Wrap-up of the World Fantasy Finalists

Leave a comment

That concludes the reviews of the 2018 World Fantasy Finalists. See the full list of finalists here. The awards will be presented the first week of November at the World Fantasy Convention in Baltimore.

As I mentioned in an earlier blog, there’s quite a bit of overlap between this and the Hugo and Nebula ballots, so I didn’t have to review that many works to finish up the list. There are actually two prior award winners here: “Welcome to Your Authentic Indian ExperienceTM,” by Rebecca Roanhorse (Apex 8/17) won both the Hugo and Nebula awards for Best Short Story, and “Clearly Lettered in a Mostly Steady Hand,” by Fran Wilde (Uncanny 9-10/17) won the Eugie Foster Award.

There’s pretty fair diversity in this list, not only among the authors, but also in the style and direction of the works–though not as much as in the Nebula ballot. I think. The short story category has a fairly serious diversity issue in that there were no men nominated at all. Best Novella leaned to men, and Best Novel was evenly split gender-wise. As is usual with recent SFF community awards, the nominees leaned strongly to women and Asians, with Hispanic/LatinX (typically at 0%) coming in way short of their US demographic. African Americans were maybe about right for their US demographic. Roanhorse complicates this issue, as she’s bi-racial, but I’ve included her only once in the Native American category below. The breakdown includes 43% POC and 57% white, which pretty much matches the demographics in the US. Here’s the breakdown:

Best Short Story  Best Novella

Best Novel  Overall

As usual, the ballot is completely dominated by American writers, but it does include minority, Greek and UK viewpoints. Of course, this group tends very strongly to the literary, and there’s not much of an adventure cast. There was a variety of publishers, but the big print magazines were shut out again.

Overall the subject matter looks somewhat more cheerful than my most recent reviews suggest. There is definitely a depressive and in some cases nihilist trend to the nominations, but a few works stand out with strong characters fighting for what they want and maybe, just sort of winning ground against the darkness. These brighter works include: The City of Brass by S.A. Chakraborty, The Strange Case of the Alchemist’s Daughter by Theodora Goss, Spoonbenders by Daryl Gregory and In Calabria by Peter S. Beagle. Chakraborty’s novel is dead serious, but the others are characterized by mild humor and social commentary that investigates the human condition fairly entertainingly.

Nothing here really caught my imagination, but the cliffhanger at the end of The City of Brass is going to worry me some. I’ll probably pick up The Kingdom of Copper when it comes out in January.

Best of luck to all the nominees!

Advertisements

Review of City of Brass by S.A. Chakraborty

4 Comments

This novel is a finalist for the 2018 World Fantasy Award. It’s released by Harper Voyager and billed as The Daevabad Trilogy #1. It runs 569 pages. The next novel in the series, The Kingdom of Copper, should be available 22 January 2019. This review contains spoilers.

Nahri is a con woman in 18th century Cairo who poses as a healer and palm reader to cover her real work as a thief. She sets up a zar to sooth a crazed girl, and while singing some old songs, accidently summons Dara, a magical djinn warrior. The girl turns out to be possessed by an ifrit, which attacks Nahri. Dara carries Nahri away from Cairo and takes her to Daevabad, the hidden City of Brass. He introduces her to the djinn King Ghassan as the last of the powerful Nahid family, and the court seems to welcome her. It turns out there are nasty undercurrents in the politics, simmering resentments between the six djinn tribes and the half-breed shafit. Nahri struggles to learn the healing arts they try to teach her, and Ghassan thinks she’s at most a half-breed human, but still plans a political union by marrying Nahri to his oldest son Muntadhir. He sends his youngest, the scholarly subversive Prince Ali, as a tutor to win her over to the plan. When Dara hears of it, he tries to carry Nahri away again, but Ali interferes and they are caught trying to cross the magical lake that guards Daevabad. Dara is killed, Ali possessed and banished, and Muntadhir’s companion Jamshid badly wounded. Ghassan is determined the marriage will go on as planned. Can Nahri turn any of this to her advantage?

So, counter to the depressive trend in the WFA finalists this year, this is a romance and an intrigue. All these people are lying to each other, and political groups are plotting right and left. Daevabad is exotic, the details of the city life, the temples and the palace very well assembled. I didn’t have any problems visualizing the people, the creatures or the scenery–the author has done a lot of research. She’s also done a great job in blending tradition with modern sensibilities. The characters are slightly flat, but the story is more focused on the action and intrigue than on revealing their deepest inner thoughts. The reader is left to deduce a lot of what’s going on from their actions.

In case you can’t tell from the synopsis, this is a cliffhanger, as everybody is at risk at the end, and the political tides are still rising. Nahri mostly lets people push her around in this book, but her political faction didn’t abandon her over the marriage, so she’s now well placed to be a power player in the next novel. Without Dara and Ali, she’ll have to find other protectors.

On the negative side, the magical world here was a little too complex for me to keep up with the way I read the book, which was a piece here and a piece there. Politics in the city was fairly clear by the time I was done, but a lot of other creatures seem to be circling Daevabad, just waiting for some chance to get in. I didn’t get a clear idea of the motives or alignments there. One other note: this seems to be an unfortunate choice of title, as it’s apparently shared with a successful video game. That means a search for the book turns up mostly the game info instead. However, I guess Chakraborty’s fans can tell the difference.

Four and a half stars.

Making A List of Anthologies Edited by Women and POC for 2018

Leave a comment

Okay, following up on the last blog, I’ll try to compile a list. If you’re a woman or POC who has edited an anthology that will be released in 2018, send me your info. If you know of a woman or POC who has edited an anthology in 2018 that’s not listed below, let me know. Also, let me know if I’ve made a mistake anywhere below. I’ll also be happy to include non-binary editors/publishers. This is for promotional purposes only, and it’s unlikely I’ll be able to review all the entries. Here’s what I found with just a few minutes of searching:

  • The Best American Science Fiction and Fantasy 2018 (The Best American Series) Oct 2, 2018 by John Joseph Adams and N.K. Jemisin
  • Blacktastic!: Blacktasticon 2018 Anthology Jun 25, 2018 by Linda Addison and Sheree Thomas
  • Fell Beasts and Fair: A Noblebright Fantasy Anthology Mar 20, 2018 by Leslie J. Anderson and C.A. Barrett
  • The Colored Lens: Winter 2018 Jan 2, 2018 by Michael Best and Michelle Kaseler
  • New Voices 004: July-August 2018 (Short Story Fiction Anthology) by C. C. Brower
  • The Attractive American Science Fiction and Fantasy: Classic Science Fiction Stories For New Generation Reader in Future Aug 30, 2018 by Annie Corol
  • The Best of the Best Horror of the Year: 10 Years of Essential Short Horror Fiction Paperback – October 2, 2018 by Ellen Datlow
  • Beyond the Stars: Unimagined Realms: a space opera anthology Aug 22, 2018 by Patrice Fitzgerald
  • Worlds Seen in Passing: Ten Years of Tor.com Short Fiction Kindle Edition Sep 4, 2018 by Irene Gallo
  • Great American Science Fiction Short Stories: Stories from the Golden Age (Science Fiction & Fantasy Stories Collection) Aug 19, 2018 by Kimmy Hammond
  • Hues of Hubris: Stories from the Age of Turbulence (2018 Bay Area Teen Writers Anthology) (Volume 4) Mar 7, 2018 by Shu-Hsien Ho and Royd Hatta
  • Flash Fiction Online March 2018 Feb 27, 2018 by Maria Haskins and Samantha Murray
  • FTL, Y’all! August 28, 2018 by Amanda Lafrenais
  • The Best & Attractive Science Fiction Stories of the Year: Amazing & Greatest Science Fiction Stories Collection for All Time Aug 3, 2018 by Connie Lawley
  • The Colored Lens: Summer 2018 July 17, 2018 by Dawn Lloyd and Daniel Scott
  • Mystery!: The Origins Game Fair 2018 Anthology Jun 18, 2018 by Chantelle Aimée Osman and Donald J. Bingle
  • The Colored Lens: Spring 2018 Apr 3, 2018 by H. Pueyo and Imogen Cassidy
  • Terra! Tara! Terror! (Third Flatiron Anthologies Book 24) Sep 30, 2018 by Juliana Rew
  • Galileo’s Theme Park (Third Flatiron Anthologies Book 23) Jun 15, 2018 by Juliana Rew
  • Monstrosities (Third Flatiron Anthologies Book 22) Mar 10, 2018 by Juliana Rew
  • Flash Fiction Online January 2018 by Suzanne Vincent
  • The Future Is Female! 25 Classic Science Fiction Stories by Women, from Pulp Pioneers to Ursula K. Le Guin: A Library of America Special Publication Oct 9, 2018 by Lisa Yaszek
  • Nebula Awards Showcase 2018 Aug 7, 2018 by Jane Yolen

Are POC tokens in the major SFF awards?

58 Comments

It took me a long time to get through Crowley’s book, and I’ve got one more novel to review for the World Fantasy Awards. While I’m working on it, here is some commentary on the Locus Reading List that is one of the major feeders into the SFF awards.

For the last couple or three years Natalie Luhrs has done an analysis of the Locus Reading List, checking the gender and race breakdown. Here’s her analysis for 2017, and here’s the one for 2018. In the 2018 conclusions section, she’s noted that the list is important because the effects go way beyond just recommendations on what people should read. It’s also about how readers draw from lists like this or sites like Rocket Stack Rank, for example, to make their nominations for the awards.

Luhrs’ results for 2017 shows a slant toward male writers and a tendency to repeat the same person-of-color (POC) writers across categories and years. The analysis for 2018 shows the list achieved closer gender parity as a whole and slightly expanded non-binary writers, but actually fewer POC were included than in 2017. On the positive side, in 2018 Luhrs found a few additions to the list of favored POC.

Luhrs then went on to complain that “We don’t have nearly enough women or POC editing anthologies.” I’m suspecting this could be a mistaken assumption. Locus listed only three, but if you check, there are a bunch of female and POC editors out there trying to do it. The problem is that the Locus List hasn’t recognized the women and POC who are editing anthologies.

So what does this mean? Is the perception that women and POC can’t edit good quality anthologies? Are their anthologies actually substandard? Do these editors/publishers struggle to get professional quality submissions because they’re not considered competent? Do they struggle to get professional level review?

I’ve had the conversation with Greg Hullender of Rocket Stack Rank about how “quality” is defined in the SFF community. This boils down to accepting that the most successful magazines, publishers and editors get the best works, and you can make a list of the “best” by reading just these magazines and looking at the releases of these publishers or these few recognized editors. This system further promotes the sources, of course, which means they become more successful and continue to shut out minority editors struggling to be found in the small press. That’s why the same people appear on the Locus Reading List every year. The system is self-perpetrating.

If we really want to achieve something more than tokenism, shouldn’t we look for another avenue for editors to make it into this system?

Review of Ka: Dar Oakley in the Ruin of Ymr by John Crowley

Leave a comment

This book is a finalist for the 2018 World Fantasy Award. It’s published by Saga and runs 465 pages. This review contains spoilers.

The narrator has recently lost his wife to illness and is dying himself. He finds a sick crow and nurses it back to health. They become friends and it tells him its history. The crow Dar Oakley calls the realm of the crows Ka, and that of humans Ymr. He also knows a realm of Other. Dar Oakley receives his name from a human girl he calls Fox Cap. The two of them go into Other to find Nothing, and Dar Oakley finds it but hides it for himself. Fox Cap cries and afterward dies, but then Dar Oakley finds he is immortal, always reborn. Humans have battles that provide carrion, and crows find they can encourage them to kill each other. Following a Saint, Dar Oakley is caught by a storm and blown to a New World, where the people are killed by a mass sickness brought from the Old World. There is a great War where the dead in blue and gray provide a huge feast, and crows become numerous because of the growing bounty. Dar Oakley becomes friends with poet Anna Kuhn, and later her son becomes a great crow hunter. Dar Oakley encourages the crow flock to attack him, and they are eventually successful against him. The narrator wants Dar Oakley to lead him and his housekeeper to the Other place of the dead. Will this plan be successful?

So, this book is about death. Crowley is a well-known stylist, and he gets points for creating meaning in the narrative. Still, I found this really hard reading. Because Dar Oakley is a bird, he is light-minded and in general all his observations are surface level. That means we get a lot about flocks and mating and chicks, and the meaning takes shape from the carrion events and from what the humans say.

It’s clear that Crowley did a lot of research on the topic of crows and their status as death birds. The lore in this narrative is sort of scary, and I think humans are lucky that crows aren’t any bigger than they are. On the other hand, the events that feed the crows don’t say anything much good about humans, either.

This one isn’t for the faint of heart.

Four stars.

Review of The Changeling by Victor LaValle 

Leave a comment

This novel is a finalist for the 2018 World Fantasy Award. It’s dark fantasy, published by Spiegel & Grau and runs 431 pages. This review includes spoilers.

Apollo Kagwa lives in Manhattan and works as a vintage book dealer. He finds his true love Emma Valentine and becomes the doting father of baby Brian, named after Apollo’s father, a white man who disappeared mysteriously when Apollo was a child. Emma develops postpartum depression, and when Brian is about 6 months old, she starts to insist the boy isn’t her baby. She chains Apollo to the steam pipes, cooks the baby with boiling water and then disappears. Apollo serves a stint in Rikers for holding Emma’s co-workers hostage, and when he’s released, he starts a search for his missing wife. He finds a coven of witches living in the East River, minions of a troll living in Queens, and finally locates his wife, who has staked out the troll’s cave. Can the two of them destroy the troll and rescue the real baby Brian?

So, this is a pretty impressive novel, including multiple themes and motifs. It’s a post-modern work and also feels slightly surreal. The story is apparently based on Maurice Sendak’s children’s book Outside Over There, which makes recurring appearances in the novel. In the Sendak book, Ida’s little sister is stolen away by goblins. Her parents don’t notice, so Ida enters the magical world herself to bring her sister back.

Accordingly, the first hundred pages of The Changeling are a pretty normal, positive story set in New York City, covering themes of marriage and family, work and missing and present fatherhood. Then it suddenly plunges into an alternate reality and we start to see the underlying currents of magic. This is socially and technologically up-to-date, with the troll’s minions hacking through Facebook into the private lives of families, watching their children. The troll’s minions have a contract to provide children to the troll in return for prosperity and white privilege. They make alt-right noises and oppose the witches, symbols of female power. There are also themes of living while black, and how parents damage their children. LeValle makes a few casual comments in the book that are really cutting. One that really struck me was how magical glamours hide the suffering of the weak. Apollo’s name is symbolic. He is the involved father, the sun god against the forces of darkness.

On the not so great side, LeValle doesn’t employ much in the way of style here, meaning we don’t feel a lot of foreboding, threat or suspense. The prose is fairly straight-forward and matter-of-fact, as are the descriptions and narrative. Some of the detail seems really unnecessary, like a section on breast-feeding. Touches of humor are very mild, mostly associated with being black in the wrong place. The post-modern approach is sort of scattered (as always), and takes away from the power of the story.

Final impression: Smooth, easy read. The social commentary here is first rate. Best for lovers of horror.

Five stars.

Review of The Teardrop Method by Simon Avery

3 Comments

This novella is a finalist for the 2018 World Fantasy Award, and the title piece for Book 4 of the TTA Novellas series, published in 2017. The British press TTA also publishes Interzone and Black Static. The book is dark fantasy and also contains the short story “Going Back to the World.” The novella is about 111 pages and the short story runs about 40. This review contains spoilers.

Krisztina Ligetti is a cult artist, a singer/songwriter living in Budapest who produced one hit album years ago and then had nothing else to follow up with. After her lover Alice dies, Krisztina begins hearing elusive music that turns out to be the songs of mortality from people around her. She collects songs for a new album one-by-one that become complete as people die. She reconnects with her father, a 60s pop star who has been diagnosed with cancer, and hears his song. The story darkens as Krisztina finds she’s being followed by a man in a porcelain mask. Tracing the song of a ballerina, she encounters the writer Rebeka, a serial killer with a similar gift who has no compunction about killing people to complete their stories. Rebeka wants her story. Can Krisztina find a way to survive?

This narrative has something of a sick feel, as it’s about winter and death and the extreme depths that people plumb to feed their creativity. The title refers to the method Krisztina uses to produce her songs, detailing the grief and pain that go into each one. It lingers over relationships, failures and bitter coffee. The imagery seems foremost, as it’s all about bright futures declining into eventual decay and death. There’s nothing left at the end but the songs.

On the not so great side, the narrative jumps around a bit and seems fixated on Alice’s death, while her character remains undeveloped and peripheral to the main story. The whole thing is about depressed people who need some joy in their lives. I’m also left wondering how Rebeka gets away with her murders. Although Krisztina sees her commit a murder and the man in the mask knows who she is, nobody reports this to the police. But then, I guess it’s not about the reality.

Three and a half stars.

Older Entries

%d bloggers like this: