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Postapocalyptic Adventure on the Gulf Coast: The Ship Breaker Trilogy by Paolo Bacigalupi

Postapocalyptic Adventure on the Gulf Coast: The Ship Breaker Trilogy by Paolo Bacigalupi

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Paolo Bacigalupi’s breakout book was The Windup Girl (2009), which won the Hugo and Nebula Awards for Best Novel. He followed that triumph with his first New York Times bestseller, the National Book Award Finalist Ship Breaker (2010), the tale of a teenage boy in a future Gulf Coast devastated by the forces of climate change. Here’s the description.

In America’s flooded Gulf Coast region, oil is scarce, but loyalty is scarcer. Grounded oil tankers are being broken down for parts by crews of young people. Nailer, a teenage boy, works the light crew, scavenging for copper wiring just to make quota–and hopefully live to see another day. But when, by luck or by chance, he discovers an exquisite clipper ship beached during a recent hurricane, Nailer faces the most important decision of his life: Strip the ship for all it’s worth or rescue its lone survivor, a beautiful and wealthy girl who could lead him to a better life….

He followed Ship Breaker with The Drowned Cities, a 2012 Los Angeles Public Library Best Teen Book.

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The Road of Azrael by Robert E. Howard

The Road of Azrael by Robert E. Howard

TRDOZRL1979I can remember when my dad brought home The Road of Azrael (1979) and Sowers of the Thunder (1980), collections of Robert E. Howard’s historical adventure tales. My reading tastes were so exclusively fantasy and science fiction then, I couldn’t imagine wasting any time on boring, mundane stories. No wizards, no demons? What the heck was anybody thinking?

I grew out of that attitude a few years later and read both volumes. I remember liking them, but if you asked me for details on either one, I couldn’t have told you a thing. I read them once and never again. In fact, until recently I hadn’t read any other historical adventure even though, theoretically at least, I was a fan. I mean, it’s one of the primary root sources of swords & sorcery. At a very basic level, Robert E. Howard took the historical adventures of writers like Harold Lamb and Talbot Mundy and added magic and monsters.

It wasn’t until I started blogging about swords & sorcery and started getting all sorts of recommendations for the stuff that I looked into the genre again. With my review of Henry Treece’s The Great Captains four years ago, I started including some novels in my writing for Black Gate. I’ve been including a taste every month or so (most recently Purity of Blood by Arturo Pérez-Reverte), and it’s gone over well.

One of the pledges I made to myself at the start of my Black Gate tenure four years ago, was to avoid the big names of swords & sorcery. No one, I felt, needed another article about Michael Moorcock, or Fritz Leiber, or especially Robert E. Howard. Considering I wrote about Karl Edward Wagner’s Night Winds for my very first full review, THAT promise didn’t last very long, but I have tried to keep my focus on lesser-known or forgotten authors in my reviews of older works. Since then, I’ve reviewed a Moorcock book, a new one by Charles Saunders, and several more Wagner books, but until now I’ve steered clear of REH (especially because Bob Byrne has done a terrific job writing about him here at BG in his ongoing Discovering Robert E. Howard columns). It’s too hard to completely avoid the foundational figures of swords & sorcery when writing as often as I do, but I try to keep it to a minimum.

All this is a complicated way to say I’m reviewing The Road of Azrael by Robert E. Howard, and feel fully justified in doing so. It collects five historical tales of varying quality.

The paperback edition I read has execrable cover art, which did nothing to add appeal for me. Fortunately, the first thing in the book is a laudatory introduction by Gordon Dickson, no slouch of a storyteller himself, praising REH’s storytelling talents. Not that I need reminding of just how good Howard could be, but it’s always nice to see him get the praise he deserves. Unfortunately, I did not like the opening story, “Hawks Over Egypt.”

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Vintage Treasures: Sword & Sorceress, edited by Marion Zimmer Bradley

Vintage Treasures: Sword & Sorceress, edited by Marion Zimmer Bradley

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Sword and Sorcery has a rich history of anthology series. Lin Carter’s seminal Flashing Swords and Andy Offutt’s Swords Against Darkness are probably the most famous examples, but in terms of longevity and influence on the field I think they’re both eclipsed by Marion Zimmer Bradley’s Sword & Sorceress anthologies. The first one appeared from DAW Books in 1984, and there’s been a new volume every year since, with a single three-year gap between 2004-07. Last year’s Marion Zimmer Bradley’s Sword and Sorceress, edited by Elisabeth Waters, was #31.

The series is critical to the history of the field for more than its longevity, however. Unlike Carter and Offutt, who invited established authors to fill their pages, Bradley and her fellow editors opened their volumes up to submissions, and the results were pretty extraordinary. Numerous young writers who would go on to great things, many of them women, were discovered or promoted very early in their career in the pages of S&S, including Emma Bull, Mercedes Lackey, Jennifer Roberson, Diana L. Paxson, Laurell K. Hamilton, Phyllis Ann Karr, Rachel Pollack, Vera Nazarian, Deborah J. Ross, Elizabeth Moon, Janet Fox, Laura J. Underwood, Rosemary Edghill, Syne Mitchell, Devon Monk, Carrie Vaughn, and many, many others. You could make a pretty compelling case that Sword & Sorceress (together with its sister publication, Marion Zimmer Bradley’s Fantasy Magazine) dramatically remade modern fantasy, and may be the single greatest influence on 21st Century American fantasy so far.

The first volumes of S&S came out just as I entered grad school and my reading time dropped precipitously. So I missed out on al the excitement, but it’s not too late to catch up. I found the above collection of the first nine volumes (plus VIII and XV) in great shape on eBay, and bought it for $20, about two bucks per book — about half the original cover price. That’s a heck of a bargain for a lot of great reading.

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Future Treasures: Persepolis Rising by James S. A. Corey

Future Treasures: Persepolis Rising by James S. A. Corey

Persepolis Rising-smallJames S. A. Corey is the pen name of fantasy author Daniel Abraham (the Long Price Quartet) and writer Ty Franck. Their Expanse series, a New York Times bestseller, is one of the most popular SF series on the shelves at the moment. It has been filmed as The Expanse, a breakout hit for the SyFy channel, which was just renewed for a third season.

At six volumes this is a substantial reading project already. The seventh novel, Persepolis Rising, arrives in hardcover next month from Orbit.

AN OLD ENEMY RETURNS

In the thousand-sun network of humanity’s expansion, new colony worlds are struggling to find their way. Every new planet lives on a knife edge between collapse and wonder, and the crew of the aging gunship Rocinante have their hands more than full keeping the fragile peace.

In the vast space between Earth and Jupiter, the inner planets and belt have formed a tentative and uncertain alliance still haunted by a history of wars and prejudices. On the lost colony world of Laconia, a hidden enemy has a new vision for all of humanity and the power to enforce it.

New technologies clash with old as the history of human conflict returns to its ancient patterns of war and subjugation. But human nature is not the only enemy, and the forces being unleashed have their own price. A price that will change the shape of humanity — and of the Rocinante — unexpectedly and forever…

Here’s the complete list of novels.

The Expanse
Leviathan Wakes
Caliban’s War
Abaddon’s Gate
Cibola Burn
Nemesis Games
Babylon’s Ashes
Persepolis Rising

Persepolis Rising will be published by Orbit on December 5, 2017. It is 560 pages, priced at $28 on hardcover and $14.99 for the digital edition. The cover is by Daniel Dociu. See all of our recent coverage of the best upcoming SF and Fantasy here.

I Was Paper Trained by Philip K. Dick

I Was Paper Trained by Philip K. Dick

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My oldest son Sam loves the movie Blade Runner above almost any other, and so he was at least provisionally interested when the recent and long-delayed sequel, Blade Runner 2049 hit the theaters. Myself, I didn’t care much one way or the other. I like the original movie well enough (though it’s not the touchstone for me that it seems to be for many others) but as for the sequel, well… the two hours that will forever go down in infamy as Prometheus did a lot to damage my moviegoing relationship with Ridley Scott, which was never that warm to begin with. (I know Scott was “just” the executive producer on 2049, but still. Once someone has charged you twelve dollars for the privilege of farting in your face, you don’t forget it.)

In any case, the merits of the movies are beside the point. It has long irked me, as a science fiction fan and as a father, that Sam’s enthusiasm for Blade Runner has always been untempered by any encounter with Philip K. Dick’s actual novel, Do Androids Dream of Electric Sheep? or indeed, with anything by the man who I regard as the greatest of all science fiction writers. Before you call Child Protective Services, please know that I didn’t fail in every way as a parent — Sam has a wife and a home and a job, he can tie his shoes and put together a coherent English sentence, he’s kind to animals and considerate to everyone he meets, at least until he finds out who they voted for, and he’s a hell of a cook. He’s a fine and productive person and my pride in him is unbounded… but really, c’mon — Phillip K. Dick!

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Ragnarok Publications Cancels Forthcoming Books

Ragnarok Publications Cancels Forthcoming Books

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John R. Fultz recently alerted us to some unfortunate news: Ragnarok Publications, the independent small press behind the acclaimed anthologies Blackguards and Kaiju Rising: Rise of Monsters, has officially canceled their slate of upcoming novels. This affects several books we were really looking forward to, including John’s upcoming Son of Tall Eagle, the sequel to The Testament of Tall Eagle. Here’s part of the announcement posted on the Ragnarok website yesterday:

It’s time for a hard decision.

In order for us to get our feet under us again, we have to reboot in a way. It’s extremely unfortunate and we wrestled with this decision, but for now, we’re closing down the majority of our novel contracts. We feel like the authors we work with are family and this is the last thing we wanted to do — hurt our family. We love and believe in all the novels we’ve published, but we simply cannot afford to keep them in print, nor can we afford to put out new novels at the level of quality that we are known for.

Here’s the complete text of the announcement from publisher Jeremy Mohler.

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Tom Sutton’s Creepy Things

Tom Sutton’s Creepy Things

Creepy ThingsNobody does good horror anthology comics any longer. Oh sure, some micro-press might release an issue here and there every couple of years, but it’s not like the days when you could go to any drug store in the country and find a dozen different horror collections on the spinner racks. Horror anthology comics first got big in the 1950s, before the Comics Code brought an end to all of that gory goodness. Flash forward to the Bronze Age of Comics (beginning roughly some time in the early 1970s), when the children who’d read Golden Age comics had grown up and gone into the industry for themselves. Bronze Age horror comics borrowed heavily from Golden Age titles like Tales from the Crypt and Chamber of Chills. But since they could never match those titles for outright gore (the Comics Code still being in place), they instead relied on sheer weirdness. And if you’re researching weird 1970s horror (which I frequently do), you’re going to run across the name Tom Sutton.

Just like in the 1950s, every comic book publisher in the 1970s printed at least a couple of horror anthology titles and each title achieved a different level of success. DC Comics had almost a dozen different titles at the height of the horror boom (House of Mystery, House of Secrets, Witching Hour, Weird War Tales, Secrets of Sinister House, Ghosts, Secrets of Haunted House, Tales of Forbidden Mansion, Weird Mystery Tales, Unexpected). Marvel Comics had fewer anthology titles, specializing instead in recurring monster books (Werewolf by Night, Monster of Frankenstein, Tomb of Dracula). Warren slipped around the Comics Code by publishing black-and-white oversized “magazines” that could have more violence and nudity (Creepy, Eerie, Vampirella). And all but forgotten in the comics shuffle is Charlton Comics, always less popular than Marvel, DC, or Warren. Part of the problem was that Charlton notoriously offered some of the lowest pay rates to artists and writers, making them less popular for the A-list talent.

On the other hand, what Charlton could offer was far less editorial interference. As long as the art and story didn’t violate the Comics Code, they gave their artists and writers a free hand to tell whatever stories they wanted. It’s likely one of the reasons that comic legends like Steve Ditko frequently worked with them. And it’s why Tom Sutton’s most interesting work was done for their titles (The Many Ghosts of Doctor Graves, Ghost Manor, Haunted Love, Ghostly Haunts, Midnight Tales, Haunted, Monster Hunters). The folks at Yoe Books have collected sixteen of those stories in a stunning hardcover collection. It opens with an overview of Sutton’s career written by Michael Ambrose, followed by a selection of old cover illustrations, then the first story.

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New Treasures: Oathbringer by Brandon Sanderson

New Treasures: Oathbringer by Brandon Sanderson

Oathbringer-smallBrandon Sanderson is one of the most prolific writers in the genre. By any measure, he’s certainly one of the hardest working. Back in 2015 I estimated that he was producing, on average, 1,270 pages per year (not counting short stories and the like). His first novel of 2017, Oathbringer, the third novel in The Stormlight Archive, weighs in at a whopping 1,248 pages — and still manages to bring down his average.

Oathbringer is the sequel to the #1 New York Times bestselling The Way of Kings (2011) and Words of Radiance (2014), both of which were over 1,000 pages in hardcover. The series is projected to be 10 volumes, over 10,000 pages, about ten times the length of The Lord of the Rings. Get a cozy reading nook for this one, you’re going to need it.

In Oathbringer, the third volume of the New York Times bestselling Stormlight Archive, humanity faces a new Desolation with the return of the Voidbringers, a foe with numbers as great as their thirst for vengeance.

Dalinar Kholin’s Alethi armies won a fleeting victory at a terrible cost: The enemy Parshendi summoned the violent Everstorm, which now sweeps the world with destruction, and in its passing awakens the once peaceful and subservient parshmen to the horror of their millennia-long enslavement by humans. While on a desperate flight to warn his family of the threat, Kaladin Stormblessed must come to grips with the fact that the newly kindled anger of the parshmen may be wholly justified.

Nestled in the mountains high above the storms, in the tower city of Urithiru, Shallan Davar investigates the wonders of the ancient stronghold of the Knights Radiant and unearths dark secrets lurking in its depths. And Dalinar realizes that his holy mission to unite his homeland of Alethkar was too narrow in scope. Unless all the nations of Roshar can put aside Dalinar’s blood-soaked past and stand together ― and unless Dalinar himself can confront that past―even the restoration of the Knights Radiant will not prevent the end of civilization.

Nice to see Michael Whelan do the cover art. The wraparound cover is quite striking; here’s a look at the entire piece.

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The Finest in Modern Sword & Sorcery: The Best of Heroic Fantasy Quarterly: Volume 2, 2011-2013

The Finest in Modern Sword & Sorcery: The Best of Heroic Fantasy Quarterly: Volume 2, 2011-2013

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One of the reasons I especially regret not attending the World Fantasy Convention this year is missing the release of The Best of Heroic Fantasy Quarterly: Volume 2, which debuted at the con. I wrote the introduction to the first volume, and I dearly wish I’d been there to celebrate the arrival of this one. In his review of Volume 1, Fletcher Vredenburgh wrote:

Regular readers of my monthly short story roundup know how great I think Heroic Fantasy Quarterly is, ranking it the most consistent forum for the best in contemporary swords & sorcery. Some may think I’m laying it on a little thick, but The Best of Heroic Fantasy Quarterly: Volume 1, 2009-2011, a distillation of the mag’s first three years, should prove that I’m not.

Under the stewardship of editors Adrian Simmons and David Farney HFQ has gotten better and better over the past six years, and I’m pleased that the wait for Volume 2 is finally over. It collects twenty stories and poems published in Heroic Fantasy Quarterly between 2011 and 2013; each one is accompanied by a full-page illustration.

If you’re looking for the best in modern heroic fantasy, look no further. The Best of Heroic Fantasy Quarterly: Volume 2, 2011-2013 was compiled by the editors of Heroic Fantasy Quarterly and published on October 23, 2017. It is 250 pages, priced at $12.99 in paperback. The cover is by Robert Zoltan. Get more info and order copies here, and check out Heroic Fantasy Quarterly magazine — available online and completely free — here.

New Treasures: Creatures of Will and Temper by Molly Tanzer

New Treasures: Creatures of Will and Temper by Molly Tanzer

Creatures of Will and Temper-smallWhen you’ve been covering the genre for decades, you start to get a sense for the break-out books. Neil Gaiman’s Neverwhere. John Scalzi’s Old Man’s War. Patrick Rothfuss’ The Name of the Wind.

Molly Tanzer’s Creatures of Will and Temper looks like a breakout book. It’s got all the classic elements — fabulous setting, swordplay, and the supernatural — while also being totally original. And there’s no doubt in my mind that Molly is poised for a break-out. Her first novel Vermilion received rave reviews (“A splendid page-turner of a Weird West adventure… hugely entertaining” — Publishers Weekly), and her most recent book was the anthology Swords vs Cthulhu, co-edited with Jesse Bullington. How cool is that?

Creatures of Will and Temper is already starting to generate buzz at the top levels of the industry (“A delightful, dark, and entertaining romp… Molly Tanzer is at the top of her form” — Jeff VanderMeer). It arrived in trade paperback this week from ace editor John Joseph Adams’s imprint, John Joseph Adams Books. Don’t wait too long to check it out.

Victorian London is a place of fluid social roles, vibrant arts culture, fin-de-siècle wonders… and dangerous underground diabolic cults. Fencer Evadne Gray cares for none of the former and knows nothing of the latter when she’s sent to London to chaperone her younger sister, aspiring art critic Dorina.

At loose ends after Dorina becomes enamored with their uncle’s friend, Lady Henrietta “Henry” Wotton, a local aristocrat and aesthete, Evadne enrolls in a fencing school. There, she meets George Cantrell, an experienced fencing master like she’s always dreamed of studying under. But soon, George shows her something more than fancy footwork — he reveals to Evadne a secret, hidden world of devilish demons and their obedient servants. George has dedicated himself to eradicating demons and diabolists alike, and now he needs Evadne’s help. But as she learns more, Evadne begins to believe that Lady Henry might actually be a diabolist… and even worse, she suspects Dorina might have become one too.

Combining swordplay, the supernatural, and Victorian high society, Creatures of Will and Temper reveals a familiar but strange London in a riff on Oscar Wilde’s The Picture of Dorian Gray that readers won’t soon forget.

Creatures of Will and Temper was published by John Joseph Adams Books on November 14, 2017. It is 368 pages, priced at $16.99 in trade paperback and $9.99 for the digital edition. The cover designer is Eduardo Recife. See our previous coverage of Molly’s work here.