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A Superior Confection: Robert A. Heinlein’s The Pursuit of the Pankera

A Superior Confection: Robert A. Heinlein’s The Pursuit of the Pankera

The Pursuit of the Pankera-smallThe Pursuit of the Pankera
By Robert A. Heinlein
Caezik (503 pages, $29.99 hardcover, $9.99 digital, March 2020)
Cover by Scott Grimando

It’s almost impossible to discuss Robert A. Heinlein’s The Pursuit of the Pankera: A Parallel Novel about Parallel Universes without revealing and thus spoiling the plot devices of it and its 1980 prequel/sequel, The Number of the Beast—. Heinlein, first Grand Master of the SFWA, for decades acclaimed as the Dean of sf, no longer pleases everyone. Some readers, especially academic critics, have denounced both books as grossly self-indulgent and even worthless. Others, like the brilliant Marxist professor H. Bruce Franklin (in his important 1980 study Robert A. Heinlein: America as Science Fiction) catch the feel of Beast: “a cotton-candy apocalypse — frothy, sweet, airy, mellow, light, festive, whimsical, insubstantial” (199).

That final word is unjust, since many pages are devoted to an investigation of lifeboat rules, and what Algis Budrys termed “protocol,” capable of mutual acceptance by four genius-level libertarians, two of them women, one the daughter of crusty and irritable Professor Jake Burroughs used to having his own way. Oh, plus an increasingly intelligent and willful computer in the younger man’s flying car, uplifted to true personhood during a visit to… The Land of Oz. This jolly and quite necessary absurdity is a side effect of their discovery that the world is built of myth, of fictons, yielding a kind of “pantheistic multiperson solipsism” occasioned by the dreams, terrors and wishes (as it were) of writers and readers. (Regrettably, Heinlein’s term ficton is “corrected” to fiction in Pankera.)

Robert Heinlein, it follows, is the god (or demon) of the universes the four learn how to visit in Jake’s continua craft. Some of these worlds he had written himself (especially the history of near-immortal Lazarus Long and his incestuous mother and clone daughters, or would write later. Others are the creations of other major writers such as Edgar Rice Burroughs (Tarzan, John Carter of Mars), L. Frank Baum (Oz), Heinlein’s older friend E.E. “Doc” Smith, whose inaugural space opera sequence tracks the psionic Lenses gained by eugenic human warrior-saints, chess pawns in a cosmic war between aliens billions of years older than humankind.

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Epic Fantasy on a Reliable Schedule: A Chorus of Dragons by Jenn Lyons

Epic Fantasy on a Reliable Schedule: A Chorus of Dragons by Jenn Lyons

The Ruin of Kings-small The Name of all Things-small The Memory of Souls-small

Covers by Lars Grant-West

Bestselling fantasy dominates modern bookshelves in a way I could only dream about as a young reader. George R.R. Martin’s A Song of Ice and Fire and Patrick Rothfuss’ Kingkiller Chronicle are the two biggest examples in recent memory. Of course, both are also unfinished, and the latest installments are both long overdue. Makes you wonder what they could have accomplished if the publishing magic that fueled them had also included a reliable schedule.

Tor is trying something impressive with their latest big-budget epic fantasy. If things unfold as scheduled, Jenn Lyons’ ambitious 5-volume series A Chorus of Dragons will be released in rapidfire sequence. Here’s what Lyons said on her website last year.

The series is on a nine month release schedule. That means that, should everything go to plan, Tor will be releasing a book in the series every nine months or so. Two this year, one next year, two the year after that (again, if all goes to plan.) Is this stunningly ambitious? Yes. Is this going to kill me? Quite possibly…

So far, Jenn (and Tor) have hit the deadlines. The Ruin of Kings was published in February 2019, The Name of All Things in October, and Book 3, The Memory of Souls, is now scheduled to arrive on August 25, 2020.

The series has been a critical hit as well as a commercial one; the first novel scored a rare publishing quadruple crown, with starred reviews from Library Journal (“Stunning”), Booklist (“Dazzling”), Publishers Weekly (“intricate epic fantasy”) and Kirkus Reviews (“Un-put-down-able”). Tor has been leaking news about the third book since October. I’ll be very curious to see if the buzz built up after the release of the first two volumes continues once the third arrives.

Read the complete first chapter of The Ruin of Kings at Tor.com, and see all our recent New Treasures here.

New Treasures: Red Noise by John P. Murphy

New Treasures: Red Noise by John P. Murphy

Red Noise John P Murphy-smallIt’s too early to be certain of course, but it seems to me that publishing is starting to get back to normal after the shock to the system that was the Covid-19 pandemic.

June, at least, has a healthy number of new releases, including plenty that perk my interest. Like John P. Murphy’s debut novel, a space western that Publishers Weekly calls “fast, fun… pure entertainment.” Here’s an excerpt from the PW review.

Murphy skillfully transports spaghetti western tropes to a lawless space station in this action-packed debut. The reclusive, unnamed heroine, an asteroid miner, docks at dilapidated Station 35 hoping to sell her ore, restock her supplies, and interact with as few people as possible. But Station 35 is a violent, unsavory place controlled by a corrupt, all-powerful corporation, and its inhabitants prove intent on cheating and exploiting her. So the Miner, a former intelligence-corps officer of mysterious, dark repute, sets about cleaning up the station by any means necessary — gathering allies, securing resources, and using the already-raging turf war between rival gangs and crooked cops to her advantage…. snappy dialogue and plenty of dry humor keep the pages turning.

SciFiNow has a worthwhile interview with Murphy that dives into his inspirations for the book, and I think Black Gate readers will find them interesting. I know I did.

I took a class in Japanese cinema. We watched and discussed several samurai movies, including Kurosawa’s brilliant film Yojimbo that was loosely based on the Dashiell Hammett novel Red Harvest. I watched the remakes of it: one of Clint Eastwood’s earliest films, Fistful Of Dollars, and Last Man Standing with Bruce Willis…

I became fascinated by how a very small kernel of story could be strong enough to power many very different books and films over the years, beyond that handful and in its precursors going back to Shakespeare. It wasn’t until the last few years though, when my thinking about current events crystallised with that old kernel, that I finally had a story of my own that I needed to tell.

The digital version of Red Noise will be published Angry Robot on June 9, 2020. The print edition lands on July 14. It is 448 pages, priced at $14.99 in trade paperback and $8.99 in digital formats. Read an interview with Murphy in the June issue of Clarkesworld magazine.

See all our coverage of the best new SF and fantasy here.

Future Treasures: The Angel of the Crows by Katherine Addison

Future Treasures: The Angel of the Crows by Katherine Addison

The Angel of the Crows-smallThere are pseudonyms, and there are pseudonyms. “Katherine Addison” is one of the latter.

“Addison” is a pen name for Sarah Monette, who’s achieved some notoriety in the field with the Melusine novels and her Kyle Murchison Booth stories, which have appeared in Clarkesworld, Uncanny, and other fine places. In 2014 she adopted the name Katherine Addison to publish The Goblin Emperor, which became one of the most successful books of the year, nominated for the Hugo, Nebula, and World Fantasy Award, and winning the Locus Award for Best Fantasy Award. It was included in Unbound Worlds‘ list of The 100 Best Fantasy Novels of All Time.

What do you do when your pseudonym is more famous than you are? Write more books under the pseudonym, of course. And that’s exactly what Monette has done. Her next Addison novel, The Angel of the Crows, arrives from Tor in two weeks, and it looks like a doozy.

It’s a Sherlock Holmes pastishe in which Holmes is an outcast angel called Crow, Watson is suffers from a supernatural injury picked up in the war, and the city of London is crawling with vampires, werewolves and darker things. Kirkus calls it “A Sherlock Holmes–esque novel that truly breaks the mold,” and The Nerd Daily pronounces it “good for Holmes fans of any stripe.”

Addison… makes note of the inspiration she drew from Cumberbatch’s Sherlock in particular, so it’s no surprise that since Sherlock opened with “A Study in Pink,” The Angel of the Crows opens with what we might call a Study in Gold… Yes, this version of Victorian London is densely populated by angels, monsters, creatures, fey, and various and sundry supernatural alongside the usual assortment of villains, murderers, and thieves. But that’s no real impediment to the world’s greatest detective or his newly stalwart companion. Dr. Doyle, who is essentially-but-not-quite Dr. Watson, joins the enigmatic Crow, who is Sherlock but for one distinct difference: Crow is an angel.

The Angel of the Crows takes us through the most famous of Holmes’s cases, including “A Study in Scarlet,” “The Sign of the Four,” and “The Hound of the Baskervilles,” as well as taking on Jack the Ripper.

The Angel of the Crows will be published by Tor Books on June 23, 2020. It is 448 pages, priced at $27.99 in hardcover and $14.99 for the digital edition. Read the first two chapters here.

See all our coverage of the best upcoming SF and fantasy here.

Vintage Treasures: The Inquisitor by Cheryl J. Franklin

Vintage Treasures: The Inquisitor by Cheryl J. Franklin

The Inquisitor Cheryl Franklin-small The Inquisitor Cheryl Franklin-back-small

The Inquisitor by Cheryl J. Franklin. DAW, 1992. Cover by Les Edwards

Cheryl J. Franklin was one of a reliable stable of women writers upon whom DAW built a mighty paperback dynasty in the late 80s and early 90s. While science fiction of the 60s and 70s was dominated by slender volumes of male-focused adventure, DAW (and others) shook things up at the end of the century — and grabbed an impressive share of the market in the process — by showcasing female writers and sprawling SF and fantasy operas with (gasp) a hint of romance. Melanie Rawn, Mercedes Lackey, C. S. Friedman, Kate Elliot, Mickey Zucker Reichert and Cheryl J. Franklin were right there in the front lines, and you got used to seeing their names on the paperback racks.

Franklin produced two series with DAW, both of which were fairly popular: the fantasy Tales of Taormin (Fire Get and Fire Lord), and the four-volume Network/Consortium. By 1996, however, she had stopped writing for good, beyond a brief appearance in Science Fiction: DAW 30th Anniversary anthology in 2002.

If Goodreads is any judge, Network/Consortium is still read today. Lynn Hall recently called the third volume The Inquisitor “Good old hard core scifi, with a believable alien world and great characters.” John Clute, in the online Encyclopedia of Science Fiction, describes the series as “fantasy-like… set in a Planetary Romance venue, into which interstellar vampires are imported.” I’m pretty much sold based on that description alone.

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Future History, First Draft: Robert A. Heinlein’s For Us, the Living

Future History, First Draft: Robert A. Heinlein’s For Us, the Living

HeinleinForUs

For Us, the Living by Robert A. Heinlein; First Edition: Scribner 2004.
Jacket illustration by Mark Stutzman (click to enlarge)

For Us, the Living: A Comedy of Customs
by Robert A. Heinlein
Introduction by Spider Robinson; Afterword by Robert James, Ph.D.
Scribner (263 pages, $25.00 in hardcover, 2004)

Almost on a lark, I picked up the first novel by Robert A. Heinlein a few days ago, and read it through. It’s a fascinating book on several levels.

First, it’s Heinlein’s first novel in that it’s the first one he wrote, way back in 1938 and 1939, when he hadn’t yet broken into print. But it didn’t sell, was never published at the time, and went unknown for decades. In fact the manuscript was thought lost; Heinlein and his wife had destroyed copies in their possession in the approach to Heinlein’s death. Yet another copy of the ms. was found years later, after Heinlein’s death in 1988, and, as Robert James explains in an afterword here, was published in 2004, with an introduction by Spider Robinson. (Spider Robinson would later publish Variable Star, based on a Heinlein outline, in 2006; I have not read that, though I believe I’ve read every other Heinlein book at least once, albeit some not in decades.) I read For Us, the Living when it first came out, in late December 2003, but didn’t remember the details of its future society, and wanted to refresh myself on them, until rereading it this week.

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Neverwhens, Where History and Fantasy Collide: Of Orks and Orkney

Neverwhens, Where History and Fantasy Collide: Of Orks and Orkney

Scott Oden Scott Odin

One of these men is an author, the other is Odin…there’s more commonality than you might think.

Scott Oden  is an American writer best known for his historical novels set in Ancient Egypt and Ancient Greece, and historical fantasy. Oden’s breakthrough novel was 2005’s Men of Bronze, set in late Pharonic Egypt; it was followed in 2006 by Memnon and in 2010 with The Lion of Cairo, which mixed pulp-style action and sorcery with Crusader politics in Fatimid Egypt. His most recent novels are the opening volumes of the saga of Grimnir, the last orc, following a quest for revenge across the centuries, from Brian Boru’s Ireland in the 11th century to 14th century Messina in the forthcoming third and final volume. Considering how much his areas of interest and writing overlap with Christian Cameron, whom I interviewed last month, it was fascinating to see how much the two authors methods of world building do, and don’t, overlap.

GM: So you’ve written both historical fiction and fantasy. Which genre was your first love?

SO: Definitely fantasy. The Hobbit was my gateway text, back when I was 8 or 9 years old, and I quickly followed that with The Lord of the Rings, Robert E. Howard’s Conan (the Ace editions), and eventually Moorcock’s Elric and Karl Wagner’s Kane. I liked some historical fiction as a kid, mainly the fictionalized biographies of Harold Lamb — especially Alexander of Macedon… what kid wouldn’t marvel to the feats of Alexander, as described by Lamb? I was — and remain — a huge aficionado of Greek, Roman, Egyptian, and Norse myth. I had this little pocket-sized encyclopedia from Scholastic called Gods, Demigods, and Demons by Bernard Evslin. I still have that battered old copy . . . [GM: So do I!!!]

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New Treasures: The Mermaid, the Witch, and the Sea by Maggie Tokuda-Hall

New Treasures: The Mermaid, the Witch, and the Sea by Maggie Tokuda-Hall

The Mermaid, the Witch, and the Sea-smallMay was a tough month for new releases.  Many were pushed to the fall as a result of bookstore closure across the country — and the fact that Amazon dramatically slowed down shipping on all non-essential items.

But a few brave publishers stuck to the schedule, and virtual bookstore shelves weren’t empty last month. I think it’s all the more important to celebrate those books, and especially the ones that deserve special attention. Maggie Tokuda-Hall’s debut novel The Mermaid, the Witch, and the Sea is definitely one of them. Kirkus calls it “Absolutely enthralling,” and Alex Brown at Tor.com says “Every single character is as deeply compelling as the world they live in… a remarkable novel and hands down one of the best of the year.” Here’s the description.

In a world divided by colonialism and threaded with magic, a desperate orphan turned pirate and a rebellious imperial lady find a connection on the high seas.

The pirate Florian, born Flora, has always done whatever it takes to survive — including sailing under false flag on the Dove as a marauder, thief, and worse. Lady Evelyn Hasegawa, a highborn Imperial daughter, is on board as well — accompanied by her own casket. But Evelyn’s one-way voyage to an arranged marriage in the Floating Islands is interrupted when the captain and crew show their true colors and enslave their wealthy passengers.

Both Florian and Evelyn have lived their lives by the rules, and whims, of others. But when they fall in love, they decide to take fate into their own hands — no matter the cost.

Maggie Tokuda-Hall’s sweeping fantasy debut, full of stolen memories, illicit mermaid’s blood, double agents, and haunting mythical creatures conjures an extraordinary cast of characters and the unforgettable story of a couple striving to stay together in the face of myriad forces wishing to control their identities and destinies.

The Mermaid, the Witch, and the Sea was published by Candlewick Press on May 5, 2020. It is 371 pages, priced at $18.99 in hardcover and $5 in digital formats.

See all our latest New Releases here.

Voodoo, Sea Monsters, and Rebel Colonies: Rich Horton on Sea Siege/Eye of the Monster by Andre Norton

Voodoo, Sea Monsters, and Rebel Colonies: Rich Horton on Sea Siege/Eye of the Monster by Andre Norton

Sea Siege Andre Norton Ace Double-small Eye of the Monster Ace Double-small

Sea Siege/Eye of the Monster by Andre Norton. Ace Books F-147, 1962. 176+80 pages, $0.40. Covers by Ed Valigursky/Ed Emshwiller

During the months-long lockdown here in Illinois as a result of the Covid-19 pandemic, I know I should be reading the massive TBR pile by my bedside. It’s filled with Nebula award winners, advance proofs of books coming out this fall, and all the new books my friends are talking about. But instead, I want to be reading Ace Doubles.

I blame Rich Horton. Like everyone else, I’m influenced by what I read, and what I’ve been reading recently is Rich Horton’s excellent blog Strange at Ecbatan. Like a superb DJ, Rich knows how to blend the old and the new, and in the past few weeks he’s reviewed The Sorcerer’s House by Gene Wolfe (from 2010), Avram Davidson’ acclaimed 2001 collection The Other Nineteenth Century,  the brilliant Think Like a Dinosaur and Other Stories by James Patrick Kelly (1997), the overlooked novel The Fortunate Fall by Raphael Carter (1996), and a Mack Reynolds/A. Bertram Chandler Ace Double from 1967.

That Ace Double piqued my interest, of course. Like Rich, I have an enduring fondness for these peculiarly collectible science from the 1950s and 60s, although I don’t have nearly the reading muscles he does. I’m mostly familiar with the earlier D-Series, and recently I’ve been re-reading some of Rich’s reviews of those older books, especially the ones I first collected. One of the very first was Sea Siege/Eye of the Monster, a pair of Andre Norton novels issued as an Ace Double in 1962, which Rich reviewed on his blog back in 2017.

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Viewpoint Intimacy Through a Third Person Lens

Viewpoint Intimacy Through a Third Person Lens

Cordelia's Honor-small The Goblin Emperor Katherine Addison-small A Memory Called Empire paperback-small

Cordelia’s Honor by Lois McMaster Bujold (Baen 1996, cover by Gary Ruddell), The Goblin Emperor by Katherine Addison (Tor 2014,
cover by Anna Balbusso and Elena Balbusso), and A Memory Called Empire by Arkady Martine (Tor 2019, cover by Jaime Jones)

Since quarantine has brought an unexpected windfall of time for me, I’ve been beta-reading more than usual, and from sources beyond my immediate network of writer-friends. With these new novels, however, I’ve noticed this trend of a lack of intimacy with third person viewpoint characters.

I’m not sure if this is a discomfort with diving deeper into their character’s viewpoint, not knowing how to deep-dive into PoV, or taking the “show-don’t-tell” adage a step too far, to the point where the prose only “shows” action and all moments of interiority and reflection are seen as “telling.”

Or perhaps it’s that some writers watch more films, or play more video games, than they read, and recycle techniques borrowed from visual media that don’t have the same impact in prose? This is not to disparage visual and/or interactive entertainment, nor writers who learn how to tell stories in that media. However, visual media uses a different skill-set to convey emotion, and there are things that can be done with prose that can’t be done as well in film.

Whatever the root cause, I’ve read multi-viewpoint novels where the writers specifically stated that the plot was deeply character driven, and yet, for the life of me, I couldn’t tell you anything about the characters that wasn’t directly tied to the plot. It’s as if the writer feared to bog down the narrative with character backstory, either as a result of excessive edits or an unwillingness to include it in the first place. By the end, all that was left was what was introduced in Chapter 1. The characters had no past, and their only future derived from events in the story. I felt so removed, like I was watching things unfold from a distance, and while the plot escalated and had the necessary dramatic beats, I simply didn’t feel anything. I wasn’t experiencing, I wasn’t sinking into the prose and being transported.

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