I have made my love of the mashup abundantly clear. Still, if you had told me four months ago that my favorite new book this year would be a Young Adult Brazillian-set post-apocalyptic retelling of Gilgamesh?
I would have stared at you blankly for some time before walking away. If nothing else, this just shows you how treacherous the blurb can be.
Nevertheless, after I had the privilege of hearing Alaya Dawn Johnson’s Guest of Honor speech at this year’s WisCon (something which is worthy of its own post), I was eager to read her work. I’m wholly glad I did.
The Summer King’s main protagonist and narrator is June, a young artist who lives in the city of Palmares Tres,which rose after a worldwide cataclysm, part nuclear and part climate change, which rendered most of the surface of the planet uninhabitable. Palmares Tres is a fully enclosed city with a political structure that is both familiar and utterly strange. Its day to day life is governed by a council of elders in a manner that closely resembles a large modern city, even as it stands out for its exclusively female roster. But there familiarity ends. Palmares Tres is also ruled by a queen who serves in five year terms. That queen is chosen by the Summer King, who is elected by the people at large. The manner of that choice? He rules for one year, to be sacrificed at the end of his term. With his blood, he marks his choice as the next queen. As the book opens, June is pushing for the election of Enki, a young man from the slums of Palmares Tres, for Summer King. Her own crush on the new celebrity is complicated when he becomes involved with her best friend, Gil, and she is nominated for a prestigious scholarship.
What follows is an examination of youth, family, love, class and power, and above all, the nature of art. This last is a particular preoccupation of June: the value of art, the cost of its production and its impact on the surrounding world. That Johnson is able to convey this preoccupation without pretension is a feat in and of itself.
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