The cover is gorgeous, and conveys a sense of the complicated world of Ancillary Justice.I must admit to an extra hint of pride in this book’s appearance here, because Ann was a member of my Clarion West class back in 2005, when she was first wowing all of us with her Radchi universe. Ann and I also know each other through SFWA and our shared agent, Seth Fishman.
What:Ancillary Justice by Ann Leckie is a fabulous space opera with an unusual protagonist whose struggle will pull the reader in. It is, alas, not a particularly long book, and I could have read at least twice more the length happily.
Who: read this if you like space opera or action-filled but character driven SF. Read it if you want to hear the latest in the ongoing conversation about gendered pronouns held between SF writers for decades now. Read it for the sake of enjoyment and rejoice to know it’s the first of three.
Many writers have an artistic side, and Ann Leckie is no exception. Here's a lovely pink pin she made for me and which is among my treasures.When: read this when you have time to devour great chunks in one sitting, because otherwise the story will haunt you, will keep calling you back while you are spending time at other tasks, making you remember exactly where you laid the book down, calculating when you can return to it.
Why: Read this because it will be appearing on many of the awards ballots this year and rightly so. Read it so you know why you’re voting for it. Read it because it does new and interesting things. Read it because it’s good.
Where/how: This is ideal for a while-away-some-hours situation, depending on your reading speed. Leckie’s world is immersive, intelligent, and interesting.
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Media Consumed in August
I had plenty of travel time in August, so yay for reading. My primary focus this month was to read as many of the Dragon Award nominees as I could before voting, but there were a number I just didn’t get to or did not finish. I had read some before, luckily, and am particularly pulling for D.B. Butler’s Witchy Eye, which I loved.
Works that are bolded are ones I found particularly outstanding or otherwise remarkable and would recommend.
Robert Aickman, Cold Hand in Mine
Peter S. Beagle: Summerlong
Betsy Cornwall: Mechanica. I wanted to like steampunk Cinderella, but it didn’t feel very new.
Nathan Crowder: Ride Like the Devil (lots of fun for fellow Seattleites)
Pippa DaCosta, The Heartstone Thief
Robert Dugoni: The Trapped Girl (could have done without the complaints about the various restrictions the legal system places on police officers) Patrick Edwards: Space Tripping A.W. Exley: Ella the Slayer (I really did not expect to like Cinderella + zombies).
Kate Elliott: Court of Fives, The Poisoned Blade Ruthanna Emrys: Winter Tide. If you like Lovecraft novels, you need this one.
Carrie Fisher: The Princess Diarist
Eric Flint: 1636: The Ottoman Onslaught
Amy S. Foster: The Rift Uprising Theodora Goss: The Strange Case of the Alchemist’s Daughter FABULOUS and is the 19th century equivalent of Cat Valente’s The Refrigerator Monologues)
Brian Guthrie: Rise
Renee Carter Hall: Huntress (loved this, but book is structured in a frustrating way) Elizabeth Hand: Aestival Tide, Icarus Ascending
Faith Hunter: Blood of the Earth Shirley Jackson: Let Me Tell You: New Stories, Essays, and Other Writings. Not enough writing on craft, but what there is, is solid.
Dennis Lehane: Prayers for Rain Alison Littlewood, The Hidden People
Gabrielle Matheiu: The Falcon Flies Alone. Modern melodrama that pulls from all over the place in a way that is unexpected. Robert McCammon: Gone South. McCammon is the frickin’ BEST at this sort of novel. Delicious.
Brian Niemeier, The Secret Kings
Richard Paonelli: Escaping Infinity
Lucian Randolph: The God in the Clear Rock (has my vote for most attention paid to a point of view character’s breasts in a book)
Delia Sherman: The Porcelain Dove (very pretty, but the structure makes it feel as though the book evaporates away just as you hit the end)
Shayne Silvers: Beast Masters Dale Ivan Smith: Empowered: Agent
Safari Spell: Long Live Dead Reckless Arkadi and Boris Strugatski: The Dead Mountaineer’s Inn
Anne Tyler: A Spool of Blue Thread
R.R. Virdi: Dangerous Ways Martha Wells: The Edge of the World
Stuff I’m Watching: Big Brother (yes that’s my guilty pleasure and I don’t know which I loathe more, Josh or Paul), The Defenders, Orphan Black Season 5, Rick and Morty. Watched BRILLO BOX (3¢ OFF), which was an intriguing documentary if you have any interest in Warhol. Also Extraordinary: The Stan Romanek Story, which I thought was pretty silly.
You Should Read This: Flowers for Algernon by Daniel Keyes
Charlie is one of the great characters of SF and the story resonates with his voice. If you're interested in finding out more about how to write great dialogue, check out my Speaking in Another's Voice: Dialogue online class tonight, 7-8 PM PST. Cost is $29.99 ($19.99 for former and current students) For more details, click on "Take an Online Class with Cat" at the top of this page.Flowers for Algernon was originally a short story by Daniel Keyes that appeared in 1959 in the Magazine of Fantasy & Science Fiction and won the Hugo Award the following year. Seven years after the story’s publication, it appeared in novel form under the same name, and shared that year’s Nebula Award with Samuel R. Delany’s Babel-17.
What: The story is told by Charlie Gordon and involves intelligence experiments being done on both Gordon and the title character Algernon, who is a white mouse.
Who: Anyone who wants to be decently well read in science fiction should read this book. It’s a classic, and one referenced and discussed elsewhere. One of my favorite stories by Susan Palwick, the title story in The Fate of Mice, is told from Algernon’s POV.
Why: Read it because you will want to know Charlie, to hear him tell his story, and to see a master use the device of an unreliable narrator in a way that takes your heart and breaks it over the book’s knee. Read it to discover a story that has survived the test of time and will, I strongly believe, continue to do so.
When: Read this when you’re thinking about things like how a character gets the reader on their side, as well as how what a character doesn’t say is sometimes as telling as what they do. Read this when you are ready to sit down and read it in one full sitting, preferably, which is doable for faster readers since it’s a slender book.
Where and how: Read it where you won’t mind weeping; public spaces (like airplanes) are unsuitable because you will have to have a heart as hard as winter to not tear up some. This is, in fact, one of the best examples of a fabulous tearjerker of a story that I know.
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