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Month: March 2020

Having It Both Ways: James Blish’s A Case of Conscience

Having It Both Ways: James Blish’s A Case of Conscience

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A Case of Conscience by James Blish. First Edition: Ballantine Books, 1958.
Cover by Richard Powers (click to enlarge)

A Case of Conscience
by James Blish
Ballantine Books (188 pages, $0.35 in paperback, April 1958)

James Blish’s 1958 novel A Case of Conscience, a Hugo Award winner in 1959, is one of the most famous SF novels that deals with religion. (The other major 1950s novel concerning religion is Walter M. Miller, Jr.’s A Canticle for Leibowitz, which I’ve also reread recently).

There aren’t many SF novels dealing with the religion, and it’s easy to understand why; science fiction and religion would seem to be at cross purposes. Religion typically entails belief in supernatural beings, claims about the nature of reality (e.g. the origin of the universe), and deference to ancient authority, while science fiction is about the possibilities of our understanding the universe on the basis of the evidence it presents us, and, like science itself, disregards ancient authority. How to reconcile these aims? Any SF story that presupposed the truth of this or that religion would, in practice, be placed in the religious fiction corner of the bookstore (or in one of the numerous specialty bookstores devoted to one religion or another). While books or stories that imagine that angels, or fairies, or gods are real in the supernatural sense would, within our genres, be classified as fantasy.

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Monsters, Pirates, and Ghosts: The Revenger Series by Alastair Reynolds

Monsters, Pirates, and Ghosts: The Revenger Series by Alastair Reynolds

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Cover designs by Blacksheep and Lauren Panepinto

The Revenger series is one of the most successful SF series in recent memory. Opening novel Revenger (2017) was nominated for the Philip K. Dick Award, and won the Locus Award for Best Young Adult Book; SFX called it “By far the most enjoyable book Reynolds has ever written.” Sequel Shadow Captain arrived last year, and quickly won over critics; the Guardian called it “A swashbuckling thriller — Pirates of the Caribbean meets Firefly.” What’s it all about? The Daily Telegraph summed up the first two volumes expertly:

Returning to the universe of Revenger, award-winning author Alastair Reynolds delivers another thrilling tale set among the stars. Two sisters ran away from home to join the crew of a spaceship. They took on pirates, faced down monsters and survived massacres… and now they’re in charge. Captaining a fearsome ship of their own, adventures are theirs for the taking — and there’s hoards to loot and treasures to find in the darkest reaches of space. But the rules are also more relaxed out on the fringes, as they’re about to discover… A rollicking adventure yarn with action, abduction, fights, properly scary hazards, very grisly torture and even ghosts of a sort.

Pirates, monsters, ghosts…. that’s a whole lot in one package. Everyone knows that all the best series come in threes, and sure enough the third volume in Alastair Reynolds’ series arrives next month. Here’s the details.

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Stories That Work: “The Valley of the Speaking Flames” by B. Pladek, and “Where a Good Town May Take Us” by Andi C. Buchanan, in Abyss & Apex

Stories That Work: “The Valley of the Speaking Flames” by B. Pladek, and “Where a Good Town May Take Us” by Andi C. Buchanan, in Abyss & Apex

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Eccentric stories stick with me better than classifiable ones. Robert Heinlein’s great time travel piece, “All You Zombies,” for example, was eccentric within the category of time travel stories, so much so that it felt like an outlier. It didn’t fit. Even now, where time travel as a premise is way more prevalent, “All You Zombies” startles.

I like teaching that story to high schoolers. It’s a great in-class science fiction IQ piece. I have them read it silently. The kids who can do the sideways thinking that the best science fiction asks of us all gasp at the same place in the story (really! They react physically). They want to turn around in their seats to talk to a neighbor. “Do you get it?” they ask. “What a mind trip!”

Here’s a one-question quiz to test whether a first time reader of “All You Zombies” understood the story: What do the bartender, the unwed mother, the city slicker and Jane have in common?

The eccentric stuff is better. Harlan Ellison’s “Croatoan,” Connie Willis’s Lincoln’s Dreams, Kelly Link’s “The Faery Handbag,” Neil Gaiman’s Neverwhere, and just about anything by Howard Waldrop are hard to lump in with their peers.

So, when I want a straight dose of the eccentric, the memorable, I often turn to a small-press magazine, the Hugo finalist Abyss & Apex, edited by Wendy S. Delmater.

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Vintage Treasures: Great Work of Time by John Crowley

Vintage Treasures: Great Work of Time by John Crowley

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Great Work of Time (Bantam Spectra, 1991). Cover by Thomas Canty

“Great Work of Time” was originally published in John Crowley’s 1989 collection Novelty. It was nominated for the Locus and Nebula Awards, and won the World Fantasy Award for Best Novella. Two years later it was published in a standalone paperback edition by Lou Aronica at Bantam Spectra, with a handsome cover by Thomas Canty (above).

Great Work of Time is a time travel story, featuring a secret society at work to prevent World War I and preserve and strengthen the British Empire. The Washington Post calls it “dazzling, Escher-like,” and it has been warmly reviewed in many other places over the years. But my favorite review is a modest Goodreads post by a user named Daniel, which aims to articulate part of the magic of this small tome. It reads, in part,

This general theory of effect is nothing new to the genre of time-travel, yet in his explication of this phenomenon, and in his execution of the story set forth in “Great Work of Time,” Crowley has accomplished something novel and frightening: novel, because the theory that he posits for time travel gives birth to a puzzle-box of plots, each one linked to the other in a myriad ways that a lesser writer would find impossible to describe with mere prose; frightening, because Crowley directs his characters to employ this multifaceted instrument in the continuation and perfection of no less a behemoth than the British Empire.

Once the Big Idea of this novella makes its appearance, its connotations loom like a massive, starlit guillotine, its razored face poised above the great works proposed by Crowley’s characters, its fatal fall held back by a few tenuous questions. Yes, these time benders seek to do good and only good for all of humanity — but who are they to say what is good? Yes, they seek to erase the lines of power that tie men and nations together — but are they not themselves the source of a greater power, one that holds dominion over every possible reality?

These questions frightened me as soon as they appeared, and I wondered if Crowley would approach them in this novella of such modest size. And when he not only touched upon these questions, but traced them all the way to their conclusions, I was left stunned by what I read, and what the words made me see.

Great Work of Time was published by Bantam Spectra in August 1991. It is 136 pages, priced at $3.99. The cover is by Thomas Canty. It has been reprinted over half a dozen times since, including in David Hartwell’s 1,005-page classic The Science Fiction Century (1997), A Science Fiction Omnibus (2007), edited by Brian Aldiss, and most recently in the May 2018 issue of Lightspeed magazine, edited by John Joseph Adams. See our previous John Crowley coverage here, and all our recent Vintage Treasures here.

It’s a Dog Eat Dog World in Racoon Tycoon

It’s a Dog Eat Dog World in Racoon Tycoon

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Different games appeal to me for different reasons. Coriolis and Cold and Dark interest me because I like dark science fiction adventure; I enjoy Starfinder because I like a richly inventive settings. Sometimes, though, it’s a little harder to quantify.

Take Raccoon Tycoon, for example. I’ve wanted to play this game since the instant I laid eyes on it. Why? Who knows! Maybe it’s the evocative and colorful cover scene. Maybe it’s the name. Whatever the case, I ordered this game as soon as I learned it existed at Gen Con this summer, and I’m glad I did.

Raccoon Tycoon is a family game for 2-5 players that simulates an economic boom in the bustling woodland town of Astoria, which is populated by a diverse range of ambitious critters. Players are enterprising investors and business folk ready to cash in on this new era of opportunity, all making money the old-fashioned way: exploiting production of the goods, playing a fluctuating market, and profiting off growth. To aid players with all this imaginative play the game’s creators have commissioned top-notch artwork that brings the various personalities to life in compelling ways. Just have a look at the board and the playing pieces, and see if you can resist the unique charm of this game.

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New Treasures: House of Earth and Blood by Sarah J. Maas

New Treasures: House of Earth and Blood by Sarah J. Maas

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Cover by Carlos Quevado

Sarah J. Maas is the bestselling author of two enormously popular young adult series, Throne of Glass and A Court of Thorns and Roses, which Elizabeth Galewski called “A classic high fantasy.” House of Earth and Blood is the opening volume in Crescent City, her first adult series. Not every author can make a smooth transition from YA to adult fiction, but House of Earth of Blood has the basics of epic fantasy right. By which I mean it’s huge, a whopping 803 pages. Maureen Lee Lenker at Entertainment Weekly says “it earns the more mature label, with depictions of toe-curling sex, explicit violence, and liberal swearing (don’t worry, we won’t tell your parents).” Here’s the description.

Bryce Quinlan had the perfect life — working hard all day and partying all night — until a demon murdered her closest friends, leaving her bereft, wounded, and alone. When the accused is behind bars but the crimes start up again, Bryce finds herself at the heart of the investigation. She’ll do whatever it takes to avenge their deaths.

Hunt Athalar is a notorious Fallen angel, now enslaved to the Archangels he once attempted to overthrow. His brutal skills and incredible strength have been set to one purpose — to assassinate his boss’s enemies, no questions asked. But with a demon wreaking havoc in the city, he’s offered an irresistible deal: help Bryce find the murderer, and his freedom will be within reach.

As Bryce and Hunt dig deep into Crescent City’s underbelly, they discover a dark power that threatens everything and everyone they hold dear, and they find, in each other, a blazing passion — one that could set them both free, if they’d only let it.

House of Earth and Blood will be published by Bloomsbury Publishing tomorrow, March 3, 2020. It is 803 pages, priced at $28 in hardcover and $19.60 in digital formats. The striking cover and endpapers are by Carlos Quevado. See all our recent New Treasures here.

The Public Life of Sherlock Holmes: Poirot’s The Hollow & Holmes

The Public Life of Sherlock Holmes: Poirot’s The Hollow & Holmes

Poirot_HollowFoxA few years ago, I wrote about David Suchet’s superb performance as Agatha Christie’s Poirot a. Unfortunately, Netflix lost that show before I had finished watching every episode. So, once in a while, I still catch one of those which I haven’t seen yet. And recently I saw The Hollow, which was episode four (of four) in season nine.

The Hollow sees Poirot vacationing in a country cottage. This of course means, there’s a dead body due to turn up. John Christow is one of the guests, as is his wife Gerda, and his mistress Henrietta. When his ex-flame Veronica shows up and they have sex, it’s no surprise he shortly ends up dead, with wife standing over him, gun in hand, and mistress (and another person) present as well.

It’s another wonderful outing for Suchet. As I said in the aforementioned article, “I don’t know that we can expect to see a superior version down the line.” When a key piece of evidence is mishandled, Poirot’s angry look speaks volumes. It’s hard to explain how Suchet’s understated performance dominates every scene he’s in. The plot is twisty enough that I didn’t solve it: the norm for me with Poirot. There’s plenty of depth to the character’s emotions so that it all makes sense.

But what I noticed, as the episode went on, is that there are several Sherlockian connections in this episode. Sir Henry Angkatell and his wife, Lucy, invite Poirot to their country manor for dinner. That’s where the murder occurs the next morning. Henry is played by none other than Edward Hardwicke.

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Captured at Capricon: The Best of Greg Egan

Captured at Capricon: The Best of Greg Egan

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Cover by David Ho

I attended Capricon, a friendly science fiction convention here in Chicago, last month. And as usual I spent much of my time wandering the Dealer’s Room, looking for bargains. As I often do I ended up at Greg Ketter’s Dreamhaven booth, where he had a bunch of discount paperbacks. (Yes, I needed a box to get back to my car.) But the most interesting purchase I made wasn’t a vintage Robert Silverberg or A.E. Van Vogt paperback, but a copy of The Best of Greg Egan, the new (and monstrously huge) retrospective collection from Subterranean Press.

I’ve read Egan almost exclusively at short length, and I’ve been very impressed (especially tales like “Reasons to be Cheerful,” the story of a man who slowly learns to reprogram his own personality after a near-fatal brain injury, which I read in Interzone), so this was a very easy decision to make. The collection has been well reviewed at Publishers Weekly (“Egan’s talent for creating well-drawn characters shines”), and Library Journal (“The author’s brand of hard sf is captivating, approachable, and not overly technical”), but the best review I’ve found is Russell Letson’s lengthy feature at Locus Online.

‘Unstable Orbits in the Space of Lies’’ lies somewhere between a Borgesian fable and an old Galaxy-style comic inferno: a literalized metaphor worked out with science-fictional rigor, as an epistemological hobo tries to maintain some independence of mind as he navigates an urban landscape that has been fractured by ‘‘attractors’’ into competing ideological precincts. The physical environment of ‘‘Into Darkness’’ is one of Egan’s topological puzzles, an intruding wormhole through which the narrator moves to rescue people trapped by its alien geometry and physical laws. The story framework is a tense and effective physical adventure, while at the same time the narrator recognizes the metaphorical properties of the space he is traversing.

As massive as this book is (it weighs in at 731 pages), it’s a relative bargain, priced at $45 in hardcover.

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Future Treasures: Dragon Age: Tevinter Nights edited by Chris Bain, Patrick Weekes, Matthew Goldman, and Christopher Morgan

Future Treasures: Dragon Age: Tevinter Nights edited by Chris Bain, Patrick Weekes, Matthew Goldman, and Christopher Morgan

Dragon Age Tevinter Nights-smallDragon Age is one of my favorite computer role playing games. It was the 11th title released by legendary Canadian development house Bioware, creator of Baldur’s Gate, Star Wars: Knights of the Old Republic, and Mass Effect.

Dragon Age was a major hit, and was nurtured into a multi-million dollar cross-platform property, with half a dozen novels, a tabletop RPG, comics and graphic novels, action figures, and even an anime film, Dragon Age: Dawn of the Seeker. Properties like that don’t die easily, and even though Dragon Age was released over a decade ago, in 2009, it continues to live on. Two sequels, Dragon Age II and Dragon Age: Inquisition (which Elizabeth Cady reviewed for us here), were released in 2011 and 2014, and a fourth installment, Dragon Age: The Dread Wolf Rises, was announced on December 6, 2018.

There’s plenty of excitement and speculation about that latter release, of course. First, players want to know when it will be released (2022… maybe?), and whether it will directly follow the events of Inquisition. A major clue arrives this month in the form of Dragon Age: Tevinter Nights, a collection of short stories co-edited by Dragon Age 4’s lead writer Patrick Weekes, which — no surprise — has triggered healthy speculation that the Tevinter Imperium will be the setting for the next installment.

We received a review copy last week, and I admit my first question is a little more mundane: how does it hold up as an anthology? Is it a worthy introduction to one of the cornerstones of modern computer role playing, or is strictly for fans only?

I’ll have to dig into it to find out, but on the surface it looks pretty promising. It’s certainly beautifully produced, with a fold out color map of the world of Thedas in the front (see below), and no less than fifteen stories by a Who’s Who of Bioware staff writers, including Sylvia Feketekuty (Lair of the Shadow Broker DLC, Mass Effect 3), John Epler (Narrative Director for the Dragon Age series), Lukas Kristjanson (lead writer of Baldur’s Gate), and Patrick Weekes (Lead Writer for the Dragon Age series).

This is a rare opportunity to sample the writing of the senior creative talents at one of the most successful gaming companies on the planet, the folks who’ve curated some of the most enduring fantasy properties of the last twenty years. As an added bonus, you’ll get clues to the storyline of one of the industry’s big new releases…. and what’s more cool than being in the know ahead of all your friends?

Here’s the publisher’s description for the book.

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