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I’m running behind on this week’s posts. Meanwhile, here a new picture of Spot for her fans.

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Review of “Old Souls” by Fonda Lee

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This short story is a finalist for the 2018 World Fantasy Award. It was published in the anthology Where the Stars Rise: Asian Science Fiction and Fantasy and runs about 8800 words. This review contains spoilers.

Not only does Claire remember her past lives, but she can read the past lives of others when she touches them. She has just had her 20th birthday and knows she has never seen her 21st. She visits a fortune teller, hoping for help, but finds the woman is a fraud. Pearl, a woman in the waiting room, follows her out of the business. Pearl has no past lives because she is one of the Ageless. She is searching for the soul of a man she knew in a previous life and she wants Claire to help her find him. Claire agrees, and is surprised to find the man is Kegan, her boyfriend Ethan’s brother. She lets Pearl know, and then finds Pearl has lied to her. Can Claire deal with Pearl’s deception? Can she break the pattern that has always taken her life before age 21?

This story is plot driven and moves along fairly smartly to a fairly violent climax. The characters are adequate, but not really deep, regardless that we know something about their past lives. Pearl’s deception isn’t a complete surprise because of foreshadowing. As Pearl says, everybody sets up a pattern. The details about student life add depth to the plot and the ending is emotionally satisfying.

On the not so great side, I’m not sure that satisfaction is justified. Claire thinks she’s broken her pattern, but it’s still a while before her 21st birthday, and Pearl is still out there. Maybe she’ll go on thinking she’s accomplished her goals, or maybe not. Also, what kind of pattern will Kegan follow now? We’re led to believe he’s an innocent, but could Pearl have been right about him?

Patterns aren’t really world-shaking, but you have to give Fonda credit for saying something a little different.

Three and a half stars.

Review of Artificial Condition by Martha Wells

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This is volume 2 of The Murderbot Diaries, begun in 2017 with the entertaining and award winning All Systems Red. It’s a novella published by Tor/MacMillian and runs 160 pages. This review may contain spoilers.

Murderbot has successfully escaped a quiet existence at PreservationAux and set out to find what its dark half-memories of a massacre are about. The transport it hitched a ride on arrives in port, and Murderbot transfers to another outbound transport, headed for the Ganaka mining pit where it thinks the massacre took place. This time, however, it has hit on a highly intelligent research vessel hired out for transport by its university. The two of them get off to a rough start, but ART (Asshole Research Transport) eventually comes around to the point of helping with Murderbot’s mission. Murderbot hires out as a security consultant to a group of young humans trying to get their research files back from a local company that confiscated them. This is intended for emigration purposes, but Murderbot gets involved in their problem. Meanwhile, news that it’s a rogue SecUnit has emerged. Can it keep the kids alive and find out about its past before the authorities catch up with it?

Good points: The interactions with ART are pretty much a necessity to deal with the realities here. ART challenges Murderbot’s stubborn, poorly thought out assumptions about how it can masquerade as a human and get to Ganaka Pit to find out what happened there. ART is a great character with some pretty transparent failings itself, and the two of them turn out to be a good team. Murderbot contracts for work itself and shows the same empathy and responsibility on the job that it showed for the last set of clients, which is some of the heart-warming part. The rest of it is ART, a super-intelligent, empathetic creature trapped forever in the cold vacuum of space, who wants to ride along for a while and experience a taste of the human world.

On the not so good side: It looks like the four installments of this will make up a full-length novel, but each installment is priced like a full-length novel. This installment feels short and incompletely developed (i.e. not worth the price), but hopefully the further installments will integrate it into the story better. I’m of the opinion that events and characters shouldn’t be introduced unless they’re going to contribute to the overall plot. In this case, it appears that Murderbot has rescued the kids and their files and neutralized all threats against them. However, this company had better be part of the Ganaka Pit problem, or else it’s just leading the reader on. As the novella ends, there’s no indication of this connection.

Minor editing issues. Three and a half stars.

Review of River of Teeth by Sarah Gailey

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This novella is a finalist for the 2017 Nebula Award and for the 2018 Hugo Award. It’s an alternate history and was published by Tor.com Publishing.

In 1909 Louisiana Congressman Robert F. Broussard’s American Hippo Bill passes, and hippos are imported to clear hyacinth weeds out of the Mississippi River and to serve as livestock. The result is that feral hippos become a dangerous pest in the Harriet, a section of the dammed up river. Winslow Houndstooth, failed rancher, wins a commission from the US government to clear the feral animals out. He assembles a team of hard-edged outcasts and makes up a plan of action. However, he’s opposed by Travers, a man who has bought up most of the real estate in the area through the underhanded methods that put Houndstooth out of business, and has exclusive rights to riverboat business in the Harriet. Can Houndstooth and his team succeed in clearing the swamp? Can Houndstooth carry out a successful romance with the non-binary Hero Shackleby? Can he get his revenge on Travers?

This is a very creative idea that uses an obscure bill (which did not pass, in case you’re wondering) as a branching point in US history, and projects what might have happened if hippos were actually imported into the Mississippi River. It uses the Seven Samurai Old West plotline to put together a diverse team of outcasts that ride hippos instead of horses and are generally armed with knives instead of guns. Members of the team also seem to have convoluted motives. The result has the feel of absurdist fiction.

On the negative side, this is pretty much a parody of an Old West story. There’s a lot of casual violence as people carve each other up with minimal provocation, and some messy deaths due to the apparently carnivorous hippos. Presumably they have evolved to behave this way, perhaps due to questionable stock breeding programs. I didn’t connect with any of the characters, even though they were described in fine detail, and I wasn’t convinced by the love affair.

Three stars.

Review of “Carnival Nine” by Caroline M. Yoachim

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This short story is a finalist for the 2017 Nebula and the 2018 Hugo Awards. It was published in Beneath Ceaseless Skies.

Zee has a silver key in her back that the maker uses to wind her up every day. She has a strong mainspring and so a lot of energy. She lives in Closet City with her Papa, who never has any turns left over for adventure because he works so hard to help Granny and Gramps. When the carnival comes to town, Zee meets a carny boy named Vale. On her 200th day, she gets adult limbs and new paint on her face, and soon afterward Granny and Gramps wind down for the last time and are recycled. Since her Papa has only himself to take care of now, she leaves with Vale on carnival train 9 to make a life for herself as a carny. The two of them build a child they name Mattan, but the boy has a weak mainspring. Vale refuses to accept the child’s disability, so Zee takes Mattan back to her Papa in Closet City. Can she find a way to support her special needs child?

Good points: This is a very creative idea. I’m visualizing a toymaker somewhere with a whole village of windup dolls and model trains. The story, of course, takes us into the life of the dolls, limited as it is by the number of turns their mainsprings will hold. It has an inspiring message, as Zee gives up her dreams to care for her disabled child.

Not so good points: The world building here is limited, and I don’t end up with much of an idea of what the setting looks like. I gather there are carnivals on at least nine trains, houses for the dolls and recycling centers. Because of the limited background, the characters also tend to be flat. Mattan, especially has little personality because of his disability. Winding down is fairly matter-of-fact, and there’s not much investigation of the emotional issues behind the characters’ actions. True, these are dolls, but I’d like to understand their motivations, regardless.

Three and a half stars.

The Pressures for Positive Reviews

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Here’s the second installment on the subject of reviews and what’s expected from the contemporary book or film critic. There were a few more interesting opinions that came out of my recent readings on the subject, generally related to those explored in the last blog.

Writing for Salon, Laura Miller describes the traditional model of literary criticism where critics pretty much made the classics by pointing out which books should matter for a cultivated, educated audience. This meant the critics were the arbiters of taste, and the audience took their advice because they wanted to be seen as cultivated and intelligent. Publishers were also, presumably, swayed by these critics’ opinions which slapped down anyone unsuitable who thought they could write a novel. Miller thinks this is an outdated model, and that critical readings should be saved for the classroom. Her view of the critic’s role is to point out the books he or she likes in particular so the audience can find them.

Of course, the problem with this is that authors and publishers quickly get the idea they should offer inducements for critics to point out their books. Writing for The Baffler, Rafia Zakaria calls reviewers an “extended marketing operation” who are expected to “arrange the book in a bouquet” like blooming flowers to help attract an audience.

Writing for Slate, Ben Yagoda gives us a current classification of critics:
• Over-intellectual nitpickers – Try to rate popular books as something they’re not.
• Soft touches – In the pockets of publishers.
• Quote sluts – Write notices for display ads.
• Chummy logrollers – Relentless enthusiasm for the blogosphere.
• Careerist contrarians – Try to stand out with unpopular opinions.
Yagoda also suggests a reason for large audience vs. critic discrepancies in ratings. He thinks this means the work is unpleasant to sit through in some way. In other words, reviewers will hold out because they’ve got to write a review, while causal readers or film viewers will take off and find something better to do.

Also writing in Slate, Jacob Silverman describes the “safe space” atmosphere of the Twitter/blogosphere where all books are wonderful and every writer is every other writer’s fan. He calls this shallow, untrue and chilling to literary culture. After all, he says, what critic will write an honest review in an environment where authors are valued more for their social media following than for what they write? What he doesn’t say is how fast this social media following can turn into trollish attack dogs. Silverman says it’s not publishing that’s threatened; instead, it’s the body of reviewers who are trivialized and endangered by this system.

Another issue Silverman doesn’t identify in this analysis is generational characteristics at work. Everyone likes praise, but a constant need for it is fairly well identified with millennials. Writing in the New York Times in 2015, Alex Williams points out some of the tendencies we can expect from Generation Z (aka post-millennials), now displacing the millennials as the largest, richest and most sought-after generation of consumers. Gen Z is generally the children of Gen X, who are coming of age post Millennium. Compared to millennials, this group has grown up in uncertain times, so they tend to be more conservative than millennials and heavily concerned with privacy, risk and safe spaces. They tend to be less binary and more biracial, are heavily oriented toward technology and social media and tend to lose interest in things more quickly.

Is this the group Silverman has identified as so intolerant of critical reviews in the Twitter/blogosphere? When will the upcoming Gen Z start to change what sells in the marketplace?

Review of “Bloodybones” by Paul F. Olson

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This novella was a finalist for the 2017 World Fantasy Award. It was published for the first time in the author’s collection Whispered Echoes.

David’s friend Amy disappears from her property at Vassey Point during a violent storm. David helps her father close up her home in the old lighthouse, but six months later, he’s drawn to return. He meets Amy’s sister Karen wandering on the property, and the two of them strike up an acquaintance. They begin reading through Amy’s journals, finding creepy things. Can they solve the mystery of what happened to her?

Good points: This is a psychological horror, a ghost story that takes shape as the supernatural closes down slowly but surely on the two protagonists. It’s very smooth and offhand, so I gather Olson is very practiced at this. It includes a lot of information from David (as the narrator) that gives us local color and background on Amy, Karen and the history of the point that’s led to its haunting. Also, I can see the film in my head. This is very cinematic.

Not so good points: The narrator’s casual, matter-of-fact tone keeps the events here from becoming really scary. It’s very white bread and traditional. The techniques for generating horror are fairly standard—enclosed spaces, violent storms, ghostly presences, etc. I appreciate Olson’s technique and subtlety, but this just shivered my nerves a little. It didn’t really scare me.

Four stars.

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