The Goblin Emperor
Publisher: Tor Books -
Pages: 448 -
Once upon a time there was a book. In the first twenty pages it had like a bajillion names, several dozen instances of archaic speech patterns, and quite a bit of moping. I was instantly willing to hate it. But, because I’m a true critic of the arts, I continued. Also, because I can’t really beat a book up unless I finish it, right? I admit to doing this on occasion. However, as I continued to read Katherine Addison’s The Goblin Emperor, I became enthralled. What was off-putting became second nature and beneath it was revealed a gorgeous narrative, a lush world, and dozens of fascinating characters. While there remains an absurd indulgence in complicated naming mechanisms, Addison’s fantasy novel rates among the best I’ve read.
Katherine Addison is a genius
Every book has a story, and The Goblin Emperor‘s begins long before it was published. Katherine Addison is actually Sarah Monette, a critically acclaimed author of four novels for Ace Books. Unfortunately, those books didn’t sell very well. The Goblin Emperor was submitted to Ace and rejected, forcing Monette to shop the project elsewhere. Purchased by the Jim Frankel (who has had some problems subsequently) at Tor, the novel found a home. Monette became Katherine Addison because bookstores aren’t big fans of authors who don’t sell real well, but are easily mollified with byline changes. I mention this because I have no idea whether Monette can write her way out of a paper bag, but Katherine Addison is a genius and Ace should be totally bummed they didn’t buy The Goblin Emperor. Read More »
The Raven Boys
Publisher: Scholastic Press -
Pages: 416 -
Set in Henrietta, Virginia, Maggie Stiefvater’s The Raven Boys exhibits characteristics of the “southern novel”, a form I associate strongly with Tom Wolfe or Harper Lee. Novels of the American South tend to focus on the gross inequalities that exist there, often couched in racial terms, but also the nature of inherited wealth juxtaposed with the lack of opportunity that exists in the more urban centers. In the case of The Raven Boys, Stiefvater creates that paradigm between Blue Sargent, daughter to a poor, but comfortable, and exceedingly proficient psychic, and four boys from Aglionby, a feeder high school for the Ivy League.
The Raven Boys is an examination of the power dynamics between people.
For all her life, Blue has been warned that Aglionby boys are trouble. They’re rich and live by a code that means the rules don’t apply to them. These Aglionby boys–Gansey, Adam, Ronan, and Noah–would be no different, except they can’t accept the lives they’ve been given. They want something more, for themselves and for each other. Bound up in a brotherhood dedicated to uncovering a measure of magic in the world, the boys come to Blue and her family for help. While the story is a quest, the novel is hardly about it at all. Not just about the unequal nature of the American South, The Raven Boys is an examination of the power dynamics between people. The power we give to others over us, and the power we reserve for ourselves. In other words, it’s a novel of character and the connections that bind them together. Read More »
The Violent Century
Publisher: Hodder & Stoughton -
Pages: 353 -
Lavie Tidhar’s The Violent Century has done for World War II what The Watchmen did for the Cold War (and should have done for the Vietnam War). I make that comparison not because both feature humans with superpowers, but because they offer an opportunity to look at real events through a hyperbolic layer. Tidhar, like Alan Moore, is interrogating real events with the speculative fiction toolkit, looking not at how it happened historically, but at what about the human condition allowed it. The result, in Violent Century’s case isn’t just a great piece of superhero fiction, but a beautiful novel of cultural and literary merit.
[The Violent Century] is the kind of stilted romance built on repressed feelings and unspoken connections.
The jacket copy of the novel reads, “Fogg and Oblivion must face up a past of terrible war and unacknowledged heroism to answer one last, impossible question: what makes a hero” I’m loathe to sum it up so simply. While there are some notions of heroism throughout the novel, the quote describes what a fan reckons a superhero novel ought to be without a sense of the novel’s real themes. In the end, The Violent Century is a love story. Not a tale of heroism or social commentary, although it is those things too, Tidhar’s novel is the kind of stilted romance built on repressed feelings and unspoken connections.
For seventy years Oblivion and Fogg have guarded the British Empire with their abilities as arms of the opaque Retirement Bureau. Divided by a secret from decades past the pair is called back to answer for their actions. Fogg is a child of neglect, exploited for his ability, and asked to do things he finds incongruent with his morality. Oblivion, meanwhile, is more of a cipher, a mystery to solve. There’s also a woman named Klara who sits at the root of the conflict between the novel’s main characters and at the root of how Tidhar’s world is changed from our own. Read More »
Publisher: Night Shade Books -
Pages: 320 -
Books like Zachary Jernigan’s No Return are the primary reason why the Night Shade Books collapse was a crying shame. It is bold, edgy, daring, and uneven in spots, making it both exactly the kind of book that demands to be published and one that is likely to be passed over by larger houses. In all, No Return is a quirky mash-up of speculative genres drawn into a thoroughly compelling package before petering out in the last twenty pages. While that might sound damning with faint praise, I insist that it’s a book that should be read.
Despite exceptional writing and a mind blowingly original concept, the novel ends abruptly with little resolution.
The reality is Jernigan had no shortage of capable hands guiding him as he wrote No Return. Written mostly, if not in full, during his time in the Stonecoast MFA program, his advisers were Elizabeth Hand and David Anthony Durham. But, despite exceptional writing and a mind-blowingly original concept, the novel ends abruptly with little resolution (if any) of the two disparate plot lines. I say disparate because there’s a clear intent that the story lines connect, but they never do. Even as the novel winds to a close and the plot seems ready to stitch together, Jernigan abruptly snips the chain and carries the plot into the uncertain future of a second novel.
On the planet Jeroun, God (or Adrash if you prefer) is a vindictive son of a bitch watching from the heavens and occasionally hurtling metal meteors to the earth to punish his flock. Among the human population two ‘churches’ have emerged, the white and black suits, who oppose one another on the basis of whether God exists. One half of the plot leads up to a fighting tournament between these two factions, who have become accustomed to justifying the strength of their argument through strength of arms. This portion of No Return features Vedas, one of the black suits’ best bets to win the tournament. He travels across the countryside, joined by a female pit fighter, Churls, and an artificial man, Berun, who are heading to a secular companion tournament. Read More »
Herald of the Storm
Publisher: Headline -
Pages: 400 -
Richard Ford made me into Emperor Palpatine because all I could think reading the opening chapters of Herald of the Storm was, ‘Patience my friend. . .’ None are particularly boring, but they are exhausting. Ford takes eight chapters and some hundred pages before a point of view character is revisited. With only 398 pages to work with, so many characters left the novel rushed and me not particularly invested in anyone’s fate.
Herald of the Storm opens with a herald (stunning right?), coming to the city of Steelhaven. He brings word of his employer’s intent to defeat King Cael in the north, and offers deals to those within the city who will aid him. Despite the rebellion he sows, the populace seems content in their ignorance and life goes on as normal to one degree or another–officials squander their wealth, assassins and thieves lurk in the shadows, and agendas run rampant. Read More »