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Ten teenagers. One soundstage made to look like a spacecraft. Plus a questionable scientific agency, a maniacal producer and a dozen or so corporate sponsors. What could possibly go wrong?

Told in transcripts of audio and video recordings, blog posts and other documents obtained by a disgruntled intern, Waste of Space follows an eponymous reality show. Documents show the daily power struggles, challenges and romantic trysts of the “Space­tronauts,” along with the personal confessions they’re encouraged to record, the highly edited results that appear on TV and the increasingly frantic conversations that occur among various behind-the-scenes partners.

Discerning readers might initially get frustrated by the clichés, including the show’s instant and intense social media popularity and the overt product placement. But as these elements fall away or twist in on themselves, the characters are revealed to be more than they seem. Readers will come to see that Waste of Space is a satire skewering every element it seemed at first to glorify.

Author Gina Damico, best known for her humor/horror hybrids like the recent Wax, taps into a cultural zeitgeist of advertising saturation, Hunger Games spin-offs and self-mocking tales like Joss Whedon’s movie The Cabin in the Woods. A bit of real emotional power sneaks in with the mockery, leading readers to question the lines between realistic fiction, science fiction, magical realism and parody.

 

This article was originally published in the July 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Ten teenagers. One soundstage made to look like a spacecraft. Plus a questionable scientific agency, a maniacal producer and a dozen or so corporate sponsors. What could possibly go wrong?

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An unexpected turn of events places an unlikely pair—a slave and an enemy soldier—on a treacherous journey in Megan Whalen Turner’s newest adventure-filled novel, Thick as Thieves, part of her acclaimed Queen’s Thief series.

Highly esteemed among the palace household, Kamet oversees local and outlying estate finances for his Mede master, Nahuseresh. Although he is happy to hold such authority, the intelligent, brown-skinned slave also has to endure his temperamental master’s unexpected beatings. To Kamet, this suffering is worth the chance to become “one of the wealthiest and most powerful men in all the empire” as the next emperor’s personal slave. But Kamet’s hopes for a somewhat brighter future fizzle when he hears news of his master’s demise. The last thing Kamet expects is to run off with an Attolian soldier who promises his freedom. What follows is an unforgettable motley-duo adventure.

Aficionados of this creative series will be thrilled to follow Kamet’s character development as Turner places him front and center in her epic tale. Brimming with a host of pertinent foils, as well as a clever thief named Eugenides, Turner’s plot takes mature teen readers along on Kamet’s death-defying journey. With a well-defined cast and a captivating writing style, Thick as Thieves is a brilliant combination of artful storytelling, imaginative history (with maps) and a flurry of twists and turns—up to the very end.

An unexpected turn of events places an unlikely pair—a slave and an enemy soldier—on a treacherous journey in Megan Whalen Turner’s newest adventure-filled novel, Thick as Thieves, part of her acclaimed Queen’s Thief series.

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Hubert Vernon Rudolph Clayton Irving Alva Anton Jeff Harley Timothy Curtis Cleveland Cecil Ollie Edmund Eli Wiley Marvin Ellis Nicholas Espinoza—better known as Hubert, Etc, and later still as Etcetera—is something of a head fake in Boing Boing co-editor Cory Doctorow’s utopian futurist novel, Walkaway. With a name like that, it’s not a wild bet that he’d be the axis around which the novel spins.

But it’s a sucker’s bet. The novel rotates around twin axes, one being a dissection and critique of capitalism in a world that has an excess of unequally distributed resources, the other being Natalie Redwater (aka “Iceweasel”), the daughter of a “zottarich” mover and shaker.

Though Doctorow cites Thomas Piketty’s Capital in the Twenty-First Century as an influence, Walkaway’s paternal grandparents are Brave New World and A Clockwork Orange; on its mom’s side, they’re Stranger from a Strange Land and Walden Two. Like all of those (and the rather less admirable Atlas Shrugged), it can get a little mansplainy as it trots out philosophy.

To wit: Hubert, Etc, dismissively appraises meritocracy by arguing, “‘We’re the best people we know, we’re on top, therefore we have a meritocracy. How do we know we’re the best? Because we’re on top. QED.’ The most amazing thing about ‘meritocracy’ is that so many brilliant captains of industry haven’t noticed that it’s made of such radioactively obvious bullshit you could spot it in orbit.”

The bohemian dropouts in this society, the “walkaways,” (of which Hubert, Etc, and Natalie are two) march off the grid into abandoned hinterlands in search of their own new world order, and when it appears that they may have solved the riddle of death, the stakes for flipping the bird at the establishment rise dramatically.

It may take a beat or two for the non-Wired reader to spool up to speed, but Doctorow has crafted the sexiest egalitarian radical hacktivist squatter-culture philosophical techno-thriller of the year, if not the decade.

 

Thane Tierney lives in Inglewood, California, and has a mere two middle names.

Hubert Vernon Rudolph Clayton Irving Alva Anton Jeff Harley Timothy Curtis Cleveland Cecil Ollie Edmund Eli Wiley Marvin Ellis Nicholas Espinoza—better known as Hubert, Etc, and later still as Etcetera—is something of a head fake in Boing Boing co-editor Cory Doctorow’s utopian futurist novel, Walkaway. With a name like that, it’s not a wild bet that he’d be the axis around which the novel spins.

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Preacher’s daughter (dresses modestly, doesn’t date, never goes to parties) is the only identity Leah Roberts has—in public, anyway. But when she sneaks out to the woods behind her house, she can be her true self: a girl who’s grieving over a tragedy that splintered her family 10 years ago. And in these woods, she watches a family of fantastic creatures who officially don’t exist. They’re large, vaguely humanoid, covered in hair and known in legend as Bigfoot or Sasquatch.

One night a newcomer arrives with the Bigfoot family—a young man who’s surprisingly close to being human. As Leah finds herself drawn to this mysterious stranger, the outside world shifts, too: Her brother’s best friend starts making romantic overtures toward her, and her mother’s perpetually odd behavior becomes stranger than usual. As details of her family’s dark history are slowly revealed, Leah finds herself in a place where the past and the present, humans and non-humans, love and loss coexist . . . and sometimes violently clash.

Part supernatural romance, part mystery and part contemporary realism, The Shadows We Know by Heart blends the psychological suspense of Stephanie Kuehn’s Charm & Strange with traditional legends of Bigfoot, adding a flavor of “Beauty and the Beast” along the way.

 

This article was originally published in the March 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Preacher’s daughter (dresses modestly, doesn’t date, never goes to parties) is the only identity Leah Roberts has—in public, anyway. But when she sneaks out to the woods behind her house, she can be her true self: a girl who’s grieving over a tragedy that splintered her family 10 years ago. And in these woods, she watches a family of fantastic creatures who officially don’t exist. They’re large, vaguely humanoid, covered in hair and known in legend as Bigfoot or Sasquatch.

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Princess Anya has problems: Her sister, Morven, is devastated by the transformation of handsome Prince Denholm into a frog; her evil stepstepfather (yes, you read that right), Duke Rikard, is becoming a more evil and powerful sorcerer by the day; and it’s recently become quite clear that Rikard wants Anya dead. All Anya wants is to stay in her library and read about magic, but her unbreakable sister-promise to restore Prince Denholm to human form leads to an increasingly complicated Quest. 

Through the woods surrounding Trallonia, farther than she has ever traveled, Anya journeys with Ardent, a faithful royal dog; Shrub, a would-be thief transformed into a newt; and Smoothie, a river otter transformed into a girl. Anya’s list of tasks—and people to un-transform—grows, and Rikard is hot on their trail. Anya started out wanting to return to her solitary library as soon as possible, but the Quest opens her eyes to the deeper responsibilities of being a princess and, more importantly, a leader.

A master of creating beloved fantasy worlds, Garth Nix turns to the funny, whimsical and self-aware style less common in recent children’s fantasy. Shot through with the tone of adventurous fairy-tale riffs such as The Princess Bride, this novel is a rollicking breath of fresh air and a return to fantasy with room for fun and mischief.

 

This article was originally published in the March 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Princess Anya has problems: Her sister, Morven, is devastated by the transformation of handsome Prince Denholm into a frog; her evil stepstepfather (yes, you read that right), Duke Rikard, is becoming a more evil and powerful sorcerer by the day; and it’s recently become quite clear that Rikard wants Anya dead. All Anya wants is to stay in her library and read about magic, but her unbreakable sister-promise to restore Prince Denholm to human form leads to an increasingly complicated Quest. 

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When a comet drive-by leaves a cloud of purple dust in space, altering the familiar view from Earth, the collective response of the nations, of course, is to reach it: to explore, collect, research. The Czechs rocket a man to the Chopra cloud first, sending professor of astrophysics Jakub Procházka as their first astronaut. Thus Spaceman of Bohemia begins with a proud achievement for a country so battered by the machinations of others, now making momentous history of its own. 

Several weeks after Jakub’s solitary launch, a (possibly imaginary) memory-probing space spider appears aboard the JanHus1 space shuttle. The spider, whom Jakub names Hanuš after a medieval astronomical clock maker from Prague, probes his thoughts and eats his Nutella in his own scientific exploration to learn about “humanry.” Jakub unearths his childhood fears surrounding the fall of the Communist Party, who his father informed for, and memories: his move to Prague with his grandparents to start anew, his chance first meeting with wife Lenka over whiskey and sausages, their consuming love affair. Now, however, they are estranged, literally, by space and time, and maybe something more permanent. As Jakub travels farther into the depths of space, he reminisces and philosophizes with Hanuš. Themes of freedom, death, the fleetingness of life, violence, oppression, lust and love, revenge, legacy and fear link together the memories along his life’s path, from his youth through his university years and the now fateful decision to become the Spaceman of Bohemia.

Set in a not-so-distant 2018, the first novel by Czech-American author Jaroslav Kalfař defies neat categorization. It is both an adoring ode to and an insider’s critique of the land of Bohemia, chronicling its past subjugations and future possibilities. It’s irreverent and thoughtful, tragic and comic, deadpan and poignant. Writing outside his native tongue, the author creates vivid, occasionally disturbing vignettes. Spaceman Jakub’s rhetorical questions do become tedious at points in the novel; at times, his wonderings overwhelm, making it hard for the reader to digest one round before Kalfař moves on to other musings. Though the narrative seems to come full circle, it felt slightly unfinished, abruptly truncated. These caveats, and my personal arachnophobia aside, Spaceman of Bohemia entertains and enlightens.

 

This article was originally published in the March 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

When a comet drive-by leaves a cloud of purple dust in space, altering the familiar view from Earth, the collective response of the nations, of course, is to reach it: to explore, collect, research. The Czechs rocket a man to the Chopra cloud first, sending professor of astrophysics Jakub Procházka as their first astronaut. Thus Spaceman of Bohemia begins with a proud achievement for a country so battered by the machinations of others, now making momentous history of its own. 

Isaac Marion is building his first zombie novel Warm Bodies (2010, adapted into a 2013 film) into a bona fide epic. He has surrounded it with both a prequel (the novella The New Hunger, 2013) and this superb sequel, and there’s more to come.

Marion’s original Shakespearean twist is just good enough to be true. In a zombie apocalypse, it makes so much sense for “Romeo and Juliet” to get reduced to “R. and Julie,” and for a petty family feud to get enlarged into a global battle between living humans (Julie’s beleaguered tribe) and the Undead (R.’s hapless, brain-eating kind).

In the first novel, R. and a few of his zombie friends begin to feel human warmth coursing through their dead veins. All hell breaks loose between survivors of the zombies’ hunger too afraid to believe in this “resurrection,” and those who believe it but don’t know what to do about it, let alone what it means. In The Burning World, this conflict grows into a comprehensive political nightmare, a brilliant satire on current events.

R. and Julie are the only ones who keep their heads. That’s because they love each other. In the sequel, their love is tested to the breaking point, barely held together by the friendly presence of another zombie-human couple, characters we recognize with a wink from the prequel.

R.’s slow return to humanity brings with it unbearable memories of his first life, before he died and turned Undead. This tripartite identity—pre-zombie, zombie, post-zombie—is Marion’s master stroke. When a former zombie realizes he was worse as a human being, the spiritual toll is shattering. From time to time in the new novel, an uncanny chorus called “WE” addresses the reader with an omniscience and detachment that can only be called sublime. Who are “WE”? Well, we’ll have to wait and see. I can hardly.

Marion’s original Shakespearean twist is just good enough to be true. In a zombie apocalypse, it makes so much sense for “Romeo and Juliet” to get reduced to “R. and Julie,” and for a petty family feud to get enlarged into a global battle between living humans (Julie’s beleaguered tribe) and the Undead (R.’s hapless, brain-eating kind).

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Vic James’ debut novel, Gilded Cage, is set in Britain in a time where grand estates, class, pedigree, and money separate those with power and influence from those without. To assume that this is a story about some bygone era would be a mistake, however. In fact, where we start is far in the future, where the British society as we know it today has been replaced by a republic ruled by the Skilled. The Skilled, also called the Equals, are aristocrats with a mysterious natural gift of magic inherited only through pure breeding. But unlike the banished mutants of superhero films, the Skilled have managed to rise and rule with their wizardry. Being governed are the commoners, who are doomed in more ways than one, but the biggest blow is slavedays—a required 10-year sentence of back-breaking work. Choose to start young and it destroys you forever; choose to start old and you might never make it out alive. James’ saga starts as the Hadleys, a family of five from Manchester, are assigned to spend their slavedays at the Kyneston estate of the most powerful Skilled family, the Jardines. The Hadleys feel lucky for being assigned to a beautiful estate rather than a Dickensian workhouse—until they realize that teenage Luke was not invited. Instead, he is sent to one of the worse slavetowns, Millbrook. But, amongst its cruelty and oppression he finds the courage to be part of a revolution.  Luke isn’t the only rebel however: The Jardines too have an heir who has a secret plot to remake the world. Alongside the political drama also lies a budding love story between Abi Hadley and Jenner Jardine.

For those who can barely get enough of the British dramas like “Downton Abbey” or the magical worlds of J.K. Rowling, Gilded Cage reads like a perfect amalgamation of the two worlds. In this debut, James has successfully created anticipation for what’s to come. A great book to start your new series obsession.

Vic James’ debut novel, Gilded Cage, is set in Britain in a time where grand estates, class, pedigree, and money separate those with power and influence from those without. To assume that this is a story about some bygone era would be a mistake, however. In fact, where we start is far in the future, where the British society as we know it today has been replaced by a republic ruled by the Skilled. The Skilled, also called the Equals, are aristocrats with a mysterious natural gift of magic inherited only through pure breeding. But unlike the banished mutants of superhero films, the Skilled have managed to rise and rule with their wizardry.

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For seven years, Scarlett writes letters to Legend, the head of the mysterious traveling half-carnival, half-game Caraval. And for seven years, she gets no reply. Then, just before Scarlett is supposed to wed a count she’s never met—an arranged marriage that will rescue herself and her sister from their abusive father—three Caraval tickets appear. Soon Scarlett, her sister, Tella, and a new acquaintance find themselves swept into the magical world of Caraval, where they have five nights to win the game and its tempting prize: the granting of a single wish.

Caraval is full of sensory delights, from glittering castles to carousels made of rose petals to edible silver bells. But darkness lurks below the surface-level gaiety: Caraval’s magic traps its players inside their lodgings from sunrise to sunset; nightmares and lies serve as currency; and a labyrinth of underground tunnels intensifies players’ fears.

Debut author Stephanie Garber weaves a suspenseful mystery as Scarlett interprets (and misinterprets) clues, navigates hidden identities and attempts to solve the puzzles of Caraval. But Garber’s true strength is her use of multisensory imagery. When Scarlett first enters Caraval, for example, “soft golden lights licked her arms,” heat envelopes her that “tasted like light, bubbly on her tongue,” and she finds herself surrounded by “a canopy of crystal chandeliers,” “plush cranberry rugs” and “golden . . . spindles that arched around heavy red velvet drapes.” A teaser at the book’s end promises a follow-up novel that readers will fervently anticipate.

 

Jill Ratzan matches readers with books in a small library in southeastern Pennsylvania.

For seven years, Scarlett writes letters to Legend, the head of the mysterious traveling half-carnival, half-game Caraval. And for seven years, she gets no reply. Then, just before Scarlett is supposed to wed a count she’s never met—an arranged marriage that will rescue herself and her sister from their abusive father—three Caraval tickets appear. Soon Scarlett, her sister, Tella, and a new acquaintance find themselves swept into the magical world of Caraval, where they have five nights to win the game and its tempting prize: the granting of a single wish.

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In 2011, 23-year-old Veronica Roth’s debut, Divergent, set the stage for a series that would become a worldwide phenomenon. And while the series is ripe for obsessing, Roth took the story of Tris Prior to a shocking place—a place not every fan wanted to go. This unflinching pursuit of weighted questions carries over to her new duology as Roth considers faith and loyalty within a sci-fi setting. Carve the Mark is set in a solar system where a supreme force called the current flows through all beings, imbuing people with gifts similar to X-Men abilities.

The story opens when Akos and his older brother are kidnapped from their peaceful home in Thuvhe, in the northern part of their icy planet, by Shotet soldiers. The Shotet are an unrecognized nation of scavengers and warriors, and as their prisoner, gentle Akos (a win for Hufflepuff heroes) is trained as a soldier and charged with attending to hard-edged Cyra, the sister of the tyrannical Shotet ruler. Their friendship will change them both, but this is a world bound by fate, where kills are marked on the arms of killers. Loyalty to one’s family is everything, and it seems violence may be the only way to change that.

Roth’s cultural worldbuilding is meticulous and intricate, although explanatory passages slow the novel’s pace. But Roth’s conjuring of religions, belief systems and language differences is well done, and her prose has strengthened with this new series. Diehard Roth fans will be rewarded.

This article was originally published in the February 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Veronica Roth returns with a new sci-fi series.
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Jacqueline Carey, author of the fantasy classic Kushiel’s Dart, weds her lyrical prose to one of Shakespeare’s most enigmatic plays in Miranda and Caliban. This haunting tale of innocence, sensuality and rebellion tells the story of the vengeful magician Prospero’s daughter, Miranda, and his servant, Caliban, before the events of The Tempest.

The novel begins when Prospero forces Caliban into his service. Miranda, still a young girl, quickly takes to Caliban, helping her father in his efforts to “civilize” him. As the narrative draws ever closer to the events of Shakespeare’s play, Miranda and Caliban struggle to define their lives outside of the roles preordained for them.

Carey clearly has great respect and affection for Shakespeare’s work, but is unafraid to engage with the text from a modern perspective. The corroding effects of colonialism and vengeance, themes that ran under the surface of the original play, have immediate and heartbreaking effects here. The world of Prospero’s island is as rich and vital as it is harsh and unforgiving, and Carey deftly navigates the growing maturity of her two main characters, imbuing the pivotal moments in Miranda and Caliban’s development with shocking beauty and deeply felt emotion.

Revisions and retellings of Shakespeare’s plays are frequent, but Carey reshapes The Tempest with an uncommon grace and startling clarity. She understands the devastating impact choices, no matter how innocent, can make.

 

This article was originally published in the February 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Jacqueline Carey, author of the fantasy classic Kushiel’s Dart, weds her lyrical prose to one of Shakespeare’s most enigmatic plays in Miranda and Caliban. This haunting tale of innocence, sensuality and rebellion tells the story of the vengeful magician Prospero’s daughter, Miranda, and his servant, Caliban, before the events of The Tempest.
Review by

Amid the deluge of unreliable, devious narrators that compose so much of recent fiction, meet Tom Barren. He’s refreshingly truthful, completely forthright—and an abject failure. In the debut novel from Toronto author and screenwriter Elan Mastai, Tom would like to tell you how he screwed up the future.

Tom’s self-effacing memoir opens with a dose of physics, as our apologetic hero does his best to explain just how he got stuck in the “dank, grimy horror” that is our 2016. Tom is from an alternate reality, the kind of utopian future that Americans dreamed of in the 1950s. In this technological paradise, the groundbreaking Goettreider Engine uses the Earth’s rotation to power all of humanity. Below-average Tom might be a disappointment to his genius father, but things are generally pretty good for humankind in his 2016. That is, until—in a fit of rage, guilt and grief—Tom defiantly hops into the time machine his father has built and accidentally halts the creation of the Goettreider Engine.

Mastai’s utopian worldbuilding is complex and imaginative, but some of the book’s most memorable sections are when Tom attempts to navigate our “retrograde” world. Here, his family is different: His mother is still alive, his father is kind, and he has a sharp-witted sister. His love is different, and his failures are different. This isn’t your typical time-travel story where the wrong reality needs to be righted.

An entertaining rom-com of errors, All Our Wrong Todays backflips through paradoxes while exploring provocative questions of grief and the multitudes we contain within ourselves. Ultimately, it’s a story about love—and the stupid things we’ll do for it.

Read more: Elan Mastai on ‘All Our Wrong Todays.’

This article was originally published in the February 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

In the debut novel from Toronto author and screenwriter Elan Mastai, Tom has stumbled into a very different 2016.

Sixteen-year-old Amy Lennox has inherited what she calls her family’s “crazy gene.” She and her mother are crazy enough to spontaneously decide to move from their home in Germany one morning and be on a plane that afternoon. Their destination? The island of Stormsay off the coast of Scotland, where Amy’s grandmother, Mairead Lennox, Lady of Stormsay, lives in a mansion called Lennox House. 

In Lennox House, books are everywhere. There are paintings of people reading, a spectacular oak banister carved in the shape of books and a mysterious, ancient library on the moor nearby, set deep in a cave at the foot of a hill. Amy discovers she has inherited a secret family birthright: She is a book jumper, with the ability to jump inside stories and interact with the characters she finds there. Most of all, as a book jumper, she has a duty to protect literature.

Amy’s training includes practice excursions into The Jungle Book, Oliver Twist and Alice’s Adventures in Wonderland. But, along with a fellow reader named Will, Amy uncovers a disturbing problem: There is a dangerous thief in the book world, a thief who is somehow altering stories and stealing ideas from them. And it’s up to Will and Amy to solve the mystery.

Originally published in Germany, Mechthild Gläser’s novel combines romance, fantasy and adventure. Like Grace Lin’s When the Sea Turned to Silver, The Book Jumper celebrates the enduring power of literature and the integral role that stories can play in young lives.

 

This article was originally published in the January 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Sixteen-year-old Amy Lennox has inherited what she calls her family’s “crazy gene.” She and her mother are crazy enough to spontaneously decide to move from their home in Germany one morning and be on a plane that afternoon. Their destination? The island of Stormsay off the coast of Scotland, where Amy’s grandmother, Mairead Lennox, Lady of Stormsay, lives in a mansion called Lennox House. 

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