Aaron's Take on the 2010 Hugo Nominees :: NOVELLAS

Best novella is a strong category this year. Even though this is certainly the fiction category with the fewest eligible works published, the voters managed to find six worthy nominees. All of the nominees will have their supporters——several of the nominated authors are popular with the Hugo voters, plus Kage Baker will have a sympathy vote due to her untimely death——but my guess is John Scalzi will win a Hugo for the third straight year, his first in a fiction category.

Kage Baker's "The Women of Nell Gwynne's," a steampunk mystery with a group of prostitute/spies as lead characters, is mostly light entertainment but does have an appropriately dark edge when showing us why some of our heroines would choose this life. The tale features some wonderful dialogue and is great fun to read, but the whodunit does not satisfy and the story feels less complete than the other nominees. My guess is "The Women of Nell Gwynne's" was meant as the first in a series of stories about these remarkable ladies——see for instance my recommendation for The Bohemian Astrobleme——which sadly will now never be completed.

"Palimpsest" by Charles Stross is a time travel story on a very large scale. While it begins with the cliché of a time traveler killing his own grandfather, the tale quickly moves on to grander and more original issues about the fate of humanity over the next billions, even trillions, of years. The folks directing human destiny control time travel technology, although oddly their grand plans mostly involve moving planets around, not time travel. Stross throws plenty of interesting ideas at us, but fails to include strong enough characters to provide the emotional hook to carry us through this type of Stapledonian epic. The main character has very little personality, and his two girlfriends have none at all.

"Act One" by Nancy Kress, a former story recommendation of the week, explores the morality of an attempt to impose genetic modifications on humanity to give everyone a greater sense of empathy. This is a near-future story on a much smaller scale than "Palimpsest," but the superior characterization makes "Act One" more successful overall.

James Morrow is the best satirist in our field, and one of the two best ever along with John Sladek. "Shambling Towards Hiroshima" exemplifies his trademark dry humor. The protagonist is a Boris Karloff-style creature-feature actor, called on during World War II to give the Japanese a demonstation of the damage that will be inflicted, if they don't surrender, by a fearsome weapon the United States has developed: monstrous fire-breathing lizards. Morrow has great fun writing of the B-movie culture of 1940's Hollywood, but he doesn't quite manage to combine this with his serious point as seamlessly as in his best work. The goofy monster movie material takes over the story, while the endnote as to the morality of weapons of mass destruction feels tacked on.

Ian McDonald's "Vishnu at the Cat Circus" is the fascinating life story of a genetically engineered slow-aging super-genius who was instrumental, along with his unmodified brother, in the radical transformation of India. In contrast to "The Women of Nell Gwynne's," which suffered because it felt like the opening chapter of a larger unfinished work, "Vishnu at the Cat Circus" is impressive because it stands alone very well yet also is a terrific capstone to Ian McDonald's series of stories (as well as the novel River of Gods) set in a future India.

While all the nominees in this category are very good, my favorite is John Scalzi's "The God Engines," the thought-provoking story of Ean Tephe, captain of a starship powered by an enslaved god, captured and harnessed by the god Tephe worships. Not surprisingly, Tephe comes to doubt his faith in his own god, but from there matters do not play out as you might expect. The tale is an interesting blend of science fiction, fantasy, and horror elements.

John Scalzi has emerged in the past five years as one of the field's most capable authors, but at times he relies too heavily on snappy dialogue, rather than attempting something with more depth and emotional impact. "The God Engines" is thus a breakthrough work for him. Scalzi sets aside his usual sardonic humor in favor of original, intricate world-building and a compelling protagonist caught in the teeth of a dilemma from which there may be no way out. All of Scalzi's fiction is entertaining, but "The God Engines" is his best yet.

Aaron's Ballot for Best Novella
1. John Scalzi - The God Engines
2. Ian McDonald - Vishnu at the Cat Circus
3. James Morrow - Shambling Towards Hiroshima
4. Nancy Kress - Act One
5. Charles Stross - Palimpsest
6. Kage Baker - The Women of Nell Gwynne's

Book Review Teaser :: Boneshaker by Cherie Priest

New on Fantastic Reviews is Aaron's review of Boneshaker by Cherie Priest. This book is one of the current 2010 Hugo award nominees for Best Novel.

From Aaron's book review of Boneshaker :
"Boneshaker is a steampunk zombie novel, but much less gimmicky and more accomplished than this label suggests...."

"Boneshaker is set in Seattle circa 1880, but a steampunk alternate version of Seattle largely destroyed when Dr. Leviticus Blue's massive "boneshaker" drill undermined the city's foundations while simultaneously releasing a lethal subterranean gas that renders its victims zombies. Blue was never heard from again after the disaster, but his wife Briar Wilkes and son Zeke - unborn when Blue disappeared but now fifteen years old - scratch out a living in the outskirts of the ruined city, outside the immense walls that hold in the gas blight and zombies"

"Convinced history has treated his father unfairly, Zeke puts on a gas mask and follows an underground tunnel into the city on a quest to clear Leviticus Blue's name. With impeccable teenager logic, he braves the city alone, without telling his mother of his plans. The story begins in earnest...when an earthquake collapses the tunnel, and Briar sets out to rescue Zeke by airship...."

To read the entire review -> Boneshaker

Aaron's Take on the 2010 Hugo Nominees :: PROFESSIONAL ARTISTS

The five Hugo-nominated professional artists are all outstanding, each in his own way, and we are blessed to have artistic talent like theirs in our field. I don't have the expertise to evaluate the artists' relative degrees of craft and technique, but I can say whose work most catches my attention and most rewards repeat examinations, whose cover art makes me want to read the book just so I can carry that gorgeous cover around.

The two artists who consistently draw that reaction from me are Stephan Martiniere and John Picacio. As much I love every Martiniere cover, I will have to rank Picacio #1 this year, because 2009 saw some of his most striking work yet. Let me call particular attention to his covers for Mark Chadbourn's Age of Misrule series, from Pyr Books (which never disappoints with its cover art). The covers are beautiful individually, but even more memorable for their progression through the series, from the torso of the immense mythical creature on the cover of World's End (dwarfing our heroes in the foreground) to the head on Darkest Hour to finally the Sauron-esque eye on Always Forever. Amazing stuff!

This should take nothing away from the other excellent nominees. Shaun Tan's Tales from Outer Suburbia is a terrific showcase of his work, even if it suffers a bit by unfair comparison to his wonderful book The Arrival from 2007. I hate to put Bob Eggleton all the way down at #4, as he has been one of the most reliable artists in the field for many years, but then again he already has nine Hugo Awards to show for that body of work. Daniel Dos Santos is also very good, although his style is slightly less to my tastes than the other nominees. Suffice to say that whoever wins the award will be a very worthy recipient.

Aaron's Ballot for Best Professional Artist
1. John Picacio
2. Stephan Martiniere
3. Shaun Tan
4. Bob Eggleton
5. Daniel Dos Santos

Aaron's Story Recommendation of the Week :: Tipping the Velvet by Rachel Swirsky

This week's story recommendation is for Rachel Swirsky's Tipping the Velvet, from literary zine Pank.

Most folks who see a Toulouse-Lautrec poster of 19th Century Parisian women doing the can-can have one of two reactions: (i) Oh, how wonderfully vivid! or (ii) What’s the big deal about Toulouse-Lautrec again? If you skip over (i) and (ii) and instead immediately sit down to create a story of heartbreak, loss, and betrayal starring a Parisian dancer, that’s a sign you’re a terrific writer.

More people are now aware that Rachel Swirsky is a terrific writer thanks to her well-deserved Hugo nomination for “Eros, Philia, Agape,” but I fear not many realize just how terrific she is. Case in point, I rarely get much out of flash fiction, and I would never expect to get anything out of a non-fantastic flash piece about someone bummed over losing a girlfriend. But in “Tipping the Velvet,” Swirsky takes that mundane set-up and in less than a thousand words brings a Parisian dancing girl in love with a fellow dancer memorably to life:

The music shifts and we set our hands on each other’s shoulders, taking turns leading each other across the planks. Skirts whoosh and rustle, rimmed with lace and red. Men swoon at the sight of our white ankles, but I want more than flesh from you. I want the spice of your breath and the tension of your fingertips and the flint in your ruthless eyes.

The more of Rachel Swirsky's work I read, the more I want to read.

Amy's silent movie reviews :: The Black Pirate (1926)

The Black Pirate (1926) is an early Technicolor silent movie starring Douglas Fairbanks. In its day, it was a major studio production using a cutting-edge, still experimental technology. The imperfect two-color Technicolor process used predated the much superior three-color process. The Black Pirate is an adventure movie. Even though it has sword fights, action sequences, and several explosions, the pacing may be somewhat slow for modern audiences.

The movie stars Douglas Fairbanks, Billie Dove, Donald Crisp, and Sam De Grasse, and large cast of extras as motley-looking pirates. The Black Pirate was based on a story written by and was produced by Douglas Fairbanks. Running time is 90 minutes.

Pirates take a ship, loot it, and blow up the ship. The lone survivor, Fairbanks, vows revenge. The pirates hide their treasure on the island Fairbanks is marooned on. Fairbanks offers to join the pirates and kills the Captain in a sword fight. To prove himself to the remaining pirates, Fairbanks, now The Black Pirate, boasts that he'll take the next ship single-handed. On the merchant ship that he takes, there is a beautiful princess (Billie Dove).

Fairbanks convinces the pirates to send the merchants back, minus their loot, with a ransom note for the Princess. He also secretly asks the merchants to get help from the Governor. The pirate Lieutenant (Sam De Grasse) is annoyed at Fairbanks usurping his leadership position, changing their pirating routine, and for not allowing him ravish the Princess. The Lieutenant arranges it so that the merchant ship never delivers its message. Fairbanks is caught trying to sneak the Princess off the ship and is forced to walk the plank. But ever resourceful Fairbanks swims to land, gallops off on a stolen horse, and brings reinforcements back to rescue the Princess before ransom deadline. Meanwhile old pirate and comic relief (Donald Crisp) defends the princess from the Lieutenant. The Black Pirate and the Princess fall in love, and Fairbanks' Black Pirate isn't a pirate at all.

Action scenes in The Black Pirate were staged well. Fairbanks cutting the sails was memorably done. I liked how Sam De Grasse played the evil lieutenant in an understated manner, unlike the melodrama of many silent films. Donald Crisp was funny propping himself up with swords and daggers to stay awake. The pirate costumes of the crew and of De Grasse (long blue coat) and Crisp (old one-armed man) were quite good. In contrast, I found Fairbanks' costume of a black low-cut shirt and black shorts anachronistic and frankly ridiculous. But the award for the most ludicrous part goes to the boat Fairbanks arrives on to rescue the Princess, which looks like a cross between a Roman galley and racing scull. The rowers from the boat are wearing what looks like bandoleers and black bicycle shorts, but at least they are clean-cut, unlike the dirty pirates whom they defeat.

Aaron's Story Recommendation of the Week :: Changing Woman by Brandi Wells

This week's story recommendation goes to "Changing Woman" by Brandi Wells, from Issue #Y'aing'ngah of Bust Down the Door and Eat All the Chickens, a bizarro magazine.

Bizarro is a surreal and punkish subgenre that can be a lot of fun when you're in the mood for something different. It is deliberately outrageous, with titles like Rampaging Fuckers of Everything on the Crazy Shitting Planet of the Vomit Atmosphere (by Mykle Hansen) or cover images such a woman's naked derrière (Satan Burger by Carlton Mellick III). The best bizarro works are not merely absurd, but manage to employ their strangeness to make interesting suggestions about the real world.

"Changing Woman" is that kind of bizarro story, where lots of amusingly odd stuff happens, but there is an edge to all the weirdness. When the title character's eyes slide down her face leaving a huge forehead, it is uncomfortably telling that the husband finds he prefers "the concrete assuredness and structure" of her smooth face, that he starts to wonder if he couldn't fold her whole body into a featureless box. This is a funny and offbeat yet simultaneously disturbing story, a wacky bizarro tale that is also an effective feminist parable.

Brandi Wells is just starting on an MFA, but she has already put out plenty of good work, most of it flash fiction, much of it not fantastic, and quite a bit of it in the form of lists don't ask me why. She has popped up at McSweeney's, Improbable Object, Apt, Hobart, and other places, with hopefully a great deal more to come.

Aaron's Story Recommendation of the Week :: A Twenty-First Century Fairy Love Story by Jason Sanford

We return to Issue #30 of Tales of the Unanticipated for another story recommendation of the week, Jason Sanford's "A Twenty-First Century Fairy Love Story."

Jason Sanford (not to be confused with Jason Stoddard, a previous SROTW recipient) is well known to Interzone readers, as he has published five stories there in the past three years with two more forthcoming, and I think he will soon be familiar to all genre readers. I've had an eye out for his work since reading his Nebula-nominated "Sublimation Angels," a terrifically inventive far-future tale. "A Twenty-First Century Fairy Love Story" is a contemporary fantasy, just as good as "Sublimation Angels," but even more impressive for its emotional, lyrical style.

"A Twenty-First Century Fairy Love Story" is a new take on the changeling story. A Scottish fairy (relocated to Chicago) whose beloved has died places her heart in the body of a dying infant girl human. He monitors her growth and tries to help the girl's felon mother but not much works out quite the way he intends. It is a bit hard to credit that some things would come together quite so neatly as they do in the story, but it is all told with such charm that it works. I highly recommend "A Twenty-First Century Fairy Love Story." It will amply reward your effort to track down this issue of Tales of the Unanticipated.

Aaron's Story Recommendation of the Week :: If You Enjoyed This Story . . . by Sarah Totton

The story recommendation of the week is for "If You Enjoyed This Story . . ." by Sarah Totton, a short short from the recently released Issue #30 of Tales of the Unanticipated.

So Jason Sanford, who wrote the lead story for this issue of TOTU, generously sends me a free signed copy of the magazine (details at his blog), and just to prove myself a miserable ingrate I promptly skip right past Sanford's story and find another story in this issue to recommend -- adding insult to the injury that I have yet to do a SROTW for Sanford's "Sublimations Angels," which desperately deserves one. But at least this furthers Sanford's goal of brining attention to TOTU, an excellent semiprozine created in 1986 by the Minnesota Science Fiction Society, published roughly annually, which has printed a trememdous array of authors over the years. Issue 30's lineup includes Sanford, Totton, Eleanor Arnason, Stephen Dedman, Matthew S. Rotundo, Patricia Russo, Barbara Rosen, and many others. If you're an aspiring writer, TOTU is a great place to submit, because editor Eric Heideman reads all submissions himself and often sends helpful comments on the stories he rejects.

Heideman's tag to "If You Enjoyed This Story . . ." is "And now for something completely different...," which is fitting. This story is a Pythonesque absurdist romp. It sort of follows Ernie as he tells a peculiar story to Clarence:

"'And there was a plague upon the land,'" said Ernie, "'And on that day it rained frogs.'"
"You've already read that bit," said Clarence.
"Oh. 'And on that day there was a plague of locusts.'"
"You've done them too."
"Oh.... And on that day the people were visited by a host of ducks."
"Ducks?"
"Fire-breathing ducks."
"Again?"
"What?"
"There were fire-breathing ducks in last night's story."
"Those weren't ducks. They were chartered accountants ... fire-breathing chartered accountants."
"Oh. Okay. So that's why they were doing people's taxes."
"And then setting fire to them, yes."

Ernie and Clarence are repeatedly interrupted, however, by the stories' sponsors. And yes, I realize "word from our sponsor" gags have been done to death.

It is fair to say that "If You Enjoyed This Story . . ." is a supremely silly assortment of tired old jokes with only one redeeming virtue: I laughed like hell all the way through. And that's not just because I have a sophomoric sense of humor (although I surely do) -- I read this story out loud to a group of about 16 people and they all laughed. So this is objectively funny stuff, and you should check it out.

Sarah Totton has appeared in such cool places as Realms of Fantasy, Fantasy On-line, Polyphony, Black Static, Tesseracts, and others. And if you don't like oddball humor, I'm guessing most of her work isn't as silly as "If You Enjoyed This Story . . .."

Aaron's Take on the 2010 Hugo Nominees :: SHORT STORIES

Short stories are often my least favorite of the Hugo fiction categories, but this year's slate has a good ratio of two excellent stories (one that I nominated and one I would have if I had read it in time), two good ones, and one lousy one.

My top choice is "Spar" by Kij Johnson, about a woman who escapes a spacewreck in a lifeboat shared by an amoeboid alien, with whom she cannot communicate except to engage in sexual intercourse. The opening line is, "In the tiny lifeboat, she and the alien fuck endlessly, relentlessly." Kij Johnson is usually an elegant writer, but this story is deliberately harsh. "Spar" is not an enjoyable reading experience, but it is a powerful, memorable story. It has important things to say about gender issues and sexual politics, concepts Johnson could not convey without the SFnal premise. I suspect I will still have strong recollections of "Spar" decades from now, that it will still be coming up in conversation. That is the kind of story I like to see win a Hugo Award.

I read most of the January 2009 issue of Asimov's when it came out, but I skipped "Bridesicle" by Will McIntosh, because the story idea sounded unpromising: young women who have died are kept frozen, in hopes that a rich man will come along to pay for the expensive procedure to revive them, in the future's version of mail-order brides. But McIntosh adds a crucial additional element, that another option for a dying person is to preserve his or her identity in the mind of a survivor. Our protagonist Mira is a frozen potential bride, who previously held her mother's personality, but it was lost when Mira died, to her guilty relief. To be resurrected, Mira must hope to marry a rich older man, even though she is gay, which makes the whole set-up a metaphor for societal barriers against gays. These different elements combine together nicely into a very strong story.

In "The Bride of Frankenstein," Mike Resnick similarly writes of a bride in unusual circumstances. The story is a humorous take on the Frankenstein story, told from the point of view of Victor Frankenstein's bitchy, modern wife, who doesn't understand why he's squandering her stock portfolio for experiments on a hideous creature. Resnick takes the tale in a romantic direction I found quite charming.

N.K. Jemisin's "Non-Zero Probabilities" is a well-crafted story, which finds an optimistic take on a daunting premise, basically that Murphy's Law has taken utter control of Manhattan. When the Hugo nominations came out, I started to read this, was quite enjoying it, and got well into the story before realizing that I already read it last year. So this is an enjoyable but not at all memorable story, completely the reverse of "Spar." The good news for Jemisin is now I recall why I picked up that copy of The Hundred Thousand Kingdoms sitting in my to-read pile.

Last and by far least is "The Moment" by Lawrence M. Schoen, a dreadful piece that has no business on a Hugo ballot. The story is about aliens visiting Neil Armstrong's footprint on the moon, but you can't give Schoen credit for that mildly clever idea -- it was written for a theme anthology of stories about aliens visiting the astronauts' footprints on the moon. "The Moment" is a hopeless jumble of sentences like, "The generation ship of Krenn frantically dumped velocity as it splooched from the fuel-efficient but mind-numbing slowness of intramolecular phasetransit back into the normal time-space continuum, less than a cubit above the moon." Perhaps this is meant as a tongue-in-cheek send-up of really bad pulp-era skiffy, but it is that only in the sense that "The Moment" is itself really bad pulp-style skiffy. I actually wrote a long rant for this blog chastising whoever stuffed this turkey onto the ballot, but I think I won't publish it. I googled around and while I can't find much praise for this story, I also don't see that others have disliked it as much as I did. Rich Horton has called it "interesting" and "worth reading," so maybe I missed some redeeming quality.

Aaron's Ballot for Best Short Story
1. Kij Johnson - Spar
2. Will McIntosh - Bridesicle
3. Mike Resnick - The Bride of Frankenstein
4. N.K. Jemisin - Non-Zero Probabilities
5. NO AWARD
6. Lawrence M. Schoen - The Moment

Aaron's Story Recommendation of the Week :: Year of the Rabbit by An Owomoyela

This week's story recommendation goes to Year of the Rabbit by An Owomoyela, a short story just out in the April-June issue of ChiZine.

Early each month I scan through my favorite fiction websites to see which have posted new stories and make a note of the ones I'd like to read -- if I'm lucky I'll eventually get to maybe half of them. The stories that go on the to-read list are generally by authors I know I enjoy or those I've heard a lot about but haven't read yet. Authors I've never heard of are usually out of luck. At best, I might read the first couple paragraphs to see if they grab me. I realize that's terribly unfair -- some stories require an understated beginning -- but I can't read everything. In "Year of the Rabbit," An Owomoyela grabbed me right away:

Tell me about the streetlamps.

It used to be that the sun would go down and the streetlamps would come on and make pools of this wet, yellow light. No matter where you stood, you could see the lights on somewhere. You could run from streetlamp to streetlamp and you could look down the streets and you'd never drown in the dark.

After the Curfew but before the lights started dying, Sara and I used to go to the city's edge—-we'd watch the line where the city lights dropped off, but sitting in our park on the outskirts we still felt that illusion of safety. Maybe it wasn't safety but the thrill of walking so close to real night. We could see the lights of Omaha to the northeast, but between them and us was just dark, dark, a swarming ocean of black. Behind us, too, were all the lights of the city, but we were on the edge.

Sara grew up far from here. When she was a kid, she told me, she ignored her parents' warnings and snuck out of her house to dangle her feet in the lapping Mediterranean. That was before Curfews. Here of course we had no sea, but that was what we were doing. Dangling our feet.

Some will find this story frustrating, because not a lot gets explained by the end, but I thought it worked perfectly. "Year of the Rabbit" is a distillation of all of horror fiction into about 3,500 words. It effectively creates a vague sense of dread that darkness is creeping in and forces us to confront that we don't control our fates, that we can't really understand the world around us, any better than we know for sure what's waiting outside the puddle of light under a lamppost. Great stuff.

"Year of the Rabbit" is only Owomoyela's second published story, with a third forthcoming in Fantasy Magazine. ChiZine provides no bio on the author, and the "About" tab on Owomoyela's website is empty, so I can't tell you much about her (I think it's "her" -- "An" seems to be short for "Anna," but I could be wrong even about that). She is only a year out of the University of Iowa and attended Clarion West in 2008 (with Carlton Mellick III among many others, so that must have been an interesting group). I believe I am the first reviewer to identify her as a very talented author to watch, and so I shall henceforth take credit for her entire hopefully long career.

This is the first SROTW from ChiZine, short for Chiaroscuro WebZine, a consistently solid zine with an emphasis on dark fantasy and horror, which pays professional rates. ChiZine has recently also turned to book publishing with an impressive lineup of titles including Daniel A. Rabuzzi's The Choir Boats, which has been sitting on my to-read mound for too long, and A Book of Tongues by Gemma Files, which I have been anxious to get my hands on since reading "each thing I show you is a piece of my death," which I somehow neglected to post an SROTW for -- stay tuned!