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Birthday Reviews: Catherynne M. Valente’s “A Buyer’s Guide to Maps of Antarctica”

Birthday Reviews: Catherynne M. Valente’s “A Buyer’s Guide to Maps of Antarctica”

Clarkesworld
Clarkesworld

Catherynne M. Valente was born on May 5, 1979.

She began publishing poetry and fiction in 2004 with the appearance of the poem “The Oracle Alone” and the novel The Labyrinth. She has won the Hugo Award twice for her work on SF Squeecast and won the Andre Norton Award for The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making, which had only appeared on her website at the time.

Her novel The Orphan’s Tale: In the Night Garden received the James Tiptree, Jr. Memorial Award and, along with its sequel Orphan’s Tale: In the Cities of Coin and Space, the Mythopoeic Award. Her short story “The Future Is Blue” earned Valente a Theodore Sturgeon Memorial Award. She won the Lambda Award for her novel Palimpsest and her poem “The Seven Devils of Central California” was recognized with the Rhysling Award. Valente has also won five Locus Awards, two each in the novella and young adult book category and one in the novelette category.

“A Buyer’s Guide to Maps of Antarctica” was originally purchased by Neil Clarke and Nick Mamatas for Clarkesworld issue 20, published in May 2008. David G. Hartwell and Kathryn Cramer selected the story for Year’s Best Fantasy 9 and Rich Horton reprinted it in Unplugged: The Web’s Best Sci-Fi & Fantasy: 2008 Download. The story was also used in Realms 2: The Second Year of Clarkesworld Magazine and Valente reprinted it in her collection Ventriloquism. It was nominated for the World Fantasy Award for Best Short Fiction.

Maps are cool, and although Valente doesn’t include any actual maps in “A Buyer’s Guide to Maps of Antarctica,” she does provide detailed descriptions of six fictional maps of Antarctica and the South Orkney Islands. Her descriptions, written as if they appeared in an auction house catalog, go far beyond simply providing details of the map.

Valente’s catalog entries paint a picture of two very different cartographers whose lives and interests intertwined. Nahuel Acuña is a serious cartographer who does his best, often under trying conditions, to accurately map the edges of the world. His quest is aided by his ability to garner funding from a variety of sources. On the other hand, Villalba Maldonado, who was on the same initial voyage as Acuña, and scrambles for any money in pursuit his interests, seems to relish depicting the world as he would like it to be, as well as trolling his rival with his creations.

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In 500 Words or Less: The City of Brass by S.A. Chakraborty

In 500 Words or Less: The City of Brass by S.A. Chakraborty

The City of Brass-smallThe City of Brass
By S.A. Chakraborty
HarperCollins (544 pages, $16.99 paperback, $12.99 eBook, November 2017)

There are creatures and elements of the supernatural that appear in popular culture from time to time, earning a reaction of “ooh, look, it’s a ___________!” (At least from me; I don’t know about other people.) When I read the premise for City of Brass and saw that it focused on djinn and demons, I was intrigued right away – I mean, genies are cool.

The best part about Chakraborty’s take on djinn, ifrit and other associated beings is that they aren’t sensationalized or exoticized like we see on shows like Supernatural or Buffy. Between her personal background, a significant writing talent and what I can only imagine was a lot of research, Chakraborty creates a world that’s nuanced and detailed. It has exactly the vivid freshness we continue to need in the fantasy genre, as a balance for the variations on the same Eurocentric worldviews that are still widely common. When I teach my students about promoting diversity in speculative fiction, City of Brass will be one of the examples I hold up.

But the novel is much more than its world – at the end of the day, my interest is always characters. Our two main protagonists, Cairo street urchin Nahri and immortal warrior Dara, are great counterparts; they’re equally passionate and protective, but in different ways, and both are seeking to find their place in the world. I’ll admit that I groaned a bit at the first signs of romance between them (it begins early enough in the novel that I’m not really spoiling anything) but the way that this romance develops and progresses later doesn’t follow a typical narrative course, and so it won me over. Meanwhile, protagonist Alizayd’s journey is just as compelling, as he navigates loyalty to his family and his belief in what’s right, amid the cultural politics of the daeva.

That said, there’s so much built into City of Brass that I’d periodically lose track of certain details. For example, it’s mentioned early that Nahri aspires to escape Cairo and attend medical school; about a third of the novel later, when she’s working as a healer under very different circumstances and laments that old aspiration, I had to remind myself “Right, this is what she always wanted” because of how much had happened in between.

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Birthday Reviews: Shaenon K. Garrity’s “To Whatever”

Birthday Reviews: Shaenon K. Garrity’s “To Whatever”

The Cackle of Cthulhu-small
Cover by Dave Seeley

Shaenon K. Garrity was born on May 4, 1978.

Garrity is best known for creating the on-line comic Narbonic in 2000. She has also worked as an editor for Viz Media and has had a hand in numerous cartoons, comics, and manga. Garrity’s first prose short story “Prison Knife Fight” appeared in Machine of Death in 2010, and she has published additional short fiction over the years. In 2005 she received the Outstanding Writers Award from the Web Cartoonist’s Choice Awards. The same year she was named co-Lulu of the Year by the friends of Lulu.

Her story “To Whatever” originally appeared on episode #335 of The Drabblecast, edited by Norm Sherman, on August 17, 2014. It received its first print appearance in Alex Shvartsman’s collection The Cackle of Cthulhu, published by Baen Books in 2018.

The stories of the Cthulhu mythos are generally designed to touch on the horror of the unknown. Although this concept plays into Garrity’s epistolary story “To Whatever,” she also takes a look at the other side of the coin. Ethan is aware that there is something strange living in the walls of his apartment, but rather than allowing it to scare him away or drive him crazy, as so often happens in stories of the Cthulhu cycle, he befriends the creature, feeding it, playing games with it, and watching television with it, although he never looks at it.

Ethan’s roommate, however, becomes jealous when Ethan starts spending time with Willem, a new tenant in the building. Although Willem does begin to exhibit the signs of going through a more traditional Lovecraftian response to the proximity of an ancient one, because the story is told from Ethan’s point of view, the horror is sublimated.

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Birthday Reviews: Michael Cadnum’s “The Elf Trap”

Birthday Reviews: Michael Cadnum’s “The Elf Trap”

Cover by Michael Garland
Cover by Michael Garland

Michael Cadnum was born on May 3, 1949.

His first novel Nightlight was published in 1990, and he published three more novels the next year. His other works include Ghostwright, The Judas Glass, and Nightsong: The Legend of Orpheus and Eurydice. In addition to novels and short fiction Cadnum also writes poetry, and he received a National Endowment of the Arts fellowship for his poetry. His short fiction has been collected in Can’t Catch Me and Other Twice-Told Tales, Earthquake Murder, and other collections. In novels Starfall and Nightsong deal with mythical themes, while In a Dark Wood and Forbidden Forest explore the Robin Hood mythos.

Cadnum’s story “Elf Trap” was originally published in the April 2001 issue of The Magazine of Fantasy and Science Fiction, edited by Gordon van Gelder. In 2006 Cadnum included the story in his collection Can’t Catch Me and Other Twice-Told Tales, published by Tachyon Publications.

“Elf Trap” is the story of Tina and Norman, a couple who are having some major problems with a rat infestation of their property, although it focuses on rats stealing food from their bird feeders. While Tina works on quilts, Norman’s occupation is to provide the voice for Wise Elf in a series produced by Disney.

Although Tina is worried about the rat problem, her more important concern is that it isn’t clear that Norman is able to discern between reality and the Wise Elf character who has endeared him to a generation of children. When they set a rat trap on their property, Norman becomes convinced that rather than catching a rat, they’ve accidentally caught and killed an elf, a possible delusion which Tina does not dissuade.

Although some aspects of their lives and relationship improve, Norman’s career and reputation take a powerful hit as he can’t deal with the thought that he caused the death of an elf, even inadvertently. Tina, in her own mind, takes credit for breaking Norman from his delusions that the elves are real, however she begins to question whether she or Norman had the more realistic view of the situation.

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Birthday Reviews: Anne Harris’s “The House”

Birthday Reviews: Anne Harris’s “The House”

Cover by Don Maitz
Cover by Don Maitz

Anne Harris was born on May 2, 1964.

Harris’s first novel was The Nature of Smoke. In 1999, Harris received the Gaylactic Spectrum Award for her novel Accidental Creatures and her book Inventing Memory appeared on the 2005 James Tiptree, Jr. Award Long List. Her short story “Still Life with Boobs” was on the 2006 Nebula Award ballot for Best Short Story. More recently, she published the novels Amaranth and Ash and All the Colors of Love using the pseudonym Jessica Freely, and the novels of the Libyrinth sequence using the name Pearl North.

In “The House,” Harris creates a self-contained society that has arisen after some sort of undefined event which changed the nature of those who inhabited the house. Harris is never quite clear about what is happening in the titular house, or at least now who it is happening to. The house is apparently abandoned except for some sort of feral creatures living in it, possibly human, possibly animal. Some of them seem catlike, others snakelike, but their memories indicate some level of sentience and possibly humanity in their background.

The house’s inhabitant live in a strange game of King of the Mountain, which each of them attempting to gain access to the attic space and the windows onto the world which exist up there, a position held at the opening of the story by Azazel. In the story the main rivalry is between Harris’s narrator and Gustov, who seems to think he knows how to reach the attic and overthrow Azazel.

Because the concept of the House and its inhabitants is never really described to the reader, although the characters do seem to have a reasonably complete understanding of their situation, the story doesn’t entirely work if the reader tries to understand exactly what the situation is or what the inhabitants are. If the reader just accepts the house as a location for a quest and challenge between the narrator, Gustov, and Azazel, or even as a metaphor, the story works much better.

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A Demon Rising: Ardneh’s World by Fred Saberhagen

A Demon Rising: Ardneh’s World by Fred Saberhagen

oie_3043513UJFHNzOyAnd so we come to the end of the Empire of the East, Fred Saberhagen’s sword & science trilogy. Originally titled Changeling Earth (1973), Ardneh’s World (1988), provides the answers to mysteries raised in the previous two books, The Broken Lands and The Black Mountains, as well as an explosive conclusion. When it’s done, great powers have been broken and the world has been changed again.

The last book ended with the destruction of one of the Empire’s great commanders, Som the Dead, and of one of the great demons at its command, Zapranoth. The armies of the Free Folk of the West, now under the command of Prince Duncan of Islandia, are marching on the Empire. In the East, the utterly bad Emperor John Omninor is himself leading his legions onto the field of battle for a final confrontation.

Moving behind and through the characters is the mysterious and powerful Ardneh. No one knows who or what Ardneh is. He speaks to the commanders and wizards of the West telepathically. To the emperor and his minions, he remains an elusive enemy who must be dealt with by any means necessary if the West is to be defeated, its army crushed, and its people enslaved.

Following an unsuccessful attempt to trick Ardneh into revealing himself, Omninor dispatches a force under his his High Constable, Abner, to find his enemy. Magical divination and electronic tracking has told the emperor that Ardneh resides in a mountain far to the north of civilization.

Simultaneously, farm boy hero Rolf and ex-imperial Chup have been tasked with tracking down a mystic stone and bringing it to Ardneh. Because Rolf has a strange, innate affinity for technology, Ardneh has chosen him as his special connection with the West.

At length and not unexpectedly, the two parties meet, an old villain reappears, and violence ensues. Eventually, Rolf and a new companion, Catherine, are split from Chup and the rest of the company.

So much of Ardneh’s World is exposition, but, oh, what exposition it is. When Rolf and Catherine finally meet Ardneh, his pre-catastrophe origins and how magic came into existence are unveiled. Saberhagen’s big idea is pure pulp insanity. Part of what makes Empire of the East original is its ostensibly realistic take on magic, but there’s absolutely none of that here. In order to prevent Earth’s destruction in the face of a nuclear war, untested new technological safeguards were put in place in America. When the war finally came, those precautions proved invaluable. In the wake of the mostly-averted war, the deepest nature of reality was changed. Ardneh, an intelligent, self-aware being is a result of the change.

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Birthday Reviews: Joel Rosenberg’s “The Blink of a Wizard’s Eye”

Birthday Reviews: Joel Rosenberg’s “The Blink of a Wizard’s Eye”

Dragon magazine March 1983-small Dragon magazine March 1983-back-small

Cover by Clyde Caldwell

Joel Rosenberg was born on May 1, 1954 and died on June 4, 2011.

Rosenberg published the Guardians of the Flame series, beginning with The Sleeping Dragon in 1983, about a group of role playing gamers magically transported to a fantasy world where they must deal with the stereotypical magical world, bringing along their modern points of view and knowledge. The series ran for ten volumes through 2003.

Rosenberg also published the four volumes set in his Thousand Worlds science fiction milieu and his other fantasy series: Keepers of the Hidden Ways, D’Shai, and Mordred’s Heirs. Along with Raymond Feist, he wrote Murder in Lamut, a novel set in Feist’s Riftwar setting. His short story “The Last Time” was set in Robert Adams’s Horseclans universe.

In addition to his speculative fiction, Rosenberg also worked as a gun rights advocate, running gun training classes and writing handbooks on gun ownership specific to Minnesota and Wisconsin. Rosenberg also wrote two volumes about Sparky Hemingway, a mystery series featuring a main character who is a copy-editor. Rosenberg also invited me to my first science fiction convention, which is how I got involved in all of this.

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Birthday Reviews: Larry Niven’s “Convergent Series”

Birthday Reviews: Larry Niven’s “Convergent Series”

The Magazine of Fantasy and Science Fiction March 1967-small The Magazine of Fantasy and Science Fiction March 1967-back-small

Cover by Jack Gaughan

Larry Niven was born on April 30, 1938.

Niven won his first Hugo for the short story “Neutron Star.” His novel Ringworld received the Hugo and Nebula Award as well as a Seiun Award and Ditmar Award. He went on to win three additional Hugo Awards for the short stories “Inconstant Moon,” and “The Hole Man” and for his novelette “The Borerland of Sol.” Niven won a second Ditmar Award for Protector and additional Seiun Awards for his short stories “Inconstant Moon” and “A Relic of Empire.” Footfall, written in collaboration with Jerry Pournelle, received a Seiun Award and Fallen Angels, written with Pournelle and Michael Flynn, received both a Seiun and a Prometheus Award.

Niven has received the Forry Award from LASFS and the Skylark Award from Boskone. Niven was the Author Guest of Honor at ConFrancisco, the 1993 Worldcon. In 2005 he received the Robert A. Heinlein Award from the Heinlein Society and the following year received a Writers and Illustrators of the Future Lifetime Achievement Award. In 2015, SFWA inducted Niven as a Grand Master.

In addition to his frequent collaborator Jerry Pournelle, Niven has worked with Steven Barnes, Michael Flynn, Edward Lerner, Gregory Benford, Dian Girard, David Gerrold, Brenda Cooper, and Matthew Joseph Harrington. He has also allowed other authors to write in the Known Universe series in the Man-Kzin Wars anthologies.

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Birthday Reviews: Jack Williamson’s “The Cold Green Eye”

Birthday Reviews: Jack Williamson’s “The Cold Green Eye”

Fantastic March April 1953

Cover by Richard Powers

Jack Williamson was born on April 29, 1908 and died on November 11, 2006.

Williamson famously traveled from Arizona to New Mexico in a covered wagon when he was 7 years old. He went on to publish science fiction, beginning when he was twenty. Over the years, he frequently collaborated with Frederik Pohl and occasionally with James Gunn, Edmond Hamilton, and Miles Breuer.

Williamson received the Hugo Award for his autobiography Wonder’s Child: My Life in Science Fiction. He won a second Hugo, as well as his only Nebula Award, for his story “The Ultimate Earth.” His novel Terraforming Earth received the John W. Campbell Memorial Award.

Williamson is also the recipient of numerous lifetime achievement awards. He has received them from the Writers and Illustrators of the Future, the Pilgrim Award, the Forry Award, the Bram Stoker Award, and the World Fantasy Award. He received the Skylark Award from Boskone and the Robert A. Heinlein Award from the Heinlein Society. In 1968, he was inducted into the First Fandom Hall of Fame and into the Science Fiction Hall of Fame in 1996. In 1976, he was named the second SFWA Grand Master. Worldcon recognized him with the Big Heart Award in 1994.

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Tarzan Swing-By: Tarzan and the Lost Empire (1928–29)

Tarzan Swing-By: Tarzan and the Lost Empire (1928–29)

tarzan-and-lost-empire-grosset-dunlap-cover

Readers have asked me, but the answer is still no: I can’t tackle the entire Tarzan series the way I did Edgar Rice Burroughs’s other book series, Mars, Venus, and Pellucidar. There are twenty-four Tarzan books, not counting the juveniles, and I’d burn out long before the end if I tried to read them in sequence over a compressed time period.

But since I’m always glad to pick up a Tarzan volume here and there among my other Burroughs readings, I’ll negotiate. I’ll do an occasional Tarzan book “swing-by” to give spotlight time to ERB’s biggest contribution to popular culture. No particular order, just whatever Tarzan adventure grabs me at the moment.

So I’ll start with … let’s see … Book #12, Tarzan and the Lost Empire. Wherein the Lord of the Jungle finds yet another civilization lost in time in the heart of Africa: a remnant of the Roman Empire still living the ancient ways. Tarzan also gets a little monkey sidekick.

Tarzan and the Lost Empire falls into a period of the Tarzan novels that I think of as the “Filmation Era” because of how much the 1970s Filmation animated series Tarzan, Lord of the Jungle reflects it. After the tenth book, Tarzan and the Ant Men, Tarzan was distanced from the Greystoke legacy and his former supporting cast, and now has the companionship of both Nkima the monkey and Jad-bal-ja the golden lion. Jane vanished except for a single reappearance in Tarzan’s Quest (1936). The plots became standalone and repeated certain formulas, such as Tarzan discovering lost civilizations or facing a Tarzan imposter.

The writing quality of these books was still high in the late ‘20s and early ‘30s, and Burroughs hadn’t lost his skill at executing pulse-racing action set-pieces. But the plotting was often perfunctory as ERB became a bit fatigued with having to go back to the Tarzan well again and again. The story ideas and the prose popped, but the plots often meandered with overstuffed casts and too much incident that doesn’t go anywhere. Tarzan and the Lost Empire falls prey to these faults. But it also contains one of the most interesting hidden civilizations of the series and a setting that energized Burroughs.

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