The Poison Apple: True Interview – One-on-One with Charlaine Harris

The Poison Apple: True Interview – One-on-One with Charlaine Harris

Candid photo by Elizabeth Crowens

Candid photo by Elizabeth Crowens

I had the pleasure of interviewing Charlaine Harris at the 2017 Bouchercon, a mystery convention held this year in Toronto. Charlaine has written dozens of books from the Sookie Stackhouse Southern Vampire series that was made into the television series, True Blood on HBO to the Midnight series, which is now featured as the Midnight, Texas series on NBC.

One of the things I wanted to focus on in our interview is that you’ve been involved so many adaptations of your work. I know you’ve been writing for a really long time, but I have to ask you — when you were in your twenties what did you visualize? Did you think your career was going to take this turn?

Charlaine: Who could ever imagine this? I’ve met people I never thought I’d be in the same city with much less dining with and watching them work and then feeling… at least lip service… lucky to be meeting me! I thought, “This is just crazy and weird.”

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Ride Your Own Pet Sea Monster: The Abyss Surrounds Us by Emily Skrutskie

Ride Your Own Pet Sea Monster: The Abyss Surrounds Us by Emily Skrutskie

The-Abyss-Surrounds-Us-smallWhat Anne McCaffrey did for dragons, Emily Skrutskie does for sea monsters.

In The Abyss Surrounds Us, first-person present-tense narration sweeps readers into the world of Cassandra “Cas” Leung. Since Cas is a trainer of Reckoners, genetically engineered giants of the ocean, her perspective gives us the joy of having our own pet sea monster. As Cas, you’ll strap on your scuba gear and swim alongside a massive tortoise, running your hands over and between its keratin plates. You’ll climb on its back and sit on its head. You’ll hitch a ride as it dives. You’ll command it in battle, sending it to charge, ravage, and destroy.

At the age of seventeen, Cas has worked her whole life to become a full-fledged Reckoner trainer. The day has finally come for her to go on her first solo mission, accompanying the legendary monster Durga as she protects a cruise ship in the lawless Neo Pacific. Cas’s first mistake is assuming that any escort duty in pirate-infested waters is going to be a cakewalk. Her second is deciding to go through with the mission despite signs that Durga’s sick. Her third mistake, after pirates have succeeded in killing Durga and overtaking the ship, is failing to take the suicide pill that would guarantee her a swift and painless death.

Defenseless in enemy hands, Cas has a brain full of information the pirates must never discover. But instead of torturing it out of her, the vicious pirate queen has other plans. She has acquired a Reckoner fetus on the verge of hatching. To avoid execution, Cas must birth the thing, raise it, and train it to kill the very people who would come to rescue her.

Once she’s got a lethal beast on her side, though, she can turn it on the pirates and escape. Or at least, this is what Cas thinks. Which is her final mistake.

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A Return to Terry Carr’s Best Science Fiction of the Year

A Return to Terry Carr’s Best Science Fiction of the Year

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My taste in science fiction — like my taste in music and film — was shaped early. What I learned to love as a teen I largely still enjoy… with some exceptions. One of those exceptions is Terry Carr’s Best Science Fiction of the Year. I picked up my first one in 1977, at the age of 13, and I discovered pretty quickly that they weren’t for me. I went back to reading pulp SF in books like Before the Golden Age, and was blissfully happy to do so for many years.

I’ve returned to Carr’s Best Science Fiction of the Year recently, and discovered why I didn’t connect with them four decades ago: unlike many of his contemporaries, Carr brought an adult eye to SF, and the fiction he selected spoke to adults. It still speaks to adults today, clearly and with no loss of voice, and I now consider Carr’s Best volumes — especially the ones he did in the mid-70s — to be some some of the best SF anthologies ever printed. Here’s what I said last year about #3, published in 1973.

How incredible was The Best Science Fiction of the Year #3? It contains some of the finest science fiction stories of all time, packed into one slender volume. Like “The Women Men Don’t See” by James Tiptree, Jr… perhaps her most famous story, and that’s saying something. And Vonda N. McIntyre’s Nebula Award-winning “Of Mist, and Grass, and Sand,” which became the basis of her 1978 novel Dreamsnake (which swept the Hugo, Nebula, and Locus Awards the following year.) And Harlan Ellison’s classic “The Deathbird,” the Hugo and Locus Award-winning title story of his celebrated 1975 collection Deathbird Stories. Plus Gene Wolfe’s famous “The Death of Dr. Island,” winner of the Locus and Nebula awards for Best Novella.

And an unassuming little story by a young writer named Ursula K. Le Guin, “The Ones Who Walk Away from Omelas,” which won the Hugo Award for Best Short Story, and is considered by many (me included) to be one of the finest short stories ever written. And lots more — including a Jack Vance novella, plus stories by Philip José Farmer, Alfred Bester, R. A. Lafferty, Robert Silverberg, and F. M. Busby. All for $1.50!

Last month I purchased a fine collection of six Best Science Fiction of the Year volumes (pictured above) on eBay for the criminally low price of $7. They arrived a few weeks ago, and I’ve stolen a few minutes here and there to dip into them. It’s been an enormously rewarding experience.

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New Treasures: The Witches of New York by Ami McKay

New Treasures: The Witches of New York by Ami McKay

The Witches of New York-small The Witches of New York-back-small

When a book loudly proclaims “International Bestseller” on the cover, that’s usually code for “Translated from French,” or some equally strange language. A little digging on the copyright page of The Witches of New York reveals that it was, indeed, originally published in a foreign land in 2016… in this case, Canada. Well, that means I can be reasonably sure the author has at least been to New York. You can see why this kind of literary detective work is so important.

Ami McKay lives in Nova Scotia (the greatest land on Earth), and her debut novel The Birth House was a # 1 bestseller in Canada. Her second, The Virgin Cure, was inspired by her great- great grandmother, Dr. Sarah Fonda Mackintosh, a female doctor in nineteenth century New York. McKay was born and raised in Indiana, which is actually farther from New York than Nova Scotia. But we won’t hold that against her.

Publishers Weekly calls The Witches of New York “Wonderful… a sidelong glance at misogyny through a veil of witches, ghosts, and other mystical entities in 1880 New York.” And The Globe and Mail says “Society types straight out of Edith Wharton pursue spiritualism for fun… but McKay widens her scope with grimier episodes… She has a nose for the Dickensian.” It is a Buzzfeed Best Gift Book of the Year.

The Witches of New York was published by Harper Perennial on July 11, 2017. It is 560 pages, priced at $15.99 in paperback, and $9.99 for the digital edition. The cover is by Stephen MacKey. Read an excerpt here.

Helen’s Daimones by S.E. Lindberg

Helen’s Daimones by S.E. Lindberg

51rwuiXOUeL._SX331_BO1,204,203,200_There are strange territories in the wilds of swords & sorcery that have been visited successfully by only a handful of writers. They are places where, aside from some actual swords and sorcery, few of the common trappings of the genre are found. Magic may be phatasmagorical, the world — both physically and culturally — has no echoes of our own, and the hero is more likely to be a golem, a resurrected nobleman, or a little girl than an axe-swinging warrior.

Some of C.L. Moore’s Jirel stories and most of Clark Ashton Smith’s oeuvre mapped portions of these realms. In Throne of Bones, Brian McNaughton (reviewed by me here) brought back a detailed study of one nation. Michael Shea and Darrell Schweitzer mapped whole continents. They’re dangerous places, permeated by darkness and decay, and the scent of death is rarely absent from the thick, curdled air.

S.E. Lindberg’s short novel, Helen’s Daimones (2017), is one such tale of this diseased stretch of the world of swords & sorcery. I can’t say this book quite attains the same heights as Shea’s Nifft the Lean or Schweitzer’s The Mask of the Sorcerer (reviewed here), but much of the time it comes tantalizingly close. It’s always exciting to find an author hunting out the stranger reaches of fantasy instead of re-exploring places we’ve all been many times before. This is the third published (second chronologically) novel in Lindberg’s Dyscrasia series. The word dyscrasia is from the Greek, and refers to a bad mixing of the four Classical humors: phlegm, blood, black bile, and yellow bile. In these books, there is no actual magic, only the disease Dyscrasia and corrupted souls.

Lindberg’s novel opens on his young protagonist, the daughter of a furrier, playing in the countryside.

Lithe, ivory-haired Helen crouched in the meadow. She spied the emerging fireflies, ready to play. A storm brewed on the distant, western horizon. Remote, thunderless lightning seemed to communicate to the fireflies with pulsing flashes. She wished she could interpret such magic.

“One day, I will understand your secret language,” Helen vowed.

She was accustomed to being apart from people, immersed in her own reality. Cloaked in a cougar pelt splotched with green dye, she was empowered by her feline familiar’s aura: Angie.

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Future Treasures: Elysium Fire by Alastair Reynolds

Future Treasures: Elysium Fire by Alastair Reynolds

Elysium Fire-smallAlastair Reynolds’ 2007 novel The Prefect introduced Prefect Tom Dreyfus, a hardened law enforcement officer tasked with maintaining democracy throughout the Glitter Band, part of Reynolds’s Revelation Space milieu. Publishers Weekly called the book “a fascinating hybrid of space opera, police procedural and character study… solid British SF adventure, evoking echoes of le Carré and Sayers with a liberal dash of Doctor Who.”

A decade later Reynolds has written a sequel, in which Dreyfuss finds himself caught in a web of murderers, secret cultists, tampered memories, and unthinkable power. It arrives in paperback from Orion next month.

Ten thousand city-state habitats orbit the planet Yellowstone, forming a near-perfect democratic human paradise.

But even utopia needs a police force. For the citizens of the Glitter Band that organization is Panoply, and the prefects are its operatives.

Prefect Tom Dreyfus has a new emergency on his hands. Across the habitats and their hundred million citizens, people are dying suddenly and randomly, victims of a bizarre and unprecedented malfunction of their neural implants. And these “melters” leave no clues behind as to the cause of their deaths…

As panic rises in the populace, a charismatic figure is sowing insurrection, convincing a small but growing number of habitats to break away from the Glitter Band and form their own independent colonies.

Elysium Fire is Book 2 of 3 in the Prefect Dreyfus Emergency series. Our most recent coverage of Reynolds includes Brandon Crilly’s review of Revenger (which won the 2017 Locus Award for Best Young Adult Book), and a look at The Medusa Chronicles, co-authored with Stephen Baxter. Brit Hvide at Orbit shares this take on the cover art:

Peer into the darkness! Gaze upon the future! And admire that sweet, sweet new cover for Alastair Reynolds’ latest space opera, Elysium Fire! That gold band you see on the cover? Nope, it’s not one of Jupiter’s rings, fancy space debris, or a futuristic engagement ring. It’s the Glitter Band, the setting for Reynolds’s latest adventure: ten thousand city-state habitats orbiting the planet Yellowstone, forming a near-perfect democratic human paradise. How’s that for scale?

Elysium Fire will be published by Orbit on January 23, 2018. It is 432 pages, priced at $15.99 in trade paperback and $9.99 for the digital editions.

The Public Life of Sherlock Holmes: Cthulhu Casebooks (Vol 2) & The Thinking Engine

The Public Life of Sherlock Holmes: Cthulhu Casebooks (Vol 2) & The Thinking Engine

Lovegrove_MiskatonicLast December I wrote about Sherlock Holmes & the Shadwell Shadows, volume one of James Lovegrove’s Cthulhu Casebooks trilogy. And this December, it’s on to book two, Sherlock Holmes and the Miskatonic Monstrosities. I wasn’t quite as fond of the second installment, though not because it’s a bad book.

As I wrote in that first review:

The basic premise of the… trilogy is that Watson made up the sixty stories in the Canon. He did so to cover up the real truth behind Holmes’ work. And that’s because the truth is too horrible to reveal. In a nutshell, Watson has written three journals, each covering events fifteen years apart, to try and get some of the darkness out of his soul.

The darkness exists because Holmes, with Watsons’s assistance, waged a career-long war with the otherworld beings of the Cthulhu mythos.

Somewhere in another Black Gate post, I calculated the percentage that Holmes is absent in each of the four novellas which Doyle wrote featuring the great detective. Lovegrove chose to use that novella model and it’s my biggest complaint about the book. Holmes and Watson find a journal and read it. It reminds me of the Mormon interlude in A Study in Scarlet and it takes up thirty-five percent of the book.

Fully one-third of this novel has nothing to do with Holmes or Watson. It provides background to the mystery, but it could be a standalone story and it would have no more tie-in to Holmes than an account of my going out to lunch yesterday.

The flashback takes place in Arkham and it is essentially a Cthulhu short novella. Lovegrove got to write a Lovecraft pastiche within a Holmes pastiche. Of course, these three books are aimed at fans of the Cthulhu stories, so it’s not totally out there. I’ve read stories by Lovecraft, Derleth and others. I don’t mind them, but I’m not a particularly big fan. So, I’m not the target audience for the trilogy.

Those who are avid Holmes and Cthulhu fans are likely to enjoy this second book more than I did. But the fact is that this was a third of the book with no Holmes and/or Watson.

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True to the Specters of the Dead: The Big Book of Ghost Stories, edited by Otto Penzler

True to the Specters of the Dead: The Big Book of Ghost Stories, edited by Otto Penzler

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Two weeks ago I wrote a quick piece on Otto Penzler’s latest anthology, The Big Book of Rogues and Villains. I dashed off a list of the previous Penzler books we’d covered over the years… and I realized to my dismay that we’d somehow overlooked one of my favorites, The Big Book of Ghost Stories, an 836-page treasure trove released in 2012. I figured the time was right to rectify that oversight.

Michael Dirda gives a great summary in his Washington Post review.

Otto Penzler’s The Big Book of Ghost Stories largely focuses on classic tales. No one should go through life (let alone death) without experiencing W.W. Jacobs’s “The Monkey’s Paw,” Perceval Landon’s “Thurnley Abbey,” Ambrose Bierce’s “The Moonlit Road” and M.R. James’s “Oh, Whistle and I’ll Come to You My Lad.” But Penzler also includes many stories that should be equally well known. This year, for instance, I read for the first time Ellen Glasgow’s “The Shadowy Third,” a wonderfully ambiguous tale of a nurse hired by a charismatic doctor to care for his apparently demented wife. Yet Mrs. Maradick is strangely afraid of her handsome husband, and there is something odd about her silent young daughter. Glasgow’s narrative is deeply haunting, in more ways than one.

Penzler stresses that he has “tried to remain true to the notion that ghosts are spirits or specters of the dead. Some stories that frequently have appeared in other ghost story anthologies have nothing at all to do with ghosts. They may be trolls, or evil plants, vile fungi, monsters, or other creatures of that ilk. Rightly or not, I have attempted to be a bit of a narrow-minded purist about it all.” This means that there is nothing here by Arthur Machen, who specialized in ancient and malignant races lurking in the Welsh hills, while Algernon Blackwood is represented by “The Woman’s Ghost Story” instead of his masterpiece, “The Willows.”

The book contains tales by HP Lovecraft, Conrad Aiken, Rudyard Kipling, Ramsey Campbell, Nathaniel Hawthorne, Donald E. Westlake, Fritz Leiber, Albert E. Cowdrey, Wilkie Collins, Manly Wade Wellman, Saki, Edith Wharton, and many others. Here’s the complete Table of Contents.

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Old Empires and Armored Planets: Rich Horton on The Sun Smasher by Edmond Hamilton and Starhaven by Ivar Jorgenson

Old Empires and Armored Planets: Rich Horton on The Sun Smasher by Edmond Hamilton and Starhaven by Ivar Jorgenson

The Sun Smasher Edmond Hamilton-small Starhaven Ivar Jorgenson-small

Rich Horton has been reading through the Ace Double library over at his blog Strange at Ecbatan. His last few selections have been duds, but I’m optimistic about Edmond Hamilton’s The Sun Smasher and Ivar Jorgenson’s Starhaven, Double #D351, published in 1959. Edmond Hamilton was my favorite pulp SF writer, and “Ivar Jorgenson” was a pen name for none other than Robert Silverberg.  Here’s Rich.

Each of these novels was published earlier in a single issue of a magazine, possibly (especially in the case of the Jorgenson novel) in shorter versions. The Sun Smasher appeared as “Starman Come Home” in the September 1954 Universe Science Fiction, while Starhaven appeared as “Thunder Over Starhaven” in Science Fiction Adventures for October 1957. (I suspect the Hamilton novel, which is the shorter of the two at about 30,000 words, probably is the same version as appeared in the magazine, but the “Jorgenson” story, some 40,000 words long or more, is expanded, as Silverberg discusses below.)

The covers of the magazine editions of these stories are something of a real delight, so I’ve reproduced them here.

I always enjoy Rich’s reviews of classic SF. But when he starts throwing in vintage magazine covers, you know he’s really speaking my language.

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Watching the Justice League Movie

Watching the Justice League Movie

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I have a poor track record seeing DC movies. The trailers have usually turned me off with their enthusiasm for finding the grim-dark cinematic angle that the regular comic book version of the DC universe chucked when it diversified its tone with the launch of Rebirth. So, I didn’t see Man of Steel kill people, or Batman and Superman fight, or any of that stuff, because I wasn’t interested.

Hearing that Wonder Woman was different, I happily checked that out, and thought it was a great expression of the superhero cinematic form (in this sense, I mean nothing more than the WW movie did what it could to make a great story within the conceits, conventions and expectations of anything based on super-powered vigilantes).

So my 12-year old son and I checked out the Justice League movie. By now, you’ll have seen many of the reviews, both good and bad, and will have seen that Warner Brothers isn’t making enough money of it for its investors to consider it a success. If you haven’t you can check out “Justice League’s Mediocre Box Office” and “shake-up in the works.”

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