Inverted World by Christopher Priest (Books 2022, 9)

With its fairly famous opening line — ‘I had reached the age of six hundred and fifty miles.’ — I kind of thought I had read this before, long ago, maybe as a teenager. But no. It turned out definitely not.

A young man learns his place in a city — Earth City, as they call it — which is moving. Rails are placed before it and lifted up behind it so they can be laid in front again. The city is winched along on the rails by fits and starts. Why? Why is it in motion, and why do the inhabitants work desperately to keep it so? And why is the fact kept hidden from city dwellers who are not ‘guildsmen’?

The answers, or some of them, are within. Though there is no answer to why ‘guildsmen’ is the correct word. Women are second-class citizens in the city. And worse outside it, on the whole.

The people of the city are human, they speak English mostly. They know their ancestors were from Earth planet, as they refer to it. The people in the villages they pass also seem to be human, and they mostly speak Spanish. The sun appears not as a sphere, but as a kind of disk with spikes top and bottom. What can be going on? The title suggests some kind of inversion, but what is it?

Ultimately the mystery isn’t solved in a very interesting way, and the ending is sad, but maybe happy, but maybe sad.

Priest has written much better books, but it bears reading.

Luckenbooth by Jenni Fagan (Books 2022, 7)

This came to me by way of The Guardian’s summer reading recommendations last year. I ended up reading it in the tail end of winter, or spring, but that doesn’t matter. In his review, M John Harrison describes it as ‘brilliantly strange’, and that’s about right.

It’s a tale told across times, and tied to place. That place is number 10 Luckenbooth Close, in Edinburgh. Just off The Royal Mile, in fact, which is a place I lived as a student. I was in an alley called James Court, though, not the fictional Luckenbooth Close.

The close may be fictional, but the idea is not: luckenbooths were a kind of market stall in the High Street (part of The Royal Mile). Presumably that’s where Fagan got the street name from.

Though I discover today that a luckenbooth is also a piece of jewellery: a kind of heart-shaped brooch , named after the market stalls in turn.

The book, though, is about none of those things. Instead it’s about a series of people who live in the titular tenement block across the centuries. We start with the Devil’s daughter, who — well, I won’t go into spoilery details. William Burroughs is one of the characters, strangely. Apparently he did visit Edinburgh.

It is an astonishing work, involving the saving of ghosts, murders, the Millennium celebrations, homelessness, and much more. Highly recommended.

Planetfall by Emma Newman (Books 2021, 27)

This is a novel about a human colony on an unnamed planet. There are, as we soon learn from the first-person narrator, Renata, lies and mysteries at the heart of the colony. Not least of those is how and why the humans came to live on this particular planet, in this particular place.

The place is at the foot of a mountain-like, biological, probably engineered structure they call the ‘City of God’. Twenty years ago — or more: the colony has existed for twenty years, but it’s not clear how long the journey through space took — a small group of humans managed to get there in a spaceship. They were led by ‘The Pathfinder’, a woman who, we discover through flashbacks, knew what planet to head for because of a revelation she had had after ingesting the seed of a mysterious plant.

The intrigue of the novel is about how that backstory and the rest is filled in, how the colony keeps going, and what happens in the ‘now’ of the story, when a mysterious human arrives.

How they designed and built a ship capable of getting there is not explained, and how far away from Earth it is is never stated. But I don’t think Newman really understands the scales applicable to astronomical distances. On several occasions characters refer to having travelled (or in flashback, being about to travel) ‘millions of miles’ to get to the new planet.

Our sun is 93 million miles from the Earth. If we’re talking about distances that are sensibly expressed in terms of millions of miles, then we’re talking about places inside our own solar system. And this is definitely not that.

Just to check, I asked Siri how far in miles it is to Alpha Centauri. It looked up Wolfram Alpha and told me, ‘About 25.8 trillion miles.’ That’s the closest star system to our own. It’s not wrong to call that ‘millions of miles’, but it’s not exactly accurate. A trillion, after all, is a million million. And that’s just the closest system.

It doesn’t affect the story, but it’s a weird thing for an SF writer to have missed, for no beta reader to have picked up, for an editor working at an SF publisher not to have caught.

Other than that, she does a great job of telling a first-person narrative from the point of view of someone who has some mental issues. All narrators are unreliable, and perhaps this one more so than usual. So we wonder how much we can rely on her telling of what happens, especially at the end.

There’s a religious background to this: the Pathfinder believed — and convinced those who came with her — that they would find God in the mysterious ‘city’. Did they? Maybe, maybe not.

It’s part of a four-book series, which apparently can be read in any order. The next one (in terms of when they were written) looks like it takes place back on Earth, so we may learn nothing more about what happened in the colony, which was cut off from home.

Hench by Natalie Zina Walschots (Books 2021, 26)

The title comes from ‘henchman’ — or -woman. We are in a world where superheroes exist, and thereby, also super villains. Anna Tromedlov works as a ‘hench’ — or tries to. As the novel starts she’s using a temp agency, trying to pick up work.

At first it seems to be a comedy, but then she’s at a press conference given by the villain she’s working for, when the heroes arrive. Things get a lot darker.

Are superheroes, with their disregard for public safety, the real danger in a world like this? This novel takes a good look at that question, with accompanying adventure, threat, and romance.

It’s good. Cory Doctorow recommended it.

If she didn’t start out planning to call herself ‘The Palindrome’, would you ever think to read her surname backwards?

Comet Weather by Liz Williams (Books 2021, 25)

An enjoyable present-day story of magic in Somerset and London. Mostly the country, with Glastonbury and Avebury and such places featuring in passing.

Four adult sisters are making their different ways in the world, but their mother disappeared a year ago. Ghosts and the spirits of stars sometimes wander the family home, where one of the sisters still lives, and the others come and go. A comet is due in the sky soon, and magic threats appear to be building.

Magic realism, you could call it, in the sense that it’s set in the real worlds and magic is just there, for this family and a few other people at least. Everyday problems of relationships and such are part of it. The boyfriend of one of the sisters is a ghost.

I enjoyed it, and will probably read the sequel, which is out. My main problem with it was that the four sisters' voices weren’t distinctive enough. The story is told from their multiple viewpoints. This is helpful to me, because it’s something I’m struggling with myself. Indeed, my supervisor suggested that maybe I shouldn’t have so many viewpoints.

Three. I have three. Hands up who thinks that’s too many?

The Time of the Ghost by Diana Wynne Jones (Books 2021, 24)

I read this because I happened on an article about it on Tor.com: ‘Diana Wynne Jones’ The Time of the Ghost Breaks All the Rules of How To Write a Book’, by Emily Tesh. Let’s ignore the incorrect possessive apostrophe in the title1; it was the assertion about it breaking all the rules that drew me, made me want to read the article. A few paragraphs in I realised that I wanted to read the book, and the article was heading deep into spoiler territory. So I stopped reading it and downloaded the book. Read it as soon as I finished the last one.

It’s the story of four neglected sisters, whose parents run a boys' boarding school and have no time for anything else, including their daughters; and of a ghost that is haunting them, and who might be one of them. And of an ancient darkness that the sisters accidentally invoked.

But the real darkness is the neglect.

Highly recommended, and the article I linked above is very good and insightful (but deeply spoilerific) too.


  1. Jones is not plural, so it should be Jones’s. ↩︎

The Caledonian Gambit by Dan Moren (Books 2021, 23)

Dan Moren writes about Apple stuff over at Six Colours, and at Macworld and so on, but he’s also an SF writer. This is his first novel, and there are already a couple of sequels. The series is described as ‘The Galactic Cold War,’ and that’s a pretty good description.

There are several planets, linked by wormholes. From what I can tell, they’re all originally Earth colonies, but there is at least one empire and one commonwealth, and Earth itself has been conquered by the empire. No aliens, at least so far.

It’s pretty good, in an ‘SF meets cold-war thriller’ kind of way. There’s nothing groundbreaking, but a set of characters I wouldn’t mind spending more time with, and an intersting situation.

What struck me, as a Scot, was the ‘Caledonian’ part. Moren is American, but he spent some time in Scotland. Caledonia is the name of one of the colony planets – predictably, the one where most of the action happens. Part of its capital city is called Leith. Just down the coast there’s Berwick.1 Various other towns or areas have names drawn from Scotland. It has moons called Skye and Aran. A group of terrorists or freedom fighters are called the Black Watch – though slightly oddly their leader is called De Valera.

Worth a read.


  1. Berwick is not actually in Scotland, though it has been at various times in history. North Berwick is in Scotland. ↩︎

Mona Lisa Overdrive by William Gibson (Books 2021, 22)

Talk about not remembering books: I’ve got to ask myself whether I ever did read this one. I remembered one thing from it, but it’s not how I remembered it. When people jack in to the matrix they use headsets – ‘trodes’ – with electrodes that connect to their temples.

There is a transition between the real world and cyberspace when they connect, and I had this memory of one cowboy (people who enter the matrix or cyberspace are called ‘cowboys’ or ‘jockeys’) who had a set of trodes that made the transition feel like the world was falling apart. I’ve been half waiting for that bit through these three books. Here’s a quote:

‘Ready?’

‘Yes,’ she said, and Tick’s room was gone, its walls a flutter of cards, tumbling and receding, against the bright grid, the towering forms of data.

‘Nice transition, that,’ she heard him say. ‘Built into the trodes, that is. Bit of drama…’

So that must be the bit I remembered, but if you had asked me I’d have said I thought it came a book or two earlier, and was mentioned more than once.

But what of the book itself? It keeps up the standard, maybe raises it slightly. We have four interconnected stories, four viewpoint characters, told in alternating chapters. One of the stories – that of Kumiko, who is experiencing the flutter of cards, above – isn’t really relevant, in the sense that it doesn’t drive the plot at all. Things that happen around her do affect the main plot, but she’s not really aware of them.

What surprised me about this and the three books overall, is how much they really are a trilogy. I had the impression that they were considered only to be very loosely connected at best; essentially three stories set in the same milieu. But in fact not only do characters recur, everything here ties back to the events of Neuromancer, which happened some fourteen years before.

All very worth reading if you haven’t already.

Count Zero by William Gibson (Books 2021, 21)

The only thing I remembered about this was its opening line, which is nowhere near as memorable as that of its predecessor.

It’s also not as good as Neuromancer, by a long shot. Difficult second album syndrome, I’d imagine. It came out a year or two later. It’s not actively bad, don’t get me wrong. But it just doesn’t have the spark, it never quite catches fire, you know?

Still, plenty of gritty Sprawl-drama, and the obligatory trip to a space station.

Star Ratings

Giving star ratings to things I’ve watched, read, etc, is not something I ever did until I started using Letterboxd. It looks like I started logging films in September 2019 (the August ones were a bulk mental dump when I first set up my account). I didn’t start them automatically posting here until the November, and I’m sure I’ve missed one or two along the way.

My initial thought was just to log the films that I watched, as an aide memoire as much as anything. But Letterboxd encourages you to give the films star ratings. I’ve been doing that, but all the time I wonder what exactly I mean by them.

Which sounds like a strange thing to say. I made the choices, after all: I set the rating. Surely I knew what I meant when I did it?

And that’s true enough on each occasion. I know what I mean when I give the rating. But that’s the thing: it’s what I meant at that time. All it means is what I thought of the the film at the time I added the entry to Letterboxd. I’m not trying to make a statement about what is good in absolute terms. I’m just saying something about what I thought about the film at that time.

I like to think that I judge each film on its own merits. At the very least, I try to judge it in terms of what it’s trying to achieve. A five-star drama and a five-star comedy are very different things. It won’t be very meaningful to compare the ratings I’ve given to different films and see if there’s a hierarchy of my preferences. Though it is fair to say that any film with five stars is one of my favourites.

While Letterboxd encourages star ratings, it pleases me that you don’t have to give one. Unlike, say in some online surveys, where zero is not an option. I don’t know, though, whether a Letterboxd ‘no stars’ should count as ‘zero stars,’ or just the choice not to rate it. I intended the latter with Can’t Get You Out of my Head, as I made clear in the post.

It seems that I rarely watch anything less than three-star, though. Either I’m very discerning, or I only watch things I know I’m going to like.