Abercrombie, Cobley & Aaronovitch Reviewed at SFFWorld

Nila joins the crew (Mark and me) again this week for three reviews. Thanks to Hurricane Sandy, I’ve no power and had to wait until I was able to get somewhere with power to post these reviews. Mark looks at one of the top fantasy releases of the year, I review a solid, exactly-what-Space-Opera-should-be Space Opera and Nila continues her back-and-forth jaunt with Peter Grant. …


Members of the SFFWorld Forums (as well as readers of fantasy in general) tend to rate Joe Abercrombie very highly, with each new book being one of the most anticipated in the fantasy genre in the year of its initial publication. Mark was the first of us to review Red Country is a great success:

If you’ve read Joe before, there’s a lot here you’ll like. Red Country is as dark, as cynical, as violent and as grimly-humorous as we have come to expect. The characters are as un-stereotypical as ever. The ‘heroes’ are not your clean-cut type, your ‘villains’ are at times worthy of your sympathy, even when they are quite horrendous elsewhere. For example, Shy is that Abercrombean archetype of ‘feisty female’, a damaged person with a troubled past, a murderer and a thief, but perhaps younger and without the total cynicism of Monzcarro Murcatto (of Best Served Cold). If nothing else, Red Country is the tale of her rite of passage.
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Interestingly, this is a shorter novel than most of the Abercrombie canon. (The Heroes is about 50 pages longer, at a quick glance.) This is to the book’s benefit. Red Country reads quickly and well, and, although it dips a little in the middle, is tighter and more focused than many of the previous novels. Here, rather like The Heroes, the events written are relatively small scale – important to those involved, but unlike The First Law books, not exactly world-changing. Which is perhaps Joe’s point, in the same way that The Heroes was one small battle in a bigger picture. Violence is violence, regardless of scale. Red Country should quell those complaints about ‘bloated fantasy novels’ often leveled at genre writers.

Sometimes you are hoping for a specific kind of story when you open a book, in this case, I was hoping for an exciting galaxy-spanning Space Opera. With Seeds of Earth the first installment of Michael Cobley’s Humanity’s Fire, I was very pleased:

What makes Seeds of Earth a novel full of that grand sense of wonder, in part, is the many non-human races who comprise the galaxy. Humans (and the Swarm) are far from the only sentient beings in the galaxy. On Darien, humanity has befriended the Uvovo, a race with mystical, symbiotic ties to their world. Our point characters with the Uvovo are Greg, the scientist who’s been studying the race and its history and Chel, his Uvovo Scholar friend and advisor. The two become friends and confidants before, during and after Chel undergoes a Uvovo ritualistic transformative ceremony called husking (which bears some similarities to the transformative race of the Piggies (aka Pequeninos) in Orson Scott Card’s Speaker for the Dead).
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Seeds of the Earth is a vast-canvas galactic space opera that exemplifies the qualities readers so enjoy in this space opera renaissance – multi-planetary society, dependence on artificial intelligence, alien horde as the enemy, mystical/mysterious alien allies, colonization of humanity, and more importantly he uses these familiar ingredients in a way that is fresh. Cobley packs a lot of ideas and elements into the novel which flows fairly organically. For example, the artificial intelligence utilized by Earth humans is considered the Dreamless by he spirit of the planet Darien.

Working backwards through the Peter Grant series by Ben Aaronovitch, Nila reviews Moon Over Soho:

Much like in Rivers of London, Peter Grant gets caught up in the magical underworld of London all over again in Moon Over Soho. We are introduced to a new nefarious wizard that I predict we’ll see more of in the third book, we encounter sexy (and almost sparkly) vampires, and the river gods make a token appearance, as does Peter’s old partner, Leslie – the one with a busted face. The fledgling wizard/constable also has to deal with chimera – the unholy mix of human and animals – sex slaves. Oh, yeah, and there’s something biting off men’s penises.

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With that said, Moon Over Soho delivers in magical punch what it doesn’t in the series’ recurring characters. We get to meet shadowy figures in a sinister plot, and a new adversary that will keep Peter on his toes. The relationship between he and Leslie is evolving, and I’m anxious to see where Leslie does with her time off to heal. All in all, a lot of new story questions that will keep you coming back for more..

Dirty Streets in the Future Underground - 3 New SFFWorld Reviews

Three, count ‘em three reviews to mention this week! Joining Mark and I once again is the great N.E. White (aka tmso in the SFFWorld Forums. We’ve got two urban fantasies and one alternate future history…


People who have been reading my blog for a while or have come to know me through the SFFWorld Forums are likely aware that Tad Williams is one of my favorite writers of the fantastic. So it was cautious optimism that tempered my initial reaction to the news Mr. Williams was trying something new, paring down from large-scale epic to the more slim Urban Fantasy of The Bobby Dollar Novels. The Dirty Streets of Heaven is a great success:

Dolorious, a.k.a. Bobby Dollar, is our first person narrator and one of many ‘Advocate’ angels who argue against the denizens of Hell for recently deceased souls. As an advocate, Bobby often appears just as people die and similar to the role a lawyer plays, he must argue for the soul’s place in Heaven. What becomes evident is how not all souls who may have seemed virtuous get immediate entrance to the pearly gates. Hell’s advocates are vicious and much like prosecutors whereas the angelic Advocates seem to be more of the defense. Shortly into the meat of the novel, a soul whose owner committed suicide vanishes as Bobby and his antagonists from Hell arrive to argue for the man’s soul. This has never happened before and sets in motion what becomes a layered and entertaining plot.

I’ve long been a fan of the of biblical themes receiving the “gritty” treatment, making Heaven and Hell much deeper than their biblical indications would lead one to believe. After all, my senior thesis in college was on such a topic. In that essay, I recall mentioning the comic book Spawn which depicted the conflict between heaven and hell in a similar light as does Tad Williams with an emerging third faction. In The Dirty Streets of Heaven, this conflict between Heaven and Hell is more of an underneath the surface thing and informs the characters and setting more so than actually being a primary plot point. In one interview with Tad Williams, the great writer Michael Moorcock came up as an influence, specifically the similarities between Moorcock’s depiction of the eternal conflict between Chaos and Order. I’d also point to Steven Brust’s To Reign in Hell which also grittifies the conflict between Heaven and Hell and even the great Tim Burton film Beetlejuice in how the afterlife is a bureaucratic extension of the real world dictated by unseen higher ups down to street walking ‘grunts’ and pencil-pushing desk jockeys.

Mark has long been a fan of David Wingrove’s Chung Kuo series and is following along with the major re-release of the series. The latest installment is The Middle Kingdom which is now book three but was originally book one:

After the setting of the scene in Son of Heaven, and the seriously violent events at the conclusion of Daylight on Iron Mountain, here’s where the story begins to move up a gear and many of the epic story’s main characters are introduced.

Beginning in 2190, the book briefly recaps on the events outlined in Daylight on Iron Mountain: the fall of the US, the nuking of Japan and the subjugation and ethnic cleansing of Africa. These events alone would make an epic story, though they are dealt with here in the matter of a few pages.

With such a list of characters it should be obvious that this is a complex and lengthy scenario where the reader is expected to be in for the long game and therefore and not everything is resolved here in The Middle Kingdom. What keeps the reader’s interest is the juxtaposition between all these disparate and often conflicting elements. The cultural values of the Han are very different to what we see in our Westernised society today, and the way that the old traditional values are combined with the new way of progress is jaw-dropping in their implementation. (Think of the film Blade Runner for such a similarly intriguing mix of Western and Eastern values.) The Han regime is harsh, from their point of view necessarily so, but the promise for the bright and glorious future makes it potentially worthwhile. Not all in positions of power see it this way, of course, and there are secret plans and counterplots a-plenty in order to both overthrow and maintain the current positions of power.

Nila reviews Whispers Underground, the third Peter Grant series by Ben Aaronovitch, an urban fantasy series that has been gaining some good buzz over the past couple of years.

 

The story begins with a ghost, of course. An offbeat, neighborhood kid named Abigail has found a ghost living in an old tunnel beneath her school. She decides to tell Peter, whom she knows deals with “weird magic stuff”. Together with his partner, Leslie May, whose face fell off in the first book, the three head on down to investigate. Mr. Aaronovitch sets the book’s mood with this opening scene, and while not the focus of the book, we learn a bit about the magic Peter can wield and the new, tenuous relationship he has forged with his new magic-constable partner, Leslie.

As is customary of this series, the reader is in for an educational treat on the history of one of London’s neighborhoods, and police procedurals. In this case, we get a peek into the BTP (British Transport Police) and the underground system that is vast and just might include secret tunnels and a race we’ve never seen before. Maybe.