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New Treasures: Made To Order: Robots and Revolution edited by Jonathan Strahan

New Treasures: Made To Order: Robots and Revolution edited by Jonathan Strahan

Made To Order Robots and Revolution-small Made To Order Robots and Revolution-back-small

Cover by Blacksheep UK

A new anthology by Jonathan Strahan is always an event. He’s been editing Year’s Best volumes since 2003, for ibooks, the Science Fiction Book Club, Night Shade, and Solaris, and just announced the contents of the first volume of The Year’s Best Science Fiction from Saga Press (if that Facebook link doesn’t work for you, don’t worry about it; I’ll cover it in an upcoming Future Treasures post). He also edited the groundbreaking Infinity series for Solaris, seven volumes starting with Engineering Infinity (2010) and ending with Infinity’s End (2018), perhaps the most acclaimed original anthology series of the last decade.

His latest is Made To Order: Robots and Revolution, released yesterday by Solaris. Published on the 100th anniversary of the word “Robot” entering our modern lexicon, Made To Order contains brand new stories by Sofia Samatar, Peter Watts, Ken Liu, Sarah Pinsker, Alastair Reynolds, Peter F. Hamilton, Annalee Newitz, Suzanne Palmer, Ian R. MacLeod, Rich Larson, and others. (To get a sense of the spirit of this anthology, read the first story “A Guide for Working Breeds” by Vina Jie-Min Prasad, complete and completely free, at Tor.com. It’s a hilarious tale of two robot pals who couldn’t be more different, and it’s well worth your time.)

Here’s the complete Table of Contents.

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John DeNardo on the 7 Best Science Fiction/Fantasy Books of March

John DeNardo on the 7 Best Science Fiction/Fantasy Books of March

A Pale Light in the Black-small The House in the Cerulean Sea-small The Gobblin’ Society by James P. Blaylock-small

Covers by Vadim Sadovski, Chris Sickels/Red Nose Studio, and Jon Foster

Good friends recommend good books. And that makes John DeNardo just about the best friend we have in this business. I’ve come to rely on his regular columns for Kirkus Reviews to point me towards the best new releases each month, in articles like “Sex Robots, the Future of Racism, and Cthulhu Vacations” [Jan 21] and “The Definitive List of the Top Science Fiction & Fantasy of 2019” [Dec 2019].

He also does regular monthly round-ups of the best novels — while not neglecting short fiction, which is one of the things I like about him. For March he looks at new novels by Katie M. Flynn, K. B. Wagers, Myke Cole (Sixteenth Watch), TJ Klune, N. K. Jemisin (The City We Became), Zack Jordan, and Menna van Praag, and new short fiction and collections from Tor (including Dragon Age: Tevinter Nights, and Hearts of Oak by Eddie Robson), Titan Books (including Cursed edited by Marie O’Regan and Paul Kane), Undertow Publications, the British Library, and Black Library, not to mention James P. Blaylock, Ellen Datlow and Terri Windling, and many others.

As always, there’s plenty of great stuff on John’s list. Here’s a few of the highlights.

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Future Treasures: The City We Became by N.K. Jemisin

Future Treasures: The City We Became by N.K. Jemisin

The City We Became-small

Cover design by Lauren Panepinto

There is no hotter writer in the field right now than N.K. Jemisin. She’s the first writer in history to win back-to-back-to-back Hugo awards, with all three novels in her Broken Earth trilogy (The Fifth Season, The Obelisk Gate, and The Stone Sky). Last year she started working for DC Comics, producing the science fiction comic Far Sector with Jamal Campbell.

She has a new book coming out next week, and it looks like a winner. It’s an expanded version of her short story “The City Born Great,” originally published at Tor.com (and which you can read online right here). Set in an eldritch New York City, the story followed a supernatural talented graffiti artist, NYC’s self-dubbed “midwife,” as he tried to paint the city’s song. What’s the novel about, then? Best to let N.K. explain it. Here’s what she told EW in a recent interview.

This story is my chance to have a little monstrous fun after the weight of the Broken Earth saga, so I’m hoping readers will enjoy it, too… The city of New York comes to life — literally, as in, the city has developed sentience and an ability to act on its own. And because there’s a dangerous otherworldly tourist lurking about, trying to supernaturally gentrify the city to death, New York chooses five human champions to fight for it. Problem: they don’t know they’ve been recruited for a magical, interdimensional battle, although they figure it out pretty quickly when possessed toilet stalls attack, backyard pools turn into portals to monsterville, and traffic on the FDR becomes a literal, tentacled, killer.

Yeah, that sounds adequately funky and pretty darn great. The City We Became will be published by Orbit on March 24, 2020. It is 448 pages, priced at $28 in hardcover and $14.99 in digital formats. The cover was designed by Lauren Panepinto. It is the first novel in The Great Cities Trilogy. See all our coverage of the best upcoming SF and fantasy here.

Sword-and-Sorcery and the Problem of Genre

Sword-and-Sorcery and the Problem of Genre

Flame and Crimson-small Flame and Crimson-back-small

Cover by Tom Barber

Among the many challenges I had when I sat down to write Flame and Crimson: A History of Sword-and-Sorcery was the problem of genre itself.

Many of the genres we know, and love, and live in — mystery, horror, historical fiction — are old, in a relative sense, culturally ubiquitous, and therefore intensely familiar. We’ve enjoyed them for so long that we typically don’t bother to question who set them down, or when, or why. Their conventions are widely accepted. Everyone knows what fantasy is for example, and can conjure up a reasonably accurate description without expending too much effort — elves, dragons, heroes, princesses, magic, set in other worlds beyond our own. Boom, done.

But if you start poking under the hood you will find that genres are full of contradictions, exceptions, uncertain beginnings, and open-ended futures. They don’t coalesce until after art has been created, often decades later. They’re birthed through a weird alchemical process that includes inspired initial breakthroughs, the production of further works by successive artists, derivative and pastiche work, fan/reader discussion, and eventually, critical consensus. Or something close.

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Space Renegades, Leviathan Ships, and Planet-Eating Monsters: The Honors Trilogy by Rachel Caine and Ann Aguirre

Space Renegades, Leviathan Ships, and Planet-Eating Monsters: The Honors Trilogy by Rachel Caine and Ann Aguirre

Honor Among Thieves-small Honor Bound-small Honor Lost-small

Covers by Jeff Huang

I think a lot of the classic SF I read in the 70s and 80s would be characterized as YA today. Certainly the novels of Clifford D. Simak, Roger Zelazny and Anne McCaffrey still speak to a modern audience, and would probably do well in the YA section of the bookstore.

Or maybe not. Every new generation finds writers who speak its language, and sets aside the treasured writers of older generations. And that’s the way it should be. It’s good to pass along our love of Simak, Zelazny, McCaffrey and others to young readers… but it’s a good idea to take the time to see what the heck they’re reading as well.

What are they reading? Lots of stuff. The YA section of my local Barnes & Noble is crammed full of new releases every week, and a great many of them are science fiction. And more than a few look pretty interesting, too. The Honors trilogy by Rachel Caine and Ann Aguirre piqued my interest recently… probably because I saw the one-sentence summary for Honor Lost (“Quick-thinking Leviathan pilot Zara Cole must stop a planet-eating monster or lose everyone she loves in the finale of this acclaimed trilogy”), and let’s face it, planet-eating monsters are my weakness.

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New Treasures: The Boatman’s Daughter by Andy Davidson

New Treasures: The Boatman’s Daughter by Andy Davidson

The Boatman's Daughter-smallI’ve been reading a lot of science fiction and fantasy lately, and I’m in the mood for something different. With impeccable timing, along comes Andy Davidson’s The Boatman’s Daughter, a supernatural thriller about a young woman facing down ancient forces in the depths of the bayou. It features the silhouette of a swampman with a plant growing out of his head on the cover, and that qualifies as sufficiently different in my book.

Andy Davidson is the author of In the Valley of the Sun, which was a finalist for the 2017 Bram Stoker Award for Superior Achievement in a First Novel. His second novel is getting even more attention… Kirkus Reviews says, “The remote Arkansas bayou is a swirling kaleidoscope of murder, greed, and dark, ancient magic… A stunning supernatural Southern Gothic.”

I like the sound of that. Here’s the publisher’s description.

Ever since her father was killed when she was just a child, Miranda Crabtree has kept her head down and her eyes up, ferrying contraband for a mad preacher and his declining band of followers to make ends meet and to protect an old witch and a secret child from harm.

But dark forces are at work in the bayou, both human and supernatural, conspiring to disrupt the rhythms of Miranda’s peculiar and precarious life. And when the preacher makes an unthinkable demand, it sets Miranda on a desperate, dangerous path, forcing her to consider what she is willing to sacrifice to keep her loved ones safe.

With the heady mythmaking of Neil Gaiman and the heartrending pacing of Joe Hill, Andy Davidson spins a thrilling tale of love and duty, of loss and discovery. The Boatman’s Daughter is a gorgeous, horrifying novel, a journey into the dark corners of human nature, drawing our worst fears and temptations out into the light.

The Boatman’s Daughter was published by FSG Originals on February 11, 2020. It is 416 pages, priced at $16 in trade paperback and $9.99 in digital formats.

See all our recent New Treasures here.

“Authenticity” in Sword & Sorcery Fiction

“Authenticity” in Sword & Sorcery Fiction

Gabe S&S-small

Where Have All the Cowboys Gone?

These days, in intersection with my Conan gaming (I enjoy both Monolith’s board game and Modiphius’s roleplaying game), I have been reading a lot of two things: weird fiction from the turn of last century into, maybe, the 1940s; and sword & sorcery — anything that, on its cover, features a muscled male wielding medieval weaponry — predominantly from the ‘70s or ‘80s. (This latter does the double duty of encouraging me to work out.)

As is to be expected, these works offer various levels of quality. Early-last-century weird fiction is in a class of its own, and, though writers of that era freely borrowed tropes, themes and elements from each other (they very much appear to have been in conversation, literally or otherwise), the form of the weird tale is not as calcified as that of sword & sorcery appears to be by the ‘80s. Even within this latter’s straitjacket, however, I have encountered some standouts, including John Dalmas’s The Orc Wars (beginning with The Yngling, 1971), Gordon Dickson’s and Roland Green’s Jamie the Red (an unofficial Thieves’ World novel, 1984), and John Maddox Robert’s The King of the Wood (1983). Why I like these is for the reasons that one would like any work of fiction, of course, but with one addition: they present a sense of verisimilitude. I should add here, for anyone who might not be privy to how sword & sorcery is supposed to be subdivided from its parent genre of fantasy, that sword & sorcery is supposed to be more “realistic.” The world presented in such tales is premodern. Life is hard. The cultures do not have our present technology (nor magic — magic, in this subgenre, if not “low,” is rare and mysterious and terrifying and usually very, very “wrong”) with which to ease the drudgery of existence. In other words, the characters in such stories live in the way that folks in the Middle Ages lived, possibly in the way that many of our grandparents or great-grandparents lived, if they were homesteading somewhere.

This is why I no longer write sword & sorcery. I am a city boy. I am modern. I have no idea what “real life” is like. And yet I somehow have enough of one to know — intuitively or otherwise — when a writer knows even less than I do. To catalog the many errors of some of our most famous current fantasy writers is outside of the scope of these observations, but I’ll point to the occasion that spurred me finally to write on this topic here.

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Future Treasures: Hearts of Oak by Eddie Robson

Future Treasures: Hearts of Oak by Eddie Robson

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Cover by Armando Veve

I’ve really been enjoy enjoying Tor.com’s line of near-weekly original novellas. I don’t know for sure how many they’ve published (I lost count somewhere around 120), but man. It’s a lot. They’ve hogged virtually all the Hugo nominations for Best Novella for the past five years, too, which is no small accomplishment. If you’re looking for cutting edge fantasy and SF from a Who’s Who of exciting new writers, this is the imprint to follow.

I can’t stay on top of all their releases, but every once in a while I get especially intrigued. It happened back in October when they released a sword-and-sorcery novella by Saad Z Hossain back-to-back with a promising space opera debut by Lina Rather. And it happened again this month, when Tor.com sent me a review copy of an odd little package titled Hearts of Oak, by Eddie Robson. Here’s a snippet from Publishers Weekly‘s enthusiastic review.

Four people in an uncannily unchanging city come to question their reality in this piercing work. Iona, Steve, Saori, and Victor can’t remember a time when they didn’t live in the unnamed city or follow their daily routines. They go to work, go home, and repeat this cycle again the next day alongside their obedient, homogeneous fellow citizens. But the arrival of a stranger triggers repressed memories, sending all four hurtling into danger… Robson (Welcome to Our Village, Please Invade Carefully) is a master of the gradual release of information, ratcheting up the tension by degrees as both readers and characters learn the truth of his intricately constructed universe… Clever, emotional, and thematically rich, this is sure to please fans of classic science fiction.

Clocking in at 265 pages, this is a very generous package for a novella. Hearts of Oak will be published by Tor.com on March 17, 2020. It is 265 pages, priced at $14.99 in trade paperback and $4.99 in digital formats. The cover is by Armando Veve. Get all the details here.

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An Exuberant Celebration of a Century of Fantasy: Flame and Crimson: A History of Sword-and-Sorcery by Brian Murphy

An Exuberant Celebration of a Century of Fantasy: Flame and Crimson: A History of Sword-and-Sorcery by Brian Murphy

Flame and Crimson-small Flame and Crimson-back-small

Cover by Tom Barber

Brian Murphy was one of the most important of Black Gate‘s early contributors. In 59 articles published between 2010 and 2017, he thoughtfully asked what fantasy was good for (“Transcendent Fantasy, or Politics as Usual?“), suggested classic S&S tales for busy modern readers (“Six Sought Adventure: A Half-Dozen Swords And Sorcery Short Stories Worth Your Summer Reading Time“), and vividly recalled the joys of discovering fantasy in the 70s (“An Ode to the Berkley Medallion Conans“).

I can’t think any anyone more qualified to write Flame and Crimson: A History of Sword-and-Sorcery, an impeccably well researched study — and simultaneously an exuberant celebration — of a century of great fantasy. Here’s a representative sample from the Underground, Resurgence, and New Directions chapter, which is packed with enthusiastic recs for those looking for modern writers worth paying attention to.

Other notable recent sword-and sorcery/sword-and-sorcery-infleunced authors and stories include James Enge’s Morlock the Maker series, including Blood of Ambrose (2009), This Crooked Way (2009), and The Wolf Age (2010), and Paul Kemp’s Egil and Nix stories including The Hammer and the Blade (2012), A Discourse in Steel (2013) and A Conversation in Blood (2017)…. the episodic, street-level adventures of the outsider Moorlock [sic] — a spellcaster and black-blade wielder harkening back to Elric, albeit with more heart and humor — returns it to its sword-and-sorcery roots. Kemp is perhaps best known for his work writing fictional tie-ins to the Dungeons and Dragons campaign setting The Forgotten Realms.

When I asked Brian about writing the book, his reply was characteristically thoughtful and humble. Here’s what he said.

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Magic and Mayhem in 1905 New York City: The Glass Magician by Caroline Stevermer

Magic and Mayhem in 1905 New York City: The Glass Magician by Caroline Stevermer

The Glass Magician CoverBound to a chair, twenty-year-old stage magician Thalia Cutler must escape before the sword hanging above her head plunges down and kills her. She only has a short time – a candle burns through the rope keeping the sword aloft.

The sword is real. The flame is real. The manacles are real.

The trick is called the Siege Perilous. Luckily, the audience can’t see what she’s doing behind the curtain. Thalia pulls out the manacles’ key, which was hidden in her voluminous medieval-style sleeves. It’s a simple matter to unlock the cuffs. Or at least, it should be. The key jams in the left manacle. It won’t release.

She yanks her arm against the restraints, but it no use. She’s caught on this chair, unable to escape. She’s going to die. She knows it. Her body goes numb; her limbs prick with pins and needles.

Just as the rope begins to give way, her arm changes into something else. It’s white; it has feathers… Where her human hand should be, she now has the tip of a wing. It easily slips out of the manacle.

Vaulting out of the chair, she barely makes it through the trapdoor before the sword lands, quivering, on the seat.

Thalia might have just escaped the Siege Perilous, but now she’s in more danger than ever. She had always thought she was nothing more than a Solitaire, a nonmagical human. But her narrow escape from the Siege Perilous reveals she’s really a Trader who can shapeshift into an animal – in her case, some animal with white wings. As a new Trader who can’t control her wild magic, Thalia is a magnet for monsters. Manticores attack, trying to siphon off her power and leave her a soulless shell, soon to perish. Worse yet, by attracting manticores, she endangers everyone around her.

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