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In 500 Words or Less: The Book of Dragons, edited by Jonathan Strahan

In 500 Words or Less: The Book of Dragons, edited by Jonathan Strahan

The Book of Dragons-smallThe Book of Dragons
Edited By Jonathan Strahan; illustrated by Rovina Cai
Harper Voyager (576 pages, $35 hardcover, $16.99 eBook, July 7, 2020)

More than a year ago now, I was hanging out with Kelly Robson and she mentioned a new anthology she’d been invited to contribute to. The topic? Dragons. When was it coming out? 2020 sometime, probably, and we promptly moved on to talking about other things.

It’s now the middle of 2020 and that anthology is here, my friends.

Look at this freaking contributor list. You might think that an anthology about dragons is going to hit a few specific themes or styles, but you would be wrong and should know better, especially with Jonathan Strahan at the helm. I grinned with excitement reading JY Yang’s “The Exile” – dragons that terraform new worlds! (Also a poignant piece about loneliness and consequence.) Pretty sure I muttered a silent “ooooooh” at how Ann Leckie and Rachel Swirsky present bee-like dragons dealing with hive collapse in “We Continue.” Plus there’s Elle Katharine White’s story “Matriculation,” about a young woman with tuition debt, her machinework dragon and a kindly vampire bookseller, which I already described on Twitter as an emotional gut punch.

If I had to pick a thematic through line (not sure if that’s the right term, but I’m going with it) that seems to tie most of The Book of Dragons together, it would be family. In some cases, the focus is reforming bonds and learning to trust each other, like in Zen Cho’s “Hikayat Sri Bujang, or The Tale of the Naga Sage” or Kelly’s “La Vitesse” – an epic ride of Alberta school bus vs dragon. Or it’s about the loss and heartache that sometimes comes with family – like the adopted human watching the hive collapse in “We Continue,” or in R.F. Kuang’s story “The Nine Curves River,” about someone escorting their younger sister to be sacrificed to end a drought. Or the idea of found family, which Seanan McGuire captures brilliantly with “Hoard,” about a long-lived dragon who cares for foster kids close to aging out the way others care about gold.

The idea of gold or treasure comes up often, too. Sometimes as more of an addendum than a focus, like in Sarah Gailey’s “We Don’t Talk About the Dragon.” The real story there is a young girl growing up in a harsh, abusive family – though there’s also a dragon living in the barn.

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Artifacts: SixMoreVodka’s First Rules Expansion for Degenesis

Artifacts: SixMoreVodka’s First Rules Expansion for Degenesis

degenesis-artifacts-coverDegenesis, SixMoreVodka’s post-apocalyptic, Europe-and-North Africa-centered tabletop RPG, released its first rules expansion last month. Called Artifacts and featuring the new Degenesis black-and-gold look, it’s the first gaming supplement I’ve ever owned with gilt-edged pages.

But that’s SMV for you, a company “founded by artists and run by artists.”

As I said in my initial review of the game, you can look at Degenesis as an expensive art book which comes with a free game, or an expensive game book with the most lavish art design in the history of the format. So you can convince yourself that even at USD 60 you’re getting a great deal, FedEx shipping from Berlin included, using many of the same mental gymnastics car enthusiasts might when signing for a new BMW.

Degenesis is already a complete game. But one of the 4chan descriptions of it is “90% fluff and 10% crunch.” While I don’t think that’s near accurate – I’d put it at 70/30 — Artifacts adds plenty of crunch. It gives additional rules to build, motivate, and describe your avatar and player group. There are enhancements to your campaign and a good deal of new technology for the players to use and fight over and a bunch of imaginative new rules for clawing advantage out of the much-altered Earth. And of course there’s first-rate art.

Here’s a quick overview of the game enhancements. Artifacts is divided into twelve parts, and I’ll spend the rest of this review providing thumbnails of the contents.

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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

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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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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

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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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Isaac Asimov’s First Actual Novel: 1950’s Pebble in the Sky

Isaac Asimov’s First Actual Novel: 1950’s Pebble in the Sky

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Pebble in the Sky by Isaac Asimov; First Edition: Doubleday 1950.
Cover by Richard Powers (click to enlarge)

Pebble in the Sky
by Isaac Asimov
Doubleday (223 pages, $2.50 in hardcover, 1950)

Isaac Asimov’s most famous works are likely the Foundation Trilogy and I, Robot, but these are story cycles, not novels. Concurrently with the publication of those books, Asimov published his first three actual novels: Pebble in the Sky; The Stars, Like Dust; and The Currents of Space, from Doubleday in 1950, 1951, and 1952. They share a common future history background (presaged by earlier short fiction like “Black Friar of the Flame” and “Mother Earth”), in which humanity has colonized many planets across the galaxy, while Earth, for reasons of apparently having suffered a nuclear war, is a backwater, despised by the outer worlds. Yet the books vary in the degree to which they are science fiction, and not merely space opera (that is, melodramas with good guys and bad guys fighting for dominance) or historical incidents translated into future settings. Asimov was a sophisticated writer, and all three of these early novels offer complex mysteries in which problems must be solved and villains identified. But in terms of their speculative content, they vary: the middle book, The Stars, Like Dust, is the weakest; the third, The Currents of Space, the strongest; and this first, Pebble in the Sky, somewhere in between.

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Galaxy Science Fiction, October 1954: A Retro-Review

Galaxy Science Fiction, October 1954: A Retro-Review

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Cover art by Mel Hunter

My apologies for an extended absence from posting reviews. Personal matters took my focus and drive, but I’m back again for another retro-review of Galaxy Science Fiction — in this case the October, 1954 issue.

Mel Hunter’s cover art is titled “The Latest in Dugout Canoes.” At least, I think that’s the title. It’s listed inside as “Lastest”, which I think is a typo, given that lastest isn’t a word. But even in a prestigious magazine like Galaxy, mistakes happen. I like finding reminders that professionals of all sorts make mistakes from time to time. I think it lets all of us relax a bit more when we make our own mistakes.

“A World of Talent” by Philip K. Dick — Tim and his parents live among a colony of people who have talents beyond normal humans, including precognition, teleportation, and telepathy. The colony watches vigilantly for attacks from the Terrans, knowing people on Earth have a persistent fear — not only because people on the colony are different but because they’re powerful.

There’s no romantic relationship between Tim’s parents; their union was solely for the benefit of the colony — to try to create a new level of powers through parents who are both precogs. But Tim lives in his own world, remaining in silence much of the time and seeing Others (as he thinks of them) that no one else perceives. What these Others represent slowly unravels the puzzle of Tim’s talent, and it could protect the colony both from Terrans and itself.

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Another Childhood Classic Disappoints: Thuvia Maid of Mars by Edgar Rice Burroughs

Another Childhood Classic Disappoints: Thuvia Maid of Mars by Edgar Rice Burroughs

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Thuvia of Mars paperback editions (Ace 1962, Ballantine 1969, Four Square 1962). Art by Roy Krenkel, Jr., Bob Abbett, and Roy Carnon

During confinement and adjusting to a new job (while writing a new novel!), I’ve been feeling like my bandwidth is restricted. To calm my brain at times, I’ve been rereading books I enjoyed. My reread of the X-Men is well underway (here’s post X in the blog series), and I’ve also relistened to R. Scott Bakker’s Prince of Nothing (covered here by Theo), Charles Stross’ Saturn’s Children and the first two books of The Lord of the Rings. They were all good.

I’ve had rocky experiences on rereads before though. Dune aged poorly for me in some important ways (I detailed it here) and Anthony’s Spell for Chameleon had little redeem itself in my mind (the ways that reread fell flat are here).

I was optimistic about rereading my first novel experiences, Edgar Rice Burroughs though. I’d previously talked about Burroughs and the amazing biography written about him here. Princess of Mars, Gods of Mars and Warlord of Mars were all too well remembered so I downloaded Thuvia Maid of Mars at Librivox.org, which does audio recordings of public domain books. This novel was also discussed by Black Gate blogger Ryan Harvey a few years ago, so if you want an alternate view, it’s here.

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Weird Fiction at its Best From a Modern Scheherazade: We All Hear Stories in the Dark by Robert Shearman

Weird Fiction at its Best From a Modern Scheherazade: We All Hear Stories in the Dark by Robert Shearman

We All Hear Stories in the Dark

We All Hear Stories in the Dark
by Robert Shearman
PS Publishing (Three volume set, 586/628/585 pages, £90.00, April 2020)

How can a reviewer comment meaningfully on a three-volume collection featuring 101 stories? (That’s right, you read correctly). Simply impossible.

Yet this huge, unusual  opus is worth a mention, and a recommendation. First, because the writer is one of the very best fantasists around, the author of excellent, critically acclaimed collections such as Remember Why You Fear Me and They Do the Same Things Different There. And second, because among these many tales you’ll find an exceptional variety of dark and strange genres, from horror to surrealism, black humor to fantasy to (even if only apparently) mainstream literature. Some of the stories collected here have previously appeared in anthologies and magazines, some are brand new.

To get lost in this literary ocean is very easy, so if you don’t feel like reading each piece in the order presented, you can follow the author’s indications and suggestions, and jump from one volume to the other according to a personal roadmap. Whatever you decide, Shearman, this modern Scheherazade, will entertain you and entice you with his uncanny gifts as a storyteller.

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A Scientist’s Science Fiction Novel: Fred Hoyle’s The Black Cloud

A Scientist’s Science Fiction Novel: Fred Hoyle’s The Black Cloud

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The Black Cloud by Fred Hoyle First Edition: William Heinemann, 1957.
Cover by Desmond Skirrow (click to enlarge)

The Black Cloud
by Fred Hoyle
William Heinemann (251 pages, £1.50 in hardcover, 1957)

Fred Hoyle’s 1957 novel The Black Cloud was the first novel by the renowned, perhaps now forgotten (because his big ideas turned out to be wrong), astronomer of the mid-20th century. It’s still his most famous, and likely best, novel, out of some nearly 20 novels he would subsequently write, some in collaboration. Hoyle’s novels are significant because they are science fiction novels written by a real scientist, perhaps the most famed scientist to have ever written science fiction. Hoyle is remembered as an advocate, in the 1950s, of the “steady-state” theory of the universe, in contrast to the “big bang” theory that would eventually prevail. (Ironically, Hoyle created the term “big bang” as a derisive term for an idea he didn’t like.)

The Black Cloud is memorable for its depiction, more or less successfully, of a truly alien intelligence. But it’s as much a disaster novel, of the “cozy catastrophe” variety (i.e. most of the death and devastation occurs off-stage), and a novel of scientific manners, as a first contact story. We see the sharp contrast between how scientists understand the world with how politicians try to manipulate it, and we see a milder contrast in the rivalry between an American group of scientists and a British group.

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Death Reigns and Danger Abounds: The Toll by Neal Shusterman

Death Reigns and Danger Abounds: The Toll by Neal Shusterman

The Toll CoverNeal Shusterman’s masterful conclusion to the Arc of a Scythe trilogy, The Toll, takes place on a future Earth where humans are immortal. To keep the population from overrunning the globe, professional scythes “glean” a quota of victims in one of the only forms of death that still sticks. Most scythes end human life with care and sorrow. But sadist Robert Goddard and his “new order” scythes enjoy mass slaughter.

In The Toll‘s opening pages, Goddard amasses more and more power, becoming the High Blade of MidMerica and then Overblade of North America. Despite the old regime’s continued opposition, he removes the traditional limitations on scythes, unleashing the new order’s bloodiest appetites. People start avoiding any activity that requires them to assemble in groups, for fear of attracting a grim reaper.

The book follows three main sets of characters who strive to end Goddard’s brutal reign. The first concerns secret agent Greyson Tolliver, who has been leading a criminal lifestyle as a cover while acting on behalf of the Thunderhead, the artificial intelligence that oversees and manages the world. Greyson is now the only human on the planet who can communicate directly with the Thunderhead, since everyone else – including the Thunderhead’s more legitimate agents – has been labeled Unsavory. When the Thunderhead’s former agents discover that this gangster is their only remaining link to the entity they still want to serve, they kidnap him.

When Goddard finds out Greyson exists, he sends an assassin.

The second set of characters are our teenaged heroes Citra and Rowan. As the island of Endura sank at the end of Thunderhead, Scythe Curie locked them in the airtight Vault of Relics and Futures. Curie knew that asphyxiation would only render them deadish. Someday, she reasoned, their bodies would be found, and they would be revived. There was no such hope for everyone else, doomed to be consumed by circling sharks. But Goddard has declared a Perimeter of Reverence around Endura and forbidden ships from approaching. Citra and Rowan’s lifeless bodies lay in the Vault, which has tumbled into a deep oceanic trench, without rescue. Until a hermaphroditic ship’s captain pulls them from the deep under the cover of night.

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