Black Gate

Know what I’ve always wanted to see in a past-lives-intrude-on-present story? A protagonist who finds out about her past lives and, instead of taking that as an immediate mandate to robot out the dubious decisions of her previous selves, tries something new. Were you married to someone in a past life? Okay, but that doesn’t mean you have to marry him again. I mean, what if he was a thug or a dud? If a story’s world dictates that people are supposed to improve themselves, right their wrongs, grow as spirits as they progress through their incarnations, I would like to see reincarnation used for something other than an idiot plot, a transparent cheat on the part of so many authors. If some old decision is going to get remade, it should have to earn the remaking. For pete’s sake, somebody write me a reincarnated skeptic!

And now I have what I’ve always wanted.

If Kelly Ann Jacobson’s sequels to the slender YA volume Dreamweaver Road can keep up what’s working here, we may get to read a story that happens to include reincarnation without being shackled by it. Maybe that’s one of the things that can happen now, in this weird new age when writers like Chabon and Lethem have forced the mainstream to make its peace with genre writing enough so that an MFA candidate at Johns Hopkins can write fantasy openly. The MFA polish also seems to have resulted in a little more music in the sentences than YA novels generally have, which is all to the good.

Our heroine Zoey is a sixteen-year-old farm girl when she comes into her powers. She’s been picking those powers up gradually over many lifetimes, mostly by making mistakes that get her killed. At the book’s opening, she remembers none of those other lives and the mistake she’s looking to set right is one she made just a year ago.

She thinks her quest is to find her best friend, who was stolen away by an unknown enemy that seems to have guessed wrong about which kid had the magic. It’s bigger than that. Much bigger.

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This book is the strangest thing I’ve ever read.

Within the first hundred pages, you’re treated to a seven foot man made of meat, wig monsters from another dimension, a man with the ability to communicate through a bratwurst, a dude taken over by small glowing alien things with a penchant for punching people in the balls, a hamburger that screams as you eat it, and a weirdo with a pseudo-Jamaican accent who can tell everything about you at just a glance.

And it never lets up from there; Wong somehow manages to produce a steady stream of balls-to-the-wall crazy throughout. It’s delirious, insane, and stark raving mad. If this book were a person, he would charge into the street and head-butt the first person he sees, before flying away with David Bowie and a dragon. This book is John Dies at the End by David Wong.

John Dies at the End follows the somewhat delirious exploits of David and his best friend, John, who’s never given a last name. This is where anyone else would talk about the plot, but it’s the kind of thing you need to actually read yourself to really appreciate. But I’m going to try anyway, just for you.

Dave and John are kind of like Ghostbusters, except with more swearing and fewer crappy sequels. They deal with paranormal occurrences in their town and its surrounding area, and in doing so have attracted something of a cult following, which arouses the interest of a reporter, Arnie, who interviews Dave about his experiences and the events leading up to him becoming a kind of paranormal detective guy. The story Dave tells Arnie is the story he tells us.

In short, he and John stumble across a drug called “soy sauce,” which heightens the user’s senses to an extreme level and gives them a window into another plane of existence. From here, the two embark on an adventure of Moorcockian proportions: uncovering a dark conspiracy, going to other planes, alternate dimensions, fighting aliens with a flamethrower made from a squirt gun, and meeting a supreme being called Korrok.

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“Your commander reaches for yonder stars and gods do eye him. And there are more Fates in the wide worlds of men than those whom he has aided.” – from The Fish, the Fighters and the Song Girl.

The Fish, the Fighters and the Song Girl
Janet Morris and Chris Morris
Revised Author’s Cut, published by Perseid Press (386 pages, May 24, 2012, $24.95)
Cover art: Peter Paul Rubens, “The Consequences of War” (detail), 1637-1638

The team of Janet Morris and Chris Morris once again grace us with another excellent collection of Homeric Heroic Fantasy, featuring Tempus, Niko and their Sacred Band of Stepsons. This compilation is comprised of both new stories and earlier tales, herein revised from the original Thieves’ World® series, stories such as “What Women Do Best,” “Power Play,” and “Sanctuary is for Lovers.” Brand-new tales, written especially for this book, include “Shelter from the Storm,” “Lemnian Deed,” “Ravener, Where Art Thou?” and the title story.

All the magic, action, adventure, humor and human drama I’ve come to expect from Janet and Chris Morris are here in spades, and there are enough revelations and plot twists along the way to keep you on your toes.

This collection takes place after the Morris’ masterpiece, The Sacred Band, and gives us more of the history of the Sacred Band as Tempus takes his Stepsons and Thebans north, a world away, into unexplored regions and a mythic country. Though they are courageous, these fighters, they are no strangers to fear. Though they are warriors, hard and tough, they are not immune to love and compassion, to decency and common humanity.

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When I first read about Annihilation, the opening novel in Jeff VanderMeer’s Southern Reach trilogy, it was described as a cross between Lovecraft and the television show Lost. Given VanderMeer’s well-known and impressive status in the SF&F field and since I’m such a sucker for anything described as “Lovecraftian” — and since I also loved Lost (at least the first few seasons) — I waited with eagerness for it to arrive in the mail.

As soon as it did, I plowed through it in about four hours — it was a quick and engrossing page-turner. It is very much a “weird” book, filled with many mysteries and queer goings-on.

The story centers on a small expedition that sets out to explore Area X, an expanse of southern coastland that has evidently been “captured” (it’s difficult to describe exactly what has happened in Area X) by some sort of unexplained anomaly, making entering and exiting the area very difficult.

The expedition in question is peopled by four unnamed women, designated by only their respective professions: the Anthropologist, the Psychologist, the Surveyor, and the Biologist — our viewpoint character. Their purpose is to collect data about Area X and report back to their government agency, The Southern Reach.

We know that this particular expedition is the most recent in a series of unsuccessful missions. We are told that previous expeditions either failed to return, ended badly in some way, or had group members who returned traumatized with little or no knowledge of their trips to Area X.

This setup is intriguing on its own. But the mysteries begin to pile upon one another very quickly as we progress into the story.

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