that’s what’s happening for most of the novel. Since they end up impacting the plot, it made sense to me that readers be able to read them. Plus, as a reader, I often enjoy when books incorporate different textual artifacts as an element of storytelling.


NOAF: A major theme in the story is “coming to terms” with a variety of things – grief, loss, accepting yourself. But this story is also a supernatural mystery involving an impossible death. How did you balance the mystery elements with the coming-to-terms elements?

CN: I gravitate toward stories where the supernatural elements start out as subtly bizarre because I enjoy piecing ideas together as I read—not just in terms of gathering clues, but also interpreting metaphors. This story has elements of mystery, but I think it’s driven more by the characters and their feelings. I wanted the supernatural elements in the story—in addition to just being interesting on their own—to stem from the characters. For instance, Link’s ghost texts Noemi throughout the novel. Her grief haunts her, and his ghost is, on one level, a literalization of that grief.

Also, Noemi is asexual, but she’s very aware of when guys are interested in her. I think a source of her stress when navigating relationships with people who show romantic interest comes from trying to make both her desires and boundaries understood, when she is still very much in the early stages of figuring those out for herself. The woods are a physical manifestation of a male gaze, and dealing with the woods mystery means navigating a supernatural version of a relationship with someone who inherently wants things which conflict with Noemi’s wants. I see the supernatural aspects of the book as intrinsically linked to the “coming-to-terms” aspects.

NOAF: What was your writing process like for We Were Restless Things? Did you know from the start you'd be including multiple points of view? Did you plot it or pants it (or something in between?)? Since this is a mystery, did you write the end first?

CN: I plotted it out very thoroughly beforehand. I did always know I would have multiple points of view, and there were originally even more in the first draft than survived the editing process into the final book (though the plot events remained close to how I envisioned them). I usually plot things out in advance when writing, but for this book I stuck to my outline more closely than I usually do, which actually made writing it less stressful. Even though I had the ending planned out in advance, I didn’t write it first. I always have to write the scenes in the order I plan for them to occur. That can create a barrier if I hit a scene that’s tricky and ends up stalling the writing process, but I’ve never been able to write scenes without already have written the ones that lead up to it.

NOAF: You're also the Editor in Chief of Psychopomp Magazine. How did you get involved with that magazine, and what is your favorite thing about being involved with short story publishing?

CN: I co-founded the magazine with my partner and co-editor back in 2013. I don’t really write many short stories, but I enjoy reading them (even though novels are my first love). My favorite thing about being an editor is when I come across a short story among our submissions that I fall in love with. Some of my favorite line-level writing happens in short stories. They’re a very compressed form of narrative. When I read, in addition to enjoying characters and story, I like to pay attention to word choice and the rhythm of sentences. Because of their length, short stories lend themselves especially well to that approach.

NOAF: You've been a mentor at Pitch Wars since 2018. As a mentor, what do you do? Why did you get involved with Pitch Wars, and what’s been your best experience with the program so far?

CN: I originally got involved in Pitch Wars as a mentee in 2016, and I had a good experience, so I wanted to pay it forward, so to speak, as a mentor. The best experience has been working with my mentees. I’m kind of a shy person, even online, and Pitch Wars has helped me connect with other writers. I get to read manuscripts that are emotionally moving and stay immersed in them while helping the writers revise. Querying agents can be stressful, and rejections discouraging. Mentoring with Pitch Wars means I have the chance to support writers who are going through that process.

NOAF: Do you have any exciting current or forthcoming projects you can tell us about?

CN: I just finished writing an adult manuscript, and I’m now working on another YA for Sourcebooks Fire. It’s set to release in 2022. I don’t have a title yet, but it’ll be another standalone novel with elements of fantasy. It’s set on the east coast, and it started out as a fairy tale retelling, but that turned out to be more restrictive than I expected, so it’s moved in a different direction. It’s still very much in the drafting stage, as I tend to write slowly.

NOAF: Thank you so much for this wonderful conversation! 

POSTED BY: Andrea Johnson lives in Michigan with her husband and too many books. She can be found on twitter, @redhead5318 , where she posts about books, food, and assorted nerdery.