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English writer Charles Stross, whose books burst with pop-science ideas, intrigue, strong characters and even romance, continues his Merchant Princes series with the release this month of The Hidden Family. The series, launched just last December in the U.S. with the publication of The Family Trade, perhaps more accurately could be titled the Merchant Princesses, since the novels focus on journalist Miriam Beckstein and her cadre of mostly female co-conspirators.

Beckstein, who grew up an orphan in the Boston area, previously discovered she had an unknown identity as a long-thought-dead heir on a parallel Earth. This pre-industrial other world is ruled by aristocratic clans who can walk between their world and ours. Beckstein’s reappearance throws a wrench in the plans of a number of the clans and she is almost immediately targeted for assassination. To make things worse, everyone she meets seems to have a second, or even a third, allegiance. However, she also discovers that the clans have a secret enemy, a family of world-walkers who have been fomenting inter-clan war.

Working with her best friend from our contemporary world and two young family aristocrats, Beckstein tries to stay alive, works on the mystery of who murdered her mother and investigates new ways for the clans to use world-walking to their financial advantage. Their wealth has been predicated on being able to move goods without going through customs, but dodging the law only works when everyone involved is on the same side.

Stross is an energetic writer (with another much-anticipated science fiction novel, Accelerando, due next month) who creates page-turning reads. If his endings don’t quite hold up, it is a minor drawback that doesn’t spoil the fun. Readers will be relieved to learn that there is a lot to look forward to in The Hidden Family, including a finale that is all Gothic romance: regrets, a ball and a happy reunion.

Gavin J. Grant runs Small Beer Press in Northampton, Massachusetts.

English writer Charles Stross, whose books burst with pop-science ideas, intrigue, strong characters and even romance, continues his Merchant Princes series with the release this month of The Hidden Family. The series, launched just last December in the U.S. with the publication of The Family Trade, perhaps more accurately could be titled the Merchant Princesses, […]
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Savannah Levine, the protagonist of the 11th installment in Kelley Armstrong’s Otherworld series, is a powerful young woman with a lot to prove to the strong personalities that fill her life. Introduced earlier in the series as a child, Savannah is the orphaned daughter of a dark witch and a notorious sorcerer. Under the tutelage of her adoptive parents, who run a supernatural detective agency, Savannah has blossomed into an adept magic user, but she has yet to prove that she has the wisdom to wield her powers in a responsible manner and to take on a greater role in the agency.

While her parents are on a long-awaited vacation in Hawaii, a half-demon PI from Seattle offers her the chance to lead an investigation of her own, into the murders of three young women in the small town of Columbus, Washington. There are hints that the murders have a supernatural connection, and the temptation to take a starring role is too great for the impetuous Savannah to refuse.

The town of Columbus, suffering under the weight of economic recession and barely clinging to hopes of a recovery, doesn’t quite know what to make of a gorgeous, iPhone-wielding, motorcycle-driving PI, even if she is forced keep her magical abilities in the shadows; somewhat lacking in empathy for non-supernatural humans, Savannah does little to put them at ease. She quickly begins to peel back the skin of the decaying town to reveal a rich occult undercurrent and a host of colorful suspects for the murders, from the louche and charismatic leader of a cult of cookie-baking young women to the local rich-boy-turned-bad-seed and his frightening wife. Savannah finds new friends, allies and enemies amongst the townspeople.

Waking The Witch is an imaginative blend of the fantasy and detective genres. The plot moves along at a brisk pace, throwing a good number of twists and tragedies at Savannah, who becomes a more likable character as the book goes on and she seems to warm up to everyday humans. As part of a long-running series, there are significant points in the book that will mean much more to fans than to casual readers, but for the most part the story is self-contained. A few plot threads are left dangling at the end to inform the next chapter in Savannah’s story—and intrigue Armstrong’s loyal readers.

Savannah Levine, the protagonist of the 11th installment in Kelley Armstrong’s Otherworld series, is a powerful young woman with a lot to prove to the strong personalities that fill her life. Introduced earlier in the series as a child, Savannah is the orphaned daughter of a dark witch and a notorious sorcerer. Under the tutelage […]
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The story of This Is Not a Game is driven by a force located at the nexus between commercial marketing and geek culture: the alternate reality game, or ARG. Though the book is set in the near future, ARGs are being planned and played right now: these are the massive and complexly plotted entertainments that have driven millions to hunt for clues on hidden websites, deliver packages to secret locations and call studios where live actors impersonate characters from a carefully crafted fiction.

The novel follows Dagmar Shaw, an architect of such games. In her role as “puppetmaster” she has cunningly led players through countless twists and revelations by carefully weaving elements of her dangerous virtual worlds into our own. But the real world has turned suddenly dangerous for her: stranded in Jakarta during a collapse of the national economy, she watches helplessly as riots tear the city apart.

When Dagmar—with assistance from her friends and associates at the Great Big Idea company—alters her game in an attempt to summon the aid of its players, the novel takes on fascinating new dimensions and becomes a genuine page-turner. Spurred into action, the group mind of a million and more gamers eagerly applies its problem-solving skills to the real-life crisis.

But getting Dagmar out of Jakarta is only the beginning. Back in Los Angeles, another member of the company (and one of Dagmar’s oldest friends) is gunned down in the parking lot by an assassin. The Russian mafia may be involved, and there are hints of an international finance conspiracy. Soon Dagmar is tracking down the killer while trying to keep the game going, even as outside influences alter the rules of her own creation.

Walter Jon Williams begins with a knowing and sympathetic grasp of gamer culture, and proceeds through schemes and stratagems with a good deal of gamesmanship himself. This Is Not a Game is a tale every bit as engaging as one of the intrigues its characters might have dreamed up.

Jedediah Berry is the author of a novel, The Manual of Detection.

The story of This Is Not a Game is driven by a force located at the nexus between commercial marketing and geek culture: the alternate reality game, or ARG. Though the book is set in the near future, ARGs are being planned and played right now: these are the massive and complexly plotted entertainments that […]
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Kage Baker’s The Bird of the River flows as smoothly and powerfully as a river in flood, with secrets, suspense and danger swirling just below the surface. The novel follows the adventures of Eliss, a clever, caring girl on the brink of womanhood. Her sharp eyes and equally sharp brain, combined with a depth of unconscious humility, make Eliss an attractive character for both young and adult readers.

Set in the same reality as Baker’s earlier works The Anvil of the World and The House of the Stag, the novel deals with the universal themes of prejudice, codependence, addiction and autonomy. The world’s two races, the city-dwelling Children of the Sun and the Yendri, a forest-living tribe, are further divided by their religious beliefs. Eliss has a 10-year-old half-brother of mixed race, Alder. Though Eliss does her best to protect him, Alder must choose his own life—with Eliss’ people or those of his father—especially after the death of their drug-addicted mother, Falena.

Most of the action takes place on the enormous river barge Bird of the River, a boat larger than many towns where Eliss has lived. The crew includes Captain Glass, a man who is far more than he appears, the female divers who bring up snags and sunken boats from the river bottom and Eliss, who learns to be the eyes of the vessel, reading the river for signs of hidden danger.

Other characters range from the kindly first mate Mr. Riveter and his family to Krelan, an upper-class boy with a secret Eliss cleverly deduces. A series of demon-robber attacks follow the same route as the barge; as Eliss and Krelan grow closer, they discover the root of the crimes. An independent female cartographer provides Eliss with a healthy role model and mentor, while the Bird of the River itself plays an active part in her development into an independent young woman. Myth and folklore make Eliss’ world seem rich—notably, a ballad about the doomed Falena’s all-too-ordinary life and death.

From its sad and realistic beginning to its startling yet totally believable conclusion, The Bird of the River is an elegantly written, deeply moving tale. Kage Baker’s death from cancer earlier this year makes reading The Bird of the River especially bittersweet. 

 

Kage Baker’s The Bird of the River flows as smoothly and powerfully as a river in flood, with secrets, suspense and danger swirling just below the surface. The novel follows the adventures of Eliss, a clever, caring girl on the brink of womanhood. Her sharp eyes and equally sharp brain, combined with a depth of unconscious humility, […]
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Second in L. Jagi Lamplighter’s series tracing the convoluted relationships of the Family Prospero, their magical allies, enemies and servants, Prospero in Hell centers on the continued efforts of the magician’s daughter Miranda to find her father. A chain of clues implicates at least one member of her essentially immortal family. Suspects also include an Elven lord who fathered the spirits of air presently under Miranda’s command, as well as other more overtly sinister forces. As the title implies, indications point to Prospero being held captive in hell.

Eldest of a dozen siblings, Miranda is in charge of the family business, Prospero, Inc. Caught between dealing with company, personal and global crises, Miranda balances rescuing Prospero while ascending her spiritual path as devotee of a goddess. To reach that pinnacle she may need to relinquish one of her most prized magical possessions and abilities—and place the world at risk. Suspicion engulfs her; treachery surrounds her. By novel’s end, Miranda must reunite her shattered family, and cope with some of the greatest losses she has ever feared.

Miranda lives on an Earth where all mythical realities, divinities and creatures coexist. Beings as diverse as angels, demons, elementals and elves assist or hinder her on her interconnected quests. Gods and goddesses from many pantheons, fairies, Santa Claus, familiars and flying carpets, even relics of Christian significance, each have parts to play. Lamplighter’s writing is intricate and full of lovely (or terrifying) descriptions of landscapes, interiors and characters. The action moves briskly, suspenseful whether Miranda is soaring above a frozen landscape, facing a perversely seductive incubus or battling an evil djinn or genie—and even deadlier creatures. As she learns more about the provenance of her beloved flute and Prospero’s disturbing secret history, the story’s tension ratchets higher.

Lamplighter creates a daring pastiche of Shakespeare, giving Miranda a courageous attitude toward physical, mystical or sexual perils. At the same time, the character’s knowledge of magic and use of arcane tools like her staff-flute, metaphysical texts and ancient, esoteric weaponry make her five centuries of life believable. Readers who favor series saturated with sophistication and interlocking mythologies will eagerly consume this newest lap on Miranda’s race to save Prospero and the world.

 

  

Second in L. Jagi Lamplighter’s series tracing the convoluted relationships of the Family Prospero, their magical allies, enemies and servants, Prospero in Hell centers on the continued efforts of the magician’s daughter Miranda to find her father. A chain of clues implicates at least one member of her essentially immortal family. Suspects also include an Elven lord who fathered […]
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The Other Wind is the sixth book in Ursula Le Guin's Earthsea series, which becomes, with this addition, one of the richest fantasies ever created. Le Guin has written an amazingly spare novel, yet from the beginning, every word is weighed and crafted to add depth and resonance. It's like reading a time-release story, where some of the effects are felt much later. Weeks after reading it, I found myself considering different aspects of the story—the meetings of cultures, the inevitability of love, the process of aging and realizing anew how well they all fit together.

After an absence of 10 years, Le Guin returns to the ongoing fantasy realm of Earthsea, a land where actions have consequences, where characters live their lives, are influenced by others and change in unexpected ways. Le Guin's first book in the series, A Wizard of Earthsea, was published some 30 years ago. In it, we were introduced to Ged, who would one day become Archmage, one of the most powerful people on Earthsea. Now Ged is an old man who has given up his power. He and his wife are scraping by on a farm far from the center of the action. He is a minor character, anchoring us in the world, bringing other characters together, yet keeping out of the way of the wizards and rulers of the lands. He has stepped aside for the younger generation, now facing the central question: What is death?

In earlier Earthsea novels, Ged and others crossed the border into the land of the dead. It was a truly frightening place: there were no animals or plants, and the dead walked in silence, never acknowledging one another. Now, Le Guin examines her fictional land of the dead, and finds it wanting. Death is the great and inevitable unknown. No matter how much we fear it or poke and prod at it, we the living cannot truly understand it. In The Other Wind Le Guin makes us face our own mortality, and, without falling back into cliches, new age mantras or religious imagery, gives us a deeply powerful and satisfying conclusion.

Gavin J. Grant lives in Brooklyn, where he reviews, writes and publishes speculative fiction.

 

The Other Wind is the sixth book in Ursula Le Guin's Earthsea series, which becomes, with this addition, one of the richest fantasies ever created. Le Guin has written an amazingly spare novel, yet from the beginning, every word is weighed and crafted to add depth and resonance. It's like reading a time-release story, where […]
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Much has been made of cyberpunk godfather William Gibson’s transition from the dystopic future of Mona Lisa Overdrive and Virtual Light to the contemporary setting of his recent novels. Starting with 2003’s Pattern Recognition and continuing in 2007’s Spook Country, Gibson abandoned the world of Molly Millions and Wintermute for present-day cool finders, benzo addicts and ex-CIA agents. The result? A world no less fascinating and characters no less intriguing.

In Zero History, the third novel of Gibson’s Bigend trilogy, a few years have passed since Hollis Henry last worked for the Belgian marketing mastermind Hubertus Bigend, a relationship she is eager to avoid re-establishing. But as happens with most who find themselves subject to the gravity of Bigend’s attention, Henry is quickly pulled back in as she searches for the reclusive maker of Gabriel Hounds, an anti-brand of denim apparel. She is joined in her search by her fellow Spook Country alum, Milgrim, an ex-drug addict (the “ex” thanks to Bigend) who is slowly rediscovering the person paved over by all the years of addiction.

Gibson is, as always, a meticulous world builder—every piece of clothing and décor comes with a detailed provenance, and even the most mundane material “actor” in a scene is described with exacting specificity. That taxi hailed on page one? “Pearlescent silver, this one. Glyphed in Prussian blue […] a smoother simulacrum of its black ancestors, its faux-leather upholstery a shade of orthopedic fawn.”

The relentless attention to detail could easily stop a reader in his or her tracks, yet somehow, it doesn’t—plot, pace and people keep the pages turning. (Though I did keep a pen nearby, building a list of the many references that escaped me for a later Wiki binge.)

Zero History sees the welcome return of most of the cast from Spook Country (and not a few of those from Pattern Recognition). This cast is an immediate and sustained strength of the novel—not necessarily because a reader need know them already, but because, like any good world builder, Gibson is allowing the potential of his characters to be realized. While such character-based brand recognition is found most easily in anti-hero Hubertus Bigend, described by Gibson in one interview as “a cross between Marshall McLuhan and a Bond villain,” it’s also evident in Milgrim, whose growth provides moments of unexpected poignancy.

Gibson’s latest novel may be set in the present, but the author’s eye for the “impending new” is no less keen, and one leaves Zero History with the feeling that Gibson has not turned his eye away from the future—the future has just moved much, much closer to us.

Much has been made of cyberpunk godfather William Gibson’s transition from the dystopic future of Mona Lisa Overdrive and Virtual Light to the contemporary setting of his recent novels. Starting with 2003’s Pattern Recognition and continuing in 2007’s Spook Country, Gibson abandoned the world of Molly Millions and Wintermute for present-day cool finders, benzo addicts […]
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Tongues of Serpents, the sixth installment in Naomi Novik’s Temeraire series, opens just as the dragon Temeraire and his captain, Will Laurence, have arrived at the British colony of New South Wales in Australia. Temeraire and Laurence have been sent to Australia as prisoners after being convicted of treason, and the stain on their character is a difficult burden to bear—particularly for Laurence, whose compassion and common sense make him especially appealing to modern readers. But the real hero of these novels is Temeraire, an imposing figure who can blow holes in the sides of ships with his roar (known as “the Divine Wind”), but also loves to work on complex mathematical equations and is quite enamored of gold, jewels and fine clothing.

Temeraire and his fellow dragons are surely Novik’s finest accomplishment. Each dragon is distinguished by physical differences as well as sharply observed personality quirks and foibles. Much of the plot of Tongues of Serpents concerns a long chase through the interior of the Australian continent when one of the dragon eggs that Temeraire has been guarding is stolen; along with Temeraire and Laurence on the quest to recover the egg are Iskierka, a fire-breathing dragon who annoys the rest to no end, as well as two new hatchlings, one of whom puts the entire group in a rather difficult position.

To say much more about the dragons would be to spoil much of the pleasure of Tongues of Serpents. Less action-heavy than previous books in the series, the novel’s high points come with the introduction of new elements into its world, whether new characters or new adversaries, like the water-dwelling bunyips (a creature out of Aboriginal Australian mythology) who devise an ingenious trap for our heroes. Novik’s many fans will be pleased to spend more time with Temeraire, Laurence and their companions, and will be eager to see where their further adventures will take them. 

Tongues of Serpents, the sixth installment in Naomi Novik’s Temeraire series, opens just as the dragon Temeraire and his captain, Will Laurence, have arrived at the British colony of New South Wales in Australia. Temeraire and Laurence have been sent to Australia as prisoners after being convicted of treason, and the stain on their character […]
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Ben Bova’s sky-blue eyes twinkle as he gazes out on the white sands and palm trees of Venetian Bay near his home in Naples, Florida. The snowbirds have all departed, soon to be replaced by mosquitoes. Tourist season is over, hurricane season is nigh, and he and Barbara, his wife and agent, have this sleepy small town on Florida’s southwestern shore all to themselves once again.


His mind is far away: one hundred million kilometers, to be exact. Seven summers ago, readers took a sub-zero sojourn to Mars with the veteran science fiction author. This summer, the high adventure continues in Return to Mars.


“Mars is a very different world,” Bova muses. “It’s totally dry. There’s no liquid water. You could be standing on the equator in the middle of summer and the ground temperature might get up to 70 degrees Fahrenheit, but the temperature at your nose would be zero. The air just doesn’t hold any heat at all.”


Fortunately the three women and five men of Bova’s second Mars mission team make up for the sub-Arctic chill with plenty of out-of-this-world romance. Jamie Waterman, Navajo geologist and hero of the first novel, returns as mission director. C. Dexter Trumball, the headstrong son of the mission’s cold-hearted financier, soon challenges his authority. Jamie loves the red planet for its mysterious past; Dex wants to exploit it to win his father’s approval. They become locked in a steamy love triangle with beautiful physician/psychiatrist Vijay Shektar before their boots even hit red dust. It’s enough to burst your pressurized dome.


Bova chuckles at the suggestion that his Mars seems to be a very sexy planet indeed.


“It’s human nature. You’re a hundred million kilometers from home, some are men, some are women,” he says. “My first published novel was written for teenagers, and there were rules laid down by the publisher: no sex, no smoking, no swearing. I blew up entire solar systems, I consigned billions of people to horrible death; they didn’t seem to mind that at all. But no hanky-panky.”


There is hanky-panky of a far more dangerous sort in Return to Mars, when the crewmembers suspect they have a saboteur among them.


Bova has spent four decades crafting more than 90 fiction and nonfiction works based closely on scientific findings. Still, the “hard-science” SF practitioner says it’s the people, not the protons, that fire his imagination.


“After you spend a few years developing the novel, you do get a feeling of being there (on Mars),” he says. “I used to tell the grandchildren, ‘Grandpa’s got to go to Mars now.’ Hard science fiction is one thing, but what I’m trying to write are novels about real people doing real things. It may be in places no one else has gone before, but they are human beings and these are novels about the interactions among them, just like any other kind of novel.”


Bova chisels his characters from a variety of raw materials, including friends and acquaintances. But his decision to make Jamie Waterman a half-Navajo “red man on the red planet” arose in a roundabout way from the Martian landscape itself.

Author Photo
“It was really the geography, the land where the Navajo live, because I’d been going out to New Mexico and Arizona for 30 years, and time and again it looked so much like Mars. A very lush sort of a tropical Mars, but the landscape, the geography, is really much like the landscape you’ll find on Mars, if you take away all the bushes. Actually, when I first started plotting out the original novel Mars, the central character was a white-bread American geologist, and it just didn’t work out. So finally I came to a realization that this guy is part Navajo. So we went out to New Mexico for a month or so and absorbed the area and that’s when I started writing the novel.”


Jamie’s grandfather Al, a Navajo shopkeeper, serves as an Obi-wan Kenobi-like mystical sage in the Mars series. “Jamie’s grandfather is really a crucial character in this whole story because Al represented Jamie’s Native American heritage,” Bova says. “Although Jamie is very white and very Western, he still has that streak in him. Indeed, Mars and Earth, the two different planets, can be seen as symbols for the two parts of Jamie’s soul. I think that in Return to Mars he has finally resolved those differences.”


In most cases, characters live in Bova’s mind for years before they actually appear on his computer screen. He says the process of writing the novel is one of discovering more about his creations through their struggles.


Knowing them as well as he does, do they ever surprise him?


“Constantly! More often, it’s been someone who you would think of as a villain who turns out to be less than villainous; he’s human and he’s got his reasons for doing it, and can even do something decent on occasion.”


Such as mission moneyman Darryl C. Trumball, perhaps?


“He’s his own man, he’s come up in the rough-and-tumble world of finance. What he’s doing he doesn’t see as malevolent at all. He sees the scientists as kind of crazy, kooky. Who wants to go to Mars? Because the only thing that makes sense to the senior Trumball is to make money. That’s his criteria, the bottom line. He’s not evil, but you probably wouldn’t want to have dinner with him.”


Having completed two books in both his Moonbase series (Moonrise and Moonwar) and his Mars adventure, how do the two spheres stack up, dramatically speaking? Bova sees them quite differently.


“I think it’s perfectly OK to exploit the moon. Largely for two reasons: there’s no life there, and it is close enough and rich enough in resources to be economically useful to Earth. In the final analysis, everything we do in space, if it does not help the people of Earth, all the people, it’s not going to happen.”


Our fascination with Mars is easily understood, he says. “It’s the most Earth-like planet. It’s the only planet whose surface we can see on Earth and it looks somewhat like Earth. There has always been this fascination: is there life there? Or has there been intelligent life there?”


In recent months, Bova has moved on to Venus, a neighbor closer than Mars, where an out-of-control hothouse effect has resulted in a surface temperature that would melt aluminum and a thick cloud cover that poisons the atmosphere with sulfuric acid. Not exactly a vacation destination, perhaps. Nevertheless, Bova expects to complete the novel for publication next year.


“What I’m doing, and I’m having a lot of fun doing it, is exploring the solar system. And always, as long as you’re exploring it with people, the question of motivation comes up. Why would you want to go to Venus?”


If you are Ben Bova, the answer is obvious. He’s not exactly waiting for a call from NASA offering him a senior discount on the next shuttle mission, but he is dead certain what his answer would be should it happen.


“I’ll get in the car right now and drive to the cape.”



Jay MacDonald is a writer in Naples, Florida.

Ben Bova’s sky-blue eyes twinkle as he gazes out on the white sands and palm trees of Venetian Bay near his home in Naples, Florida. The snowbirds have all departed, soon to be replaced by mosquitoes. Tourist season is over, hurricane season is nigh, and he and Barbara, his wife and agent, have this sleepy […]
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Greg Bear’s 28th novel, the near-future thriller Darwin’s Children, is a direct sequel to his Darwin’s Radio (1999), although familiarity with the prequel is not necessary to enjoy the ride offered here.

Ten years have passed since a new human virus produced a generation of children markedly different from their parents. The new children can communicate using freckle-like marks on their faces, and they’re developing a new language and perhaps even new ways of living. Most of the new children have been taken from their families and placed in government schools. Some of these schools have been contracted out to private companies with more experience guarding prisoners than children. The schools have quickly become more akin to concentration camps, and as the children approach puberty, the government becomes afraid that another virus may be unleashed on the public. All remaining new children are ordered imprisoned. When the second virus appears, however, it is a defensive virus released by adult humans that kills 20 percent of the new children.

Bear explains viruses and all the science in the book in clear, comprehensible language that makes for fascinating reading. Despite the global nature of the virus, Bear focuses on the extreme and fearful reaction by the government, parents and the people of the U.S. One surprise in the novel occurs when two characters encounter something they think of as God. It is a presence that envelops them in feelings of acceptance and love but, frustratingly, neither can control any aspect of it. Where Bear is going with this will have to wait for a future novel.

Bear has become one of science fiction’s most consistent producers of thrills and chills, and with Darwin’s Children his strong imagination and writing skills come together in a combination that has all the hallmarks of future bestsellerdom. Gavin J. Grant is a freelance writer and reviewer in Northampton, Massachusetts.

Greg Bear’s 28th novel, the near-future thriller Darwin’s Children, is a direct sequel to his Darwin’s Radio (1999), although familiarity with the prequel is not necessary to enjoy the ride offered here. Ten years have passed since a new human virus produced a generation of children markedly different from their parents. The new children can […]
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Arriving on American shores this month, escorted by ecstatic reviews, is Fire Bringer, an epic animal fantasy in the tradition of Watership Down. This first novel by 36-year-old travel writer David Clement-Davies was published in England last year as a children’s book, but here in the U.S. it will be treated more as a crossover title.

This 500-page saga of the lives and society of the Herla, as the red deer call themselves, ranges from private domestic moments to heroic battles, from rival herd-leaders’ secret machinations to ancient prophecies of a deer with a blaze on his forehead shaped like an oak leaf. (Many readers will immediately think of Harry Potter’s lightning-shaped scar, which likewise marks him for future heroism.) No matter how far we think we have come from the superstitious artists who painted animals on cave walls, we are still moved by heroic tales of our fellow creatures. Is it because we intuit deep down that they and we are closer than we think? Whatever the rational explanation for this affinity, David Clement-Davies has tapped into its exotic power.

We reached the author at his home (and office) in London. Clement-Davies is already hard at work on his next book — about wolves — but he well remembers the amount of work that went into Fire Bringer. "Overall it took about three years to write, on and off. I had the idea quite a long time before, actually. I was sort of wondering what to do, especially after leaving university. I wanted to write, but I wasn’t sure how to set about that. Eventually I went on and became a travel journalist." Today he climbs mountains, scuba dives, sky dives, and writes up his adventures for various periodicals.

Not surprisingly, many of Clement-Davies’s own favorite books as a child — and, for that matter, as an adult — were animal fantasies. "Watership Down is a favorite book," he says, acknowledging the most frequent comparison with his own first novel. "Going further back, the sort of greats like The Jungle Book. And there are other books which are more demanding — The Call of the Wild, White Fang, The Wind in the Willows."

Therefore, he says, "I had a sense of the type of book I’d like to write." However, he knew he didn’t want to follow too closely in the footsteps of Richard Adams. "Before I got into the book, I thought about deer. They appealed for their mystery and — I don’t know how to say this — they’re rather more exciting animals than rabbits." Deer seem more mystical, more historical — and of course the stags, unlike male rabbits, are heavily armed, which offers dramatic possibilities in a story fraught with rivalry and deception.

Clement-Davies did a great deal of research into the lives of red deer. "Reading about deer is fascinating. You have this unique thing, which is the antler cycle, which makes them for me somehow stranger. While writing the fantasy, I was wrestling back and forth — wanting to make these creatures realistic, too."

Paradoxically, the details of the deer’s natural history — birth, growth, death — somehow "humanize" the creatures. We empathize with them because they go through the same cycles of life that we do, and because they respond to these cycles in the same ways we do — with fear, joy, dread, excitement.

Clement-Davies didn’t want to set his fantasy in a Never-Never Land of animals without a human presence. "I wanted to set people together with animals and see what I could do with that. And that gives me the basic tension." The presence of marauding humans — one of the chief predators always lurking on the outskirts of deer society — affects every scene. For example, most of the deer accept the humans’ Hunt as an inevitable part of life in the Park, and even encourage each other to sacrifice themselves for the good of the herd. Naturally, any deer who imagines a life outside the Park faces cries of heresy and revolution.

Clement-Davies pauses to think over the issues intertwined with his story. "I knew when I set out — you obviously have lots of ideas swirling around in your head, but you don’t quite know where they’ll take you — I knew I wanted to write about people, and about human issues. Actually very big themes such as fascism." The emotional roots of fascism, and the way in which individuals manipulate the society around them toward their own sad goals, is one of the ongoing themes.

Clement-Davies credits his agent, Gina Pollinger (who was also Roald Dahl’s agent), with giving him "the holy touch" and telling him, "You’re a writer." Clement-Davies remembers, "That sent a little shiver down my spine. When you begin to talk of yourself as a ‘writer,’ it gives you a kind of new authority. You don’t feel such a sham anymore, going into a pub and saying, ‘I’m a writer.’"

If Fire Bringer proves as popular in the U.S. as it did in England, Clement-Davies won’t have time to wonder if he’s a writer. Too many people will be reading his books.

Michael Sims’s next book will be a natural and cultural history of the human body for Viking.

Author photo by Tim Booth.

Arriving on American shores this month, escorted by ecstatic reviews, is Fire Bringer, an epic animal fantasy in the tradition of Watership Down. This first novel by 36-year-old travel writer David Clement-Davies was published in England last year as a children’s book, but here in the U.S. it will be treated more as a crossover […]
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In The Wellstone, a freestanding follow-up to his acclaimed novel The Collapsium, writer and real-life rocket scientist Wil McCarthy considers post-scarcity economies, leadership politics and immortality, all in an adventure novel that would have made Robert A. Heinlein proud.

Prince Bascal Edward de Towaji Lutui is the teenage heir to the Queendom of Sol, but, due to his parents’ immortality, he will never inherit it. He is, of course, a polymath genius (his pre-teen poetry is scattered throughout the book), and he is deeply dissatisfied with his lot in life. Sent to summer camp, he foments revolution. The prince’s two main collaborators are smart but impulsive Conrad Mursk and Xiomara (known as Xmary), a “fax” copy of a girl.

In this high-tech Queendom, a fax can reproduce not only material objects, but living creatures as well. Another important new invention is wellstone, a kind of programmable matter that can mimic almost any substance. The fax and wellstone technology is well thought out and described. Additionally, an appendix describes the “Fax Wars,” in which McCarthy explores the (sometimes hilarious) ramifications of replicating devices being made widely available. Despite a wealth of competition from other characters, Conrad is the most interesting person here. Bascal’s breakout forces Conrad to consider not just his actions, but also their possible consequences. Watching him come to life as an adult, realizing and working around his own faults not to mention the difficulties thrown in the revolutionaries’ path is a treat worth the price of the book. Gavin J. Grant writes from Northampton, Massachusetts.

In The Wellstone, a freestanding follow-up to his acclaimed novel The Collapsium, writer and real-life rocket scientist Wil McCarthy considers post-scarcity economies, leadership politics and immortality, all in an adventure novel that would have made Robert A. Heinlein proud. Prince Bascal Edward de Towaji Lutui is the teenage heir to the Queendom of Sol, but, […]
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Wizards are typically portrayed as mysterious and secretive beings, but readers now have a chance to enter their enchanted world. With Tom Cross' The Way of Wizards, the curious can embark on a magical journey led by the author's alter ego, an apprentice mage named Penelo.

Lavishly illustrated, The Way of Wizards is a full-color, large-format book that uses more than 200 illustrations to depict the fantastical world of wizards. Penelo, as narrator, describes everything from a wizard's garb to elemental sources of power to the enchanted places that are a wizard's realm. At times, the book resembles a tome from a wizard's library.

Wizards is a project Cross began nearly 20 years ago, at a time when books on otherworldly creatures like gnomes and fairies were wildly popular. "We had pursued the idea of doing a wizards book, and then as things go, they said the market went soft,' he explains. Cross, a noted ecologist and artist whose work has been exhibited in galleries from Florida to Japan, continued to produce magically themed art until wizardry caught the public's imagination again, in part due to the phenomenal popularity of J.K. Rowling's Harry Potter series. Cross believes that other factors also led to the resurgence of interest in magic.

"Fantasy seems to be an outlet during good times and a safe harbor during poor times."

"Fantasy seems to be an outlet during good times and a safe harbor during poor times,"  he says, noting that Lord of the Rings author J.R.R. Tolkien wrote much of his Middle Earth saga during the 1930s and '40s times of worldwide turbulence. As he researched wizards and mages for his book, Cross noted a recurring theme of harmony with nature that resonated with his background as a coastal ecologist. "A lot of what's in this book is researched folklore,"  he explains, "and every culture has its take on nature's phenomenon that couldn't be explained, and they almost always point their finger at a gnome or a fairy or a shaman or a witch doctor or a medicine man. If you think about it, every culture has wizards, whatever they call them. It's usually been the guy or the woman who was most in tune with nature."

In striving to synthesize magical legends from many cultures, Cross accessed material through the Internet, which jibed with his vision of the magical tome. "I had a very wild hair about the book basically being the material version of the real thing, a two-dimensional version of what's real,"  he said. What would a real wizard's book consist of? "It'd be hypertext, interactive, click here, click there, every word takes you somewhere, every image takes you somewhere. The Web is probably the best manifestation we have of what wizardly communication really would be."

Just as a wizard combines elements for a spell or potion, Cross blended ancient technique and modern technology to produce the images in his book. "The book is a very interesting evolution of technique, he explains. "The early stuff and particularly the things that are on the old book pages are handwritten or pencil and watercolor, and the major art pieces are all digitally done. So I pretty much have evolved as technology has allowed me to. Cross wrote some of the text in a page layout program that let him combine words with images and manipulate their appearance.

"It was neat. The page, the spread, became my palette, he said. "It was a bit of wizardry in that sense.

Gregory Harris is a writer and computer consultant in Indianapolis.

 

Wizards are typically portrayed as mysterious and secretive beings, but readers now have a chance to enter their enchanted world. With Tom Cross' The Way of Wizards, the curious can embark on a magical journey led by the author's alter ego, an apprentice mage named Penelo. Lavishly illustrated, The Way of Wizards is a full-color, […]

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