Ancillary Justice by Ann Leckie (Books 2014, 13)

This is the one that's won them all: BSFA (jointly), Clarke, Nebula, and more recently, the Hugo Award. Never before has a single book had such a sweeping effect on the world of SF awards.

And does it deserve them all? Does it live up to the effusive reaction of the community?

Err, well… no, not really.

Which is not to say it’s bad. In a sense, nothing could live up that level of praise.

However, my personal problem with it – at least at first – was this: I like my super-intelligent spaceship minds to be the good guys. To be part of, and defending, Utopia. In short, I want The Culture. And I guess I hoped that Ann Leckie might sort of take Banksie’s place.

Obviously there wasn’t much chance of that, and it isn’t fair to judge the book on those terms.

So, back to its own terms. In any case, these super-intelligent spaceship minds aren’t necessarily bad guys; but they’re in the service of a pretty unpleasant empire. Though things get ambiguous. And interesting. And of course, there’s the gender-blindness of the viewpoint character, which is great. So yeah, it was fun, I enjoyed it, it goes to some interesting places, and it sets things up nicely for a series.

Oh, god, a series. Does nobody write books in ones any more? I was just looking at the current crop of so-called “Black Friday” deals on Kindle. There were quite a lot of books for crazy-cheap prices. Except… there weren’t really that many if you count a series as one.

C’mon, folks, write a book that doesn’t have a sequel, hey?

But I digress. Go read about Ancillary Justice: you’ll find reviews of it all over the place. Then go and read it. It’s great.

Space bat angel dragons hatch in their own way

Sometimes you're thinking about writing a blog post and then you write a long comment on someone else's post that contains most of what you were planning on saying. So I wrote this as a comment on The Reinvigorated Programmer, and thought I should repeat it here.

The background: Mike, the Programmer and Doctor Who fan, if that’s not too tautologous, was complaining about the latest episode, “Kill the Moon”. Now, I didn’t think it was all that bad, as these things go, but I knew that other people, on Facebook and elsewhere, have both complained about it and praised it. Which seems to be par for the course this series (and maybe every series). Anyway, I had some thoughts on the matter, and put them like this.

I was disappointed that they didn’t put in at least a handwavy explanation of the extra mass (which they could have done: posit highly-effecient energy-to-mass conversion, and the sun). But as people have said in other places, you’re accepting a time-travelling, dimensionally-transcendental blue box, and a regenerating Time Lord, so…?

As to the biology of the creature… well, it’s alien. Possibly one of a kind. Why wouldn’t it lay an egg as soon as it hatched? Remembering that “egg” and “hatch” are only our Terracentrist words for something entirely other.

Indeed, that could be exactly why the creature’s mass spikes in the last few years or months of its dormant cycle: it’s forming the new “egg” so it itself will be ready to “hatch”.

And by default it would be in the same orbit, unless something displaced it.

But yes, while you can argue all that, the story would have been improved if it had included at least a nod to those points. And they should have got their sums right.

But I think there’s something bigger going on across this whole series. It’s the development of Clara’s character, and Danny’s secret, and everything. It’s more: I just have a feeling that there’s something else behind it all. Maybe I’ve just been trained to expect a season arc since the Bad Wolf, but… there’s definitely something going on.

And Missy and the promised land, of course.

Someone somewhere suggested that maybe the whole series is taking place in a miniscope, since the Doc mentioned them in episode 3. I hope it’s more than that.

Pavane by Keith Roberts (Books, 2014, 6)

This is considered to be one of the seminal works of alternative history; often mentioned alongside The Man in the High Castle

Instead of the Axis forces winning the Second World War, as in Dick’s classic, the break point is Queen Elizabeth I being assassinated, which leads to the Spanish invading England (Scotland’s situation is never mentioned) via the Armada, and so the Catholic church becomes the dominant force in the world (at least Europe and the Americas) for centuries.

Most of which is told in a short prologue. The body of the novel (which a I believe is a fix-up, and certainly feels like it) consists of four short stories with some overlapping characters, which tell the tale of how rebellion against the Church comes to England.

I quite enjoyed it, but was put off at the start, because frankly the nuances of the workings of a traction engine running the freight across the country through a frozen winter night, were not all that interesting. In fact, it was downright boring. Would it have been less so if it were about a spaceship, instead of a traction engine? Obviously; anything is more fun with spaceships in it. But that’s not the point.

In fact, the point is largely our old friend “show, don’t tell.” I don’t automatically hold with that myself; there are plenty of examples of good stories working by “telling.” The problem is that if you rely entirely or mainly on telling, it’s easy to lose either or both of the characters and the action. Certainly you can tell us what’s happening; but it’ll have a much stronger impact if you make us feel it.

The second section, for example, starts with a young man bleeding to death in the snow, and then jumps back to his training as a signaller. A much more gripping way to handle things.

The time period appears to be from around the sixties through to the eighties, but the Church’s dead hand has so stifled technological progress that semaphore and steam remain the height of technology.

And there are fairies; old English magic that the Church hasn’t quite managed to wipe out. But they are kind of abandoned after the second (maybe third) story.

Anyway, after that initial hump it was enjoyable enough, but it’s a pleasingly slim book. If it had been the size of a modern novel, I’m not sure it would have held my interest.

Not-Exactly-Books, 2014, 5: What Has Gone Wrong With Short Stories?

Preamble

(Is there such a thing as a “postamble”, I wonder?)

After reading the previous novel I decided it was high time I caught up on some short-story reading. I had several months of Interzone backlogged, for example.

Trouble is, it seems that short stories have lost their way.

I know, that’s ridiculously sweeping. Obviously any such perceived change is far more likely to be in me, than in all recent short stories. And yet, I feel sure that short stories used to be more interesting. So could it be an age thing? Perhaps, but let me first describe what I think it is that’s wrong with them.

In short: nothing happens.

In slightly longer: too many of what people are presenting (and selling) as stories are in fact not really stories at all. They are little more then scenes, vignettes at best. There’s nothing wrong with such pieces of writing per se, of course. They can be powerful, evocative, enjoyable… but they’re not stories, it seems to me.

In a story, something has to happen; something or someone has to change. And too often in my recent reading, they don’t. Or if they do, it’s in a way or to a degree that just doesn’t compel, enthuse, excite.

The BSFA Awards 2013 Booklet

I should discuss some specifics, and with the recent1 announcement of the BSFA Awards, what better stories to pick than the four that were nominated? The BSFA very helpfully curates and distributes a booklet containing all the nominated fiction (also reproductions of the nominated artworks, and this year for the first time, extracts from the non-fiction nominees). Conveniently, this booklet arrived during my short-story-reading period, and I read it straight away, to give me the chance to actually vote, for a change.

How disappointing it was.

By now we know that the lead story in the booklet, “Spin”, by Nina Allan, won the short fiction award. So I’ll deal with it last.

"Selkie Stories are for Losers", by Sofia Samatar.

Our unnamed first-person narrator hates stories of selkies, and swears she’ll never tell one. Why this might be something that she is called upon or tempted to do seems to be related to her forebears: American, her family background is Norwegian. She grew up with selkie stories. As time goes on there is the suggestion that her mother is one of the changeling creatures.

However, the story is good because of the characterisation. It’s the shortest of the four, but has the strongest, most interesting characters. Well, character: our selkie-story-hating narrator. As the story starts she is working as a waitress and falling in love with a co-worker, Mona. And from there it’s a love story with a slightly-weird background, and always the sense that something related to the selkie myths is going to happen.

There’s a good review of it on Martin Petto’s blog, actually. I pretty much agree with that.

"Saga's Children", by EJ Swift

This is an odd story about a solar-system-famous astronaut, Saga, who has had three children by three different fathers in different places. She took no part nor much interest in their upbringing; and none of them knew the others existed until they were adults.

Saga summons them to meet her at a station in orbit around Ceres, and something happens.

But not much, as I was complaining above. The telling is unusual: throughout, the children refer to themselves as “we”, but when they discuss their various careers, for example, they list all three of their names; none of them refers to themselves as “I”. In other words, it is first-person plural.

But this has a distancing effect; we don’t really get to know any of the three. And a mystery happens and is not resolved, and we’re left none the wiser as to Saga’s motivations, or what the children will do.

I should just let Martin Petto do this for me, because his take on this story. too, is very accurate.

"Boat in Shadows, Crossing", by Tori Truslow

Maybe I should just let Martin deal with this one, too. On the other hand, he is annoyed by it in ways that didn’t bother me. It was, in fact, my favourite of the four, and the one I voted for first in the BSFA Awards (“Selkie Stories are for Losers” second, and no others).

Why was this the best? An intriguing, mysterious environment, an immediately-compelling narrator, a problem to solve, a world – or at least a city – to change.

"Spin", by Nina Allan

“A retelling of the Arachne myth”, we are told. It turns out that I didn’t know the Arachne myth, and that makes a difference.

We are in something like modern-day Greece – people use iPads, for example – but time is out of joint: the currency is the Drachma, and there are suggestions that ancient events actually happened within living memory. And the protagonist’s father is a dyer, and all mentions of his trade imply that modern chemistry is all but unknown.

We start with the protagonist leaving the family home – running away, it feels like, though she is an adult – and making a new life for herself in another town. She gets a job, and practises her art of weaving in her spare time.

A mysterious old woman speaks to her enigmatically.

Her art soon earns her success and some recognition.

But some people – one woman in particular, with a sick son – think that she has a power, that her images can influence the future, if not cause it. It emerges that her mother was executed (or murdered) because she was believed to be some kind of witch.

She strikes up a relationship of sorts with the sick son (who may not be very sick at all), and we think we begin to see how things are going.

But then the old mystery woman is back and our hero is looking at some spiders on a bush and feeling weird and it’s all over.

What? What the hell just happened?

It turns out that Arachne was a weaver who claimed to be (or was) better than Athena, and got turned into a spider as a punishment. So there you are.

I’ve liked several of Nina Allan’s stories before this, but this one just doesn’t cut it for me; and I find it hard to believe that in all the science fiction (and fantasy) in all the world, there wasn’t a better short story published in 2013.

(My namesake Petto didn’t review this one, but instead posted a link to a review of it that no longer exists.)

Maybe I’m just grumpy cos on the rare occasion I’ve get round to submitting my own stuff, it’s been rejected.

Anyway, there we go. Back to novels.

  1. Recent when I first drafted this, maybe… ↩︎

Cultural Times

On Wednesday I went to The State of the Culture, a symposium on Iain M Banks's "Culture" novels, at Brunel University. Paul Kincaid's writeup suggests that his experience was very similar to mine. Including the journey. I thought it was a long hike from Hackney, but he came all the way from Folkestone. And I managed to find the main reception, where they gave me a map showing the way to the Antonin Artaud building. I was later than Paul, though.

I was surprised that it was so sparsely attended. There were only about thirty people there, including all the ones who were presenting papers. Given Banksie’s popularity, I thought it would be packed. A few years back when he was guest at the BSFA’s monthly London meeting, they had to have it in a lecture hall at Imperial College, instead of the usual room over or under a pub. I suppose that either the academic nature of it put people off, or just that it wasn’t very well publicised. Shame, really.

My assessment of the event generally is much the same as Paul’s so you can just read his comments. But of the papers that were presented, the one that I was most disappointed by was the one that I would probably have found most interesting, if I had been able to hear it. Martyn Colebrook’s “Playing Games with Gods: The Player of Games”, which compared the Banks work with John Fowles’s The Magus. By coincidence I’ve read both of those in the last couple of months (and more on them later), so it would have been interesting to hear what Dr Colebrook had to say. But unfortunately he was just speaking too quietly for the human ear, which is what I’m equipped with (I was at the back of the room, having arrived late).

I’ve sought his paper online, but it doesn’t seem to be around yet. Maybe sometime.

The most used word of the day, apart from “Culture”, was “transgressive”. Indeed, the same Dr Colebrook has edited a collection of essays called The Transgressive Iain Banks.

Pulp Magazine Covers for All

The [Pulp-O-Mizer](http://thrilling-tales.webomator.com/derange-o-lab/pulp-o-mizer/pulp-o-mizer.html) is a fun thing that lets you generate pulp-magazine-cover-style images, with your own text and good range of images, backgrounds, colours, etc. You can download web-size versions of your creations, or get them printed on cards, notebooks, mugs, etc, at [Zazzle](http://www.zazzle.com/); though I haven’t managed to work out how to get it to use the UK version of the Zazzle site while still keeping your generated image.

Here’s one that I made using the title of a story of mine. It remains unpublished so far, but it was the short story that was the seed for the [novel I finished in November](http://devilgate.org/blog/2012/12/02/november-spawned-some-words-but-not-that-many/).

Pulp O Mizer Cover Image

A Line, a Loop, a Tangle of Timey-Wimeyness

The London International Festival of Science Fiction and Fantastic Film, or Sci-Fi-London is in its eleventh year, and I've never been to anything in it before. That's kind of bad, isn't it?

This week, though, I’ve been to the presentation of the Clarke Award, which is held in association with the festival, and at its main venue; and last night, the whole family went to the BFI (or the NFT, I can’t quite work out what its official name is these days) to see a film.

Which was Dimensions, a low-budget British film about time travel – or maybe dimension-hopping – which doesn’t even have a distributor yet.

Which is a great shame, because despite some flaws it is a very enjoyable piece. We were still talking about it at lunchtime today.

It’s also something of a costume drama, being set in the 1920s and 30s. The Sci-Fi-London page about it likens it to Merchant-Ivory.

It did show its low-budget nature in one or two places, but nothing that destroys the overall effect. The couple who made it (Ant Neely wrote and composed the original music, and Sloane U’Ren directed and did much else) had to sell their house to fund it, so almost anything can be forgiven.

I won’t say too much more about it here, but if you ever get a chance to see it, you should take it.

There was a Q&A with writer, director, lead actor & editor after the screening, which was very interesting. I was geared up to ask a question, which would have gone something like this: “When you make a time-travel story, especially in Britain, you’re walking among some long shadows, especially Wells and Doctor Who; to what extent would you acknowledge those as influences?” I had my hand up to speak, when the interviewer asked a question touching on exactly those points. So I didn’t ask. Pity. I would also have mentioned the fact that they have a mysterious wise man know only as “the Professor”.

Anyway, lots of fun: highly recommended.

Aliens Among Us

I never bothered to watch Alien Resurrection because I didn’t like Alien3 (or Cubed, as I always see it). So now, browsing the new, freshly-in-beta SF Encyclopaedia I find it was written by Joss Whedon (who doesn’t yet have an entry in said volume, but no doubt will have eventually).

Why did nobody tell me this?

It seems a particularly timely piece of information as we’ve been introducing the kids to Buffy recently (in part to get us all over the lack of Doctor Who), and also to Firefly. We are deep in the Whedonverse.

Rainy Day Music and SF at the BL

The Saturday before last we went to the [London Feis Festival 2011](http://londonfeis.com/), in Finsbury Park. The weather was looking to be quite bad as we set out: it had been oscillating between sun and rain all morning. Would we be drenched or sunburned? Or both? Only time would tell.

I had been hitting the festival website to try to find out who was on when, exactly. There was a page which said (and still does, a the time of writing), ‘Band and Stage Times: To be released on the day’. I had taken that to mean, ‘… will be announced on the website on the day’. I did wonder about how much use that would be, considering many people would be getting on their way early in the morning, or the night before, and wouldn’t have had the chance to look at the website. Then again, everyone has a smartphone nowadays, right?

Anyway, it turned out that they meant, …. will be released at the festival.' On the bus to Finsbury Park I searched Twitter for the expected #feis hashtag, wherein some nice person had tweeted pictures of the running order (I can’t find those pictures now, but no matter). It appeared we were missing The Undertones, but we would get there in time for The Waterboys.

As indeed we did. We set up base camp near the back and listened to ‘Be My Enemy’ (timely, as I recently read Christopher Brookmyre’s novel which borrows that title) ‘Fisherman’s Blues’, ‘… And a Bang on the Ear’, and of course, ‘The Whole of the Moon’. It was great to see them again. Well, hear them; we didn’t see much from the back, and there were no big screens like at most festivals these days.

A trip to the second stage saw us Nanci Griffith, closely followed by Shane McGowan. Always good to see he’s still hanging in there, and he was in excellent voice. I note that it’s an alarming four and half years since I last saw The Pogues.

Shane McGowan at the London Feis, 2011

Heard a bit of The Cranberries while queueing for toilet and bar. They were OK. Some Irish youngsters at the bar sang along with ‘Linger’ very sweetly.

Then back to the main stage for Christy Moore, food, and finally Dylan.

Bob Dylan at the London Feis, 2011

That’s him there in the white hat; can you tell?

It’s been a long wait for me. I know he’s been over here in the last few years, but somehow I’ve never managed to hear about the dates until it was too late. Here we were, then, finally in the distant presence of the great man himself.

And it was, as I expected, like listening to him doing cover versions of his own songs. But there’s nothing wrong with that. It was quite a ‘greatest hits’ kind of set, though, to my surprise. I had gained the impression that he mainly did newer songs these days, but there was a strong focus on Blood on the Tracks and Highway 61 Revisited. And you can’t go far wrong with those. Here’s a full set list.

The only possible singalong moment was the ‘How does it feel?’ lines in ‘Like Rolling Stone’, and it made me wonder: maybe he started doing such changed versions of his songs because he doesn’t like people singing along.

I thought this stall would do roaring trade, but the rain mostly stayed off.

Umbrella stall at the London Feis, 2011

Then Sunday was Out of this World, the Science Fiction thing at the British Library. ‘Science Fiction, but not as you know it’, was the tag line. In fact, it was pretty much exactly as i know it, but I guess I’m part of some sort of rarefied elite, or something (or ‘fans’ as we’re known).

Anyway, it was very good, though perhaps it’s limiting, being a library: much of the exhibition was books behind glass. Which is fine, but sometimes you’d like to pick them up and handle them.

There was a Tardis in a corner of the Time Travel section, and a robot that seemed to be modelled on HAL 9000.1

All in all, a pure dead brilliant weekend.

  1. I know it wasn’t a robot. ↩︎

Father's Weekend

I’m thoroughly looking forward to this weekend. Not only is it the London Feis festival tomorrow, with Bob Dylan headlining, but Sunday being Father’s Day, my treat is a visit to the SF exhibition at the British Library.

Let’s hope it all goes well; the weather forecast is rain, and at least three-quarters of the family are poorly.