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Author: Soyka

A Lot of Camelot: The Bright Sword by Lev Grossman

A Lot of Camelot: The Bright Sword by Lev Grossman

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The Bright Sword (Viking, July 16, 2024)

With no disrespect to J.R.R Tolkien, the King Arthur legend is arguably the  inspiration of much post World War II medieval-based fantasy. You’ve got your out-of-nowhere claimant to the throne, a magic sword, court intrigue, some side stories, romance, sorcery, betrayal but yet a kind of redemption. All the key ingredients.

Sure, Game of Thrones was based on the very real English Wars of the Roses, particularly the also very real violence and death of key personages. But let’s look at the long literary tradition of Arthurian stories: sourced from Welsh mythology and grafted into 12th century British histories more based on fancy than fact, eventually becoming the  Chrétien de Troyes romances and subsequently Thomas Malory’s Le Morte d’Arthur. From multiple sources and variations we wind our way through Tennyson’s The Lady of Shallot which in turn inspires various associated fictions, not the least of which includes Mark Twain’s A Connecticut Yankee in King Arthur’s Court. 

Fast forward to T.H. White’s The Once and Future King and its adaption by Lerner and Loewe musical Camelot (“If ever I would leave you, it wouldn’t be in summer…”).  With the assassination of John F. Kennedy, Camelot became a metaphor for “a shining moment” intervened by fate to extinguish, that nonetheless, like the Christ-like resurrection grafted on to the Arthurian mythos, may inspire future generations. (Only a cynic would make comparisons between Guenevere’s infidelity and Kennedy’s.)

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We No Longer Need Aliens to Feel Alienated: State of Paradise by Laura Van Den Berg

We No Longer Need Aliens to Feel Alienated: State of Paradise by Laura Van Den Berg

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State of Paradise (Picador paperback reprint, July 8, 2025). Cover art:
detail from Tiger in a Tropical Storm by Henri Rousseau, 1891

When I was a kid there was a public service announcement on TV that went something like “Attention: Aliens. You are required by law to report by January 31st.” This was because of the Alien Act of 1940, otherwise known as the Smith Act. Basically, the legislation made it illegal to advocate the violent overthrow of the U.S. government and provided for a tracking system of non-citizens who, in the context of Nazi occupation of Eastern Europe and its then alliance with the Soviet Union, were potential suspects of espionage and sabotage. (Fun fact: prosecutions for advocating overthrow of the government have been ruled as unconstitutional violations of the First Amendment, in case you were wondering how any nitwit on social media can mouth off about doing just that.)

But as I didn’t know anything about this, the announcement always conjured an image of big headed, bug-eyed tentacled Martians registering at the local post office. Which I thought pretty funny. One thing I’ve learned over the years, and particularly these days,  is that much of what adults say in all seriousness is often funny, but not in a “ha ha” way. More in a Jean Paul Sartre absurdist kind of way.

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Spies, Cowboys, Anarchists, O My: Polostan by Neal Stephenson

Spies, Cowboys, Anarchists, O My: Polostan by Neal Stephenson

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  Polostan (William Morrow, October 15, 2024). Cover art uncredited

If, like me, you are a Neal Stephenson fan, you know he has a tendency to get deep into the descriptive weeds. I sometimes imagine his editor suggesting, “Neal, do we really need all this detail?” And then Neal grouchily responds, “If I didn’t think the story needed it, I wouldn’t have written it.”

Case in point from his latest novel, Polostan, a depiction of the 1933 Chicago World’s Fair Century of Progress exhibition where the protagonist, Dawn Rae Bjornberg, also known as Aurora Maximovna Artemyeva, works shilling for a shoe salesman:

She went to the fair early and stayed late, for the work was easy and there were plenty of diversions — that being the point of a fair.  Her perambulations soon made her as conversant with the place as if it were an old city…As they were meant to, [the exhibits] drew visitors: 600 Norge salesmen on the B&O from Philly; 176 newsboys on the New York Central from Buffalo; 60 Episcopal bishops; 180 Civilian Conservation Corps workers en route to turpentine camps in the southeast; 100 Minnesota National Guard troops. Paramount Studios executives from Hollywood, Lions from St. Louis, Shriners from Fort Smith…

It goes on like this for quite a while.  Do we really need to know that “Five hundred employees of the National Carbon Coated Paper Company of Sturgis, Michigan, arrived on the same train as 270 members of the Jewish Socialist Verband from New York City.” Probably not; it doesn’t further the plot, though it does provide a sort of Proustian vibe.

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Play’s the Thing: Playground by Richard Powers

Play’s the Thing: Playground by Richard Powers

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Playground (W. W. Norton & Company, September 24, 2024)

The ocean covers approximately 70% of Earth’s surface. It’s the largest livable space on our planet, and there’s more life there than anywhere else on Earth…Despite its importance, the majority of our ocean is largely unknown…Scientists estimate there may be between 700,000 and 1 million species in the ocean (mostly animals and excluding most microorganisms, of which there are millions). Roughly two-thirds of these species, possibly more, have yet to be discovered or officially described.

— NOAA Ocean Exploration

The capacity to play began evolving millions of years ago; it appears to exist in animals dating back 500 million years.  As evolution created ever more complex animals, play capabilities expanded too; humans are the most complex and the most playful of all species.

— The National Institute for Play

In The Overstory, Richard Powers depicted the concentric connections of the world’s forests and the human tampering with, if you’ll pardon the pun, “roots” of the natural world.  In his latest novel, Playground, Powers explores the interrelations among life below and above the sea,  as well as the effects of AI on both. But the overstory, if you will, is about the importance and effects of play.

The titular playground is actually several playgrounds and types of play. Rafi Young, a Black scholarship kid, and Todd Keane, a white nepo baby, first meet at a prestigious Chicago high school, bonding first over chess and then over Go, an ancient Chinese board game of strategy played with stones.

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Gothic Noir: The Shadow of the Wind by Carlos Ruiz Zafón

Gothic Noir: The Shadow of the Wind by Carlos Ruiz Zafón

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The Shadow of the Wind (Penguin Books, February 1, 2005). Cover by Tal Goretsky

Shadow of the Wind is the English rendering of  La sombra del viento, the 2001 novel by Carlos Ruiz Zafón and the first (though a standalone story sans cliffhangers) in his five book Cemetery of Forgotten Books series, translated by Lucia Graves (a serendipitously appropriate last name and, as it happens, the daughter of poet and historical novelist Robert Graves, he of I Claudius and The White Goddess fame). I hope this is a literal translation as Shadow of the Wind perfectly captures the story’s gothic and noirish essence. We can’t actually see wind, nor does wind cast a shadow; rather we feel the wind, detecting by inference the sometimes destructive aftereffects of high winds. Or, to paraphrase as someone else famously put it, the allegory is blowing in the wind.

The titular Cemetery of Forgotten Books is a somewhat fantastical labyrinth repository of rare books. Unlike Julia Alvarez’s Cemetery of Untold Stories, where texts are buried and talk to one another in their afterlife, the Cemetery of Forgotten Books could be some idiosyncratic bookshop with obsessively weird stock accessible only to certain people, which is not that all different from certain kinds of booksellers.

But the touch of fantasy  is when our hero, Daniel Sempere, taken to the Cemetery of Forgotten Books by his bookshop owning father, is tasked to select one volume, and one volume only, he feels drawn to from among a complex maze of shelvings. That book is Shadows of the Wind  by Julian Carax, and, yes, we’re getting metafictional here. What kicks the plot off is that there are no other surviving copies of the work, Carax’s output having been destroyed in a warehouse fire of mysterious origins.

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Everyone Knows This is Nowhere: The Book of Elsewhere by Keanu Reeves and China Miéville

Everyone Knows This is Nowhere: The Book of Elsewhere by Keanu Reeves and China Miéville

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The Book of Elsewhere (Del Rey, July 23, 2024). Jacket design by Drusilla Adeline

Can someone who has been alive for 80,000 years find wonder and meaning in every day life? Would such an immortal still be capable of surprise, still uncertain about his own motivations, still unable to come to grips with the meaning of it all? After experiencing centuries upon centuries of the death of others, and frequently inflicting those deaths, do you become oblivious to the fate of mortal souls as just so many anthill denizens?

Is there anyone else out there like you? And why are you the way you are? Would the wish for mortality indicate a Freudian death wish, or instead a yearning to experience the existential perils and the perplexities of being that paradoxically imbue significance?

These are the intertwined questions posed by The Book of Elsewhere, a tie-in novel by Keanu Reeves and China Miéville based on BRZRKR, a 12-issue comic book (graphic novel?) co-written by Reeves. The title refers to when the protagonist suffers episodes of uncontrollable violence and goes “berserk” (get it?), although “suffer” is perhaps better applied to those in the line of fire of his rage.

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Not Fade Away: The Cemetery of Untold Stories by Julia Alvarez

Not Fade Away: The Cemetery of Untold Stories by Julia Alvarez

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The Cemetery of Untold Stories (Algonquin Books, April 2, 2024). Cover artist unknown

We live our life telling a story

Of what we’ve said and done

But lately you caused me to worry

That you’re spinning fiction

— Amanda Fish, “The Hard Way,” Kingdom

What perhaps separates humans from our fellow creatures is the capacity, indeed the compulsion, of storytelling. Hardly an original observation on my part (cf., The Stortelling Animal by Jonathan Gottschall), though for all we know the white whale biting off the mad captain’s leg is vocalized in Cetacea pods.

Stories, and discussions of stories, are why you are all reading here. Of course it’s not limited to the literate classes, as the rich oral tradition of ancient cultures demonstrates, not to mention the popularity among screen-addicts of  so-called “reality shows” of otherwise untalented people whose only achievement is being on a reality show. Though even that low level of celebrityhood is further diluted in an era where just about everyone has their own Instagram following.

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The Great Escapes: James, Kindred, The Reformatory by Percival Everett, Octavia Butler, and Tananarive Due

The Great Escapes: James, Kindred, The Reformatory by Percival Everett, Octavia Butler, and Tananarive Due

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James (Doubleday, March 19, 2024), Kindred (Doubleday,
July 1979), and The Reformatory (S&S/Saga Press, October 31, 2023

Percival Everett’s James is receiving a lot of well-deserved critical praise. As the title indicates (and the choice of the formal name a key trope), this reimagining of The Adventures of Huckleberry Finn elevates the escaped slave Jim from supporting stereotypical character to leading man status. Fearing he is about to be sold by his owner and separated from his family, James becomes a runaway not just for his own sake, but to find a way to free his wife and daughter. Along the way, he meets Huck who has just faked his death to escape an abusive father. So far we’re close to Twain’s original, and while Everett retains some events, the perspective shifts to focus on James’s journey towards safety and dignity.

As with many of Everett’s novels, James is a satire of white perceptions of Blacks, reinventing James as highly literate and articulate. In an ironic reversal of enslaver laws that prohibit educating slaves, all Blacks are well-spoken amongst themselves and only resort to uneducated and subservient slang when in presence of their white oppressors. James calls it a “slave filter”: “White folks expect us to sound a certain way and it can only help if we don’t disappoint them. The only ones who suffer when they are made to feel inferior is us.”

Highly recommended, as is just about anything in the Everett catalog.

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We Are All Time Traveling Together: The Ministry of Time by Kaliane Bradley

We Are All Time Traveling Together: The Ministry of Time by Kaliane Bradley

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The Ministry of Time (Avid Reader Press, May 7, 2024)

Perhaps second only to space travel, science fiction is obsessed with time travel and in particular the paradox that if we go back to the past, how do we affect the future; can we inadvertently or purposely alter our “present”? Sometimes the answer is that your somehow being in the past is essential to determining your present (e.g., Kindred by Octavia Butler where the protagonist travels back to antebellum South to ensure an ancestor stays alive). Other times the innocent butterfly effect (e.g., Ray Bradbury’s A Sound of Thunder) has disastrous consequences; even attempting something seemingly good, such as thwarting a presidential assassination, proves catastrophic (e.g., Stephen King’s 1/22/63 ). Then there’s the question of how visitors from the future to our present seek to change future events (e.g., the Terminator movie franchise).

H.G. Wells’s The Time Machine is a canonical SF work because it offers a technology, rather than magical intervention, that enables time travel (hence the title). In addition to its social criticism, The Time Machine is a quintessential adventure tale. The hero enters a strange land populated by equally strange different beings nonetheless still sort of like us, whose use of advanced technology causes disaster. The hero manages escape, but then mysteriously disappears, perhaps in search of something better than what awaits back home.

Which brings us to Kaliane Bradley’s Ministry of Time, in which she reverse-engineers a number of these time travel and adventure tropes.

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H. Bruce Franklin, February 28, 1934 — May 19, 2024

H. Bruce Franklin, February 28, 1934 — May 19, 2024

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H. Bruce Franklin

I was sad to learn that H(oward) Bruce Franklin, emeritus John Cotton Dana endowed Professor of English and American Studies at Rutgers University-Newark and author of numerous books, essays, and exhibitions related to science fiction, died at the age of 90 on May 19.  On a personal note, in grad school I took his seminar in science fiction studies, which reignited my interest in science fiction and prompted me to start writing about it. So, for better or worse, I probably wouldn’t be posting here were it not for Dr. Franklin.

During the 1960s, Dr. Franklin was fired from Stanford despite being tenured supposedly for inciting student anti-Vietnam war protests. A former Air Force navigator and intelligence office in the Strategic Air Command, he also resigned his commission in protest of that war.

While his range of published work ranged from Melville studies to prison literature to fish ecology, he frequently used science fiction as a lens to comment upon American history, particularly as it relates to Vietnam and the forever wars that extended to Iraq and Afghanistan.  He was awarded a number of honors, including the Science Fiction Research Association (SFRA) Pilgrim Award and Pioneer Award, as well as an Eaton Award. He was a Distinguished Scholar for the International Association for Fantastic in the Arts, and was a Guest Curator for the Star Trek and the Sixties exhibit at the Smithsonian and Hayden Planetarium. From its inception up until 2002, Dr. Franklin was a consulting editor of Science Fiction Studies.

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