Via The AVClub, Lev Grossman revealed the cover and first details about The Magician’s Land. Grossman won over fans with the release of The Magicians, a twisted and grown-up mix of Harry Potter-meets-Narnia, and continued to cement himself as one of the most interesting young contemporary fantasists with the release of the sequel, The Magician King. The Magician’s Land is the third and final volume of the trilogy and, as the title suggests, it focusses heavily on the magical land of Fillory (Grossman’s Narnia analogue).
Spoilers below, for those who haven’t read the first two volumes.
Quentin Coldwater has been cast out of Fillory, the secret magical land of his childhood dreams. With nothing left to lose he returns to where his story began, the Brakebills Preparatory College of Magic. But he can’t hide from his past, and it’s not long before it comes looking for him.
Along with Plum, a brilliant young undergraduate with a dark secret of her own, Quentin sets out on a crooked path through a magical demimonde of gray magic and desperate characters. But all roads lead back to Fillory, and his new life takes him to old haunts, like Antarctica, and to buried secrets and old friends he thought were lost forever. He uncovers the key to a sorcery masterwork, a spell that could create magical utopia, a new Fillory—but casting it will set in motion a chain of events that will bring Earth and Fillory crashing together. To save them he will have to risk sacrificing everything.
The Magician’s Land is an intricate thriller, a fantastical epic, and an epic of love and redemption that brings the Magicians trilogy to a magnificent conclusion, confirming it as one of the great achievements in modern fantasy. It’s the story of a boy becoming a man, an apprentice becoming a master, and a broken land finally becoming whole.
Like its predecessors before it, The Magician’s Land features a gorgeous cover with art from photographer Didier Massard. The Magician’s Land will be available on August 4th, 2014.
Peter Watts is the Hugo-winning Canadian author of Blindsight, described by The Globe and Mail as, “a hard science fiction writer through and through and one of the very best alive,” which is a reputation he has lived up to among fans of hard science fiction. Through their Spring/Summer catalog, Tor has revealed details about Echopraxia, his first novel since 2006.
Prepare for a different kind of singularity in this follow-up to the Hugo-nominated novel Blindsight.
It’s the eve of the twenty-second century: a world where the dearly departed send postcards back from Heaven and evangelicals make scientific breakthroughs by speaking in tongues; where genetically engineered vampires solve problems intractable to baseline humans and soldiers come with zombie switches that shut off self-awareness during combat. And it’s all under surveillance by an alien presence that refuses to show itself.
Daniel Bruks is a living fossil: a field biologist in a world where biology has turned computational, a cat’s-paw used by terrorists to kill thousands. Taking refuge in the Oregon desert, he’s turned his back on a humanity that shatters into strange new subspecies with every heartbeat. But he awakens one night to find himself at the center of a storm that will turn all of history inside-out.
Now he’s trapped on a ship bound for the center of the solar system. To his left is a grief-stricken soldier, obsessed by whispered messages from a dead son. To his right is a pilot who hasn’t yet found the man she’s sworn to kill on sight. A vampire and its entourage of zombie bodyguards lurk in the shadows behind. And dead ahead, a handful of rapture-stricken monks takes them all to a meeting with something they will only call “The Angels of the Asteroids.”
Their pilgrimage brings Dan Bruks, the fossil man, face-to-face with the biggest evolutionary breakpoint since the origin of thought itself.
Before becoming a writer, Watts acquired a PhD in Zoology and Resource Ecology from the University of British Columbia, which makes me even more curious to see that Echopraxia appears to deal with the merging of biology and technology. Watts is known as one of the best authors at weaving intelligent scientific exploration and debate into the narratives of his story, and everything about the synopsis for Echopraxia tugs at my interests. Peter Watts can be trusted with big ideas, and Echopraxia appears to be full of them.
Watts’ most famous novel, Blindsight had, erm… less than inspiring cover art, so it’s nice to see Tor giving him the attention that a writer of his calibre deserves. There’s an obvious similarity to covers for James S.A. Corey’s enormously popular Expanse trilogy, but the clean typography separates the two and also brings to mind Tor’s equally impressive work on the John Harris covers for John C. Wright’s Count to the Eschaton Sequence. I’m not sure how anyone could pass this book in a bookstore and not pick it up.
Say one thing for John Scalzi, he gets some damn fine covers from his publisher. Scalzi describes the book as ‘a near-future thriller involving a disease that causes people to be “locked in” inside their own bodies,’ and indicates that he feels the cover captures this essence. Irene Gallo, Art Director at Tor Books, describes the creation of the cover, ‘You can often describe an art director’s job as being a match-maker for author and designer and the John/Peter pairing has been a good for us. [...] Peter [Lutjen] created a cover that expressed both their isolation and connectivity by painting tiny train model people.’
Tor.com has the first official synopsis of the novel:
Fifteen years from now, a new virus sweeps the globe. 95% of those afflicted experience nothing worse than fever and headaches. Four per cent suffer acute meningitis, creating the largest medical crisis in history. And one percent find themselves “locked in”—fully awake and aware, but unable to move or respond to Stimulus.
One per cent doesn’t seem like a lot. But in the United States, that’s 1.7 million people “locked in” …including the President’s wife and daughter. Spurred by grief and the sheer magnitude of the suffering, America undertakes a massive scientific initiative. Nothing can restore to the “locked in” the ability to control their own bodies. But two new technologies emerge. One is a virtual reality environment, “The Agora,” in which the locked-in can interact with other humans, both locked-in and not. The other is the discovery that a few rare individuals have brains that are receptive to being controlled by others, meaning that from time to time, those who are locked in can “ride” these people and use their bodies as if they were their own.
This skill is quickly regulated, licensed, bonded, and controlled. Nothing can go wrong. Certainly nobody would be tempted to misuse it, for murder, for political power, or worse…
Lock In, which Scalzi is in the processing of completing at the time this cover was revealed, is due for publication on August 26th, 2014.
“The blood-song rose with an unexpected tune, a warm hum mingling recognition with an impression of safety. He had a sense it was welcoming him home.”
Vaelin Al Sorna, warrior of the Sixth Order, called Darkblade, called Hope Killer. The greatest warrior of his day, and witness to the greatest defeat of his nation: King Janus’s vision of a Greater Unified Realm drowned in the blood of brave men fighting for a cause Vaelin alone knows was forged from a lie. Sick at heart, he comes home, determined to kill no more. Named Tower Lord of the Northern Reaches by King Janus’s grateful heir, he can perhaps find peace in a colder, more remote land far from the intrigues of a troubled Realm.
But those gifted with the blood-song are never destined to live a quiet life. Many died in King Janus’s wars, but many survived, and Vaelin is a target, not just for those seeking revenge but for those who know what he can do. The Faith has been sundered, and many have no doubt who their leader should be. The new King is weak, but his sister is strong. The blood-song is powerful, rich in warning and guidance in times of trouble, but is only a fraction of the power available to others who understand more of its mysteries. Something moves against the Realm, something that commands mighty forces, and Vaelin will find to his great regret that when faced with annihilation, even the most reluctant hand must eventually draw a sword.
Like the Terry Brooks cover revealed yesterday, I quite like the stylistic choice to use a rough, textured illustration reminiscent of more traditional hand-painted fantasy covers, like Darrell K. Sweet’s work in the ’80s (which was, despite modern opinion of his work, pretty darn cool.) Above that, it’s gritty (sigh) and in your face without falling entirely victim to the tired formula of hooded-man-looks-cool that I like to complain so loudly about. Continue reading
Terry Brooks’ next novel, The High Druid’s Blade, isn’t even out yet, but the cover for the follow-up novel, The Darkling Child, is already loosed on the world. (See what I did there? It’s like a demon from the Forbidding.) And, it’s just as pretty as the previous cover. I really like the rough, impressionistic quality of the painting they’ve used.
The Darkling Child is the second in The Defenders of Shannara, a loose trilogy of standalone Shannara novels that follow the events of Witch Wraith, Brooks’ most recently published novel. The High Druid’s Blade and The Darkling Child will be released in 2014.