Andy Marino rides the balance between good horrific fun and grisly speculation in The Swarm, a tale of a cicada emergence of biblical proportions.
Andy Marino rides the balance between good horrific fun and grisly speculation in The Swarm, a tale of a cicada emergence of biblical proportions.
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<B>Liz Williams’ daring brew</B> British writer Liz Williams’ first novel, <I>The Ghost Sister</I>, was a finalist for the Philip K. Dick Award for science fiction; this, her third effort, should assist her in climbing up the ladder to bestsellerdom.

Two strands of story intertwine in unexpected ways in <B>The Poison Master</B>. Williams mixes alternate history, science fiction and gothic romance to produce an entertaining supposition on what might have been had the principles of 16th century alchemy been followed through to produce interplanetary travel.

Alivet Dee is an alchemist on the planet Latent Emanation, where humans are the slaves of the Lords of Night. Alivet lives in Levanah, but cannot afford the delights the city offers, since she is saving to buy ("unbond") her sister back from the Lords of Night. She is taken aback, one night, when on a perfectly standard job introducing an ex-nun to drugs all drugs being legal on Latent Emanation the woman has a bad reaction and dies. Knowing that justice at the hands of the Lords of Night is at best arbitrary, Alivet flees and runs into the mysterious Poison Master, an off-worlder who appears to have been following her. The Poison Master offers her the means of escape and Alivet, in fear for her life, decides to join him.

Meanwhile, 16th century English alchemist John Dee is experimenting with mechanical beasts and spending his time traveling between European courts for two reasons: to save his skin from narrow-minded religious leaders and to find new patrons for his work. Dee is convinced he has found a way to travel to a new world and, like the pilgrims setting out for what will be the USA, wants to build a free and peaceful society.

Blending genres can annoy readers who know what they want romance or science fiction, alternate history or fantasy but it also gives writers the alchemical opportunity to fuse ideas and modes of expression and see what new things they can create. Although the way the two story strands are brought together in <B>The Poison Master</B> is slightly unsatisfying, the chances Williams has taken here and her confident handling of a wide range of material promises much for her future novels. <I>Gavin J. Grant has just moved to an old farmhouse in western Massachusetts, which he expects to be renovating for the foreseeable future.</I>

<B>Liz Williams' daring brew</B> British writer Liz Williams' first novel, <I>The Ghost Sister</I>, was a finalist for the Philip K. Dick Award for science fiction; this, her third effort, should assist her in climbing up the ladder to bestsellerdom.

Two strands of story…

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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…

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William Gibson, the influential science fiction author who coined the term “cyberspace” and created the character Johnny Mnemonic, has moved closer in his recent work to writing about the present day. In Gibson’s eagerly awaited new novel, Pattern Recognition, the present collides with the future in a world where corporations are pushing their brand messages ever-deeper into everyday life.

In this uncomfortably familiar world, a young woman named Cayce Pollard possesses a sixth sense regarding logos and advertising; she can tell whether symbols or words in ads will be successful. The flip side of this talent is her hypersensitivity to branding a display of Tommy Hilfiger clothes can send her reeling.

Pollard is working for an ultra-hip ad agency in London when a Belgian tycoon, Hubertus Bigend, offers her a job. Her prior knowledge of Bigend warns her away, but the combination of his charisma and her curiosity is irresistible, and she is soon on her way to Tokyo. She has been hired to find the origins of “the footage” a film being anonymously uploaded to the Internet a few seconds at a time. Pollard is already a “footagehead,” one of thousands of people keeping track of the developing story and arguing over the film’s origins.

Pattern Recognition takes place one year after the events of September 11, 2001, and the terrorist attacks are part of the context of Pollard’s life. Her father who was not supposed to be near the World Trade Center that morning disappeared on September 11, and his body was never found. His probable death and Pollard’s response let us ponder the attacks, consider our own reactions and see the events in relation to the rest of the world.

In Pattern Recognition, Gibson puts his visionary focus on the impact of the interconnected global economy and reveals how the constant pressure to consume chips away at our sense of self. With spare prose and an intriguing plot, Gibson’s novel offers a powerful warning about the dangers that lurk in a society where human beings are seen as nothing more than a collection of marketing behaviors. Gavin J. Grant runs an independent small press in Northampton, Massachusetts.

William Gibson, the influential science fiction author who coined the term "cyberspace" and created the character Johnny Mnemonic, has moved closer in his recent work to writing about the present day. In Gibson's eagerly awaited new novel, Pattern Recognition, the present collides with the future…
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Fitcher’s Brides is Gregory Frost’s spine-tingling contribution to editor Terri Windling’s acclaimed Fairy Tale Series, a long-running project in which contemporary authors offer modern takes on the sometimes creepy classics that fascinated us as children. With Windling herself providing an introductory essay, Frost rewrites one of the darkest and bloodiest fairy tales, Bluebeard, setting it in a 19th century apocalyptic cult.

In the original story, Bluebeard gives his wife a set of house keys and tells her she may go anywhere except one room. The young wife, of course, cannot resist the allure of the forbidden. In Frost’s retelling, the Charter family sisters Vernelia (Vern), Amy and Kate, and their father and stepmother leave Boston in 1843 to follow Elais Fitcher, a preacher who has announced that the world is going to end. Fitcher is a highly charismatic preacher whose tours have brought thousands to Harbinger, the communal village his followers have built in upper New York State. One bridge connects Harbinger to the rest of the world, across Jekyll’s Gorge.

The sisters don’t have time to miss Boston. Their stepmother gives them the tasks of putting their new house in order and working the tollgate to the bridge. The girls quickly discover that no one knows what happened to the last tenants of their house; even stranger, the ghost of a young Shaker man starts communicating with them by rapping on the walls. When the Reverend Fitcher arrives unexpectedly one day, he brushes off Mr. Charter’s apologies about his family’s lack of preparedness, “Do not worry about the niceties. . . . They are all of the corporeal sphere, little pleasures and temptations and comforts to make us forget who and what we truly are.” The girls are fascinated; Vern, the eldest, is quickly wooed and wed by Fitcher.

Fitcher’s Brides is divided into three sections, each narrated by a different sister. One by one they are drawn into Harbinger, and Fitcher’s clutches. The novel is suspenseful, spooky and hard to put down, especially as the sisters begin to uncover Fitcher’s secrets, and as Fitcher’s apocalypse approaches. Frost’s finely detailed chiller will stay with the reader for a long time. Gavin Grant reads, writes and publishes speculative fiction in Brooklyn, New York.

Fitcher's Brides is Gregory Frost's spine-tingling contribution to editor Terri Windling's acclaimed Fairy Tale Series, a long-running project in which contemporary authors offer modern takes on the sometimes creepy classics that fascinated us as children. With Windling herself providing an introductory essay, Frost rewrites one…
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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…

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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…

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Everyone in Silico is Canadian wunderkind Jim Munroe’s third novel. After his well-received satirical first novel, Flyboy Action Figure Comes With Gas Mask, he formed a publishing company, No Media Kings, and successfully self-published two novels (Angry Young Spaceman and Everyone in Silico) in Canada.

Now available in America through publisher Four Walls Eight Windows, Everyone in Silico is sharp, funny and so scarily prescient that the reader might suspect Munroe had advance notice of the recent big business shenanigans that have captured the news. Munroe’s Vancouver of 2036 comes alive with his descriptions of people of all ages struggling to survive in a post-scarcity economy. Advertisements are not just omnipresent, they are individually filtered and, for everyone but the super-rich, inescapable.

Leading the cast of characters is Doug Patterson, who trawls society looking for what’s cool, what might be cool and especially, what’s going to be cool. His wife and daughter are pressuring him, wanting to know when the family will put their bodies into storage and sign up for Self, the ultimate online virtual community. Doug would sign up in a minute . . . if he had the money. But the last few years have been tough, and he’s not on top of things the way he once was.

Then there’s Nicky, who bakes rat-dogs in her gene-oven and sells them as dogs to rich, susceptible tourists; Paul, an aging revolutionary still working at his old ideas of bringing humanity closer to the earth; JK and Chase, who might have something to do with Vancouver’s resurgence of greenery; and Eileen, a grandmother looking for her grandson who may already have uploaded himself.

Everyone in Silico can be seen as a present-day allegory of control, as well as a generously hopeful, possible future. It runs along at top speed, dips into subcultures (gene-sculpture, music, black-ops government programs), skips through the boardrooms and powerplays of megacorporations, and pulls together stories from all levels of society into an adventurous trip that you won’t want to end. Gavin J. Grant reads, reviews and publishes speculative fiction in Brooklyn.

Everyone in Silico is Canadian wunderkind Jim Munroe's third novel. After his well-received satirical first novel, Flyboy Action Figure Comes With Gas Mask, he formed a publishing company, No Media Kings, and successfully self-published two novels (Angry Young Spaceman and Everyone in Silico) in Canada.
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How can a painter create a portrait of a model he never actually sees? That question is at the center of Jeffrey Ford’s fascinating new novel, The Portrait of Mrs. Charbuque. Set like Caleb Carr’s The Alienist in 1890s New York, Ford’s book is a masterpiece of suspense. But unlike The Alienist, which used actual historical characters, The Portrait relies for the most part on the author’s imagination. And what an imagination it is! Ford has honed his creative voice in a rich outpouring of short stories and novels, including the unique allegorical trilogy, The Physiognomy, Memoranda and The Beyond. The first book in the trilogy won the 1998 World Fantasy Award.

Ford’s latest novel takes place in the top tiers of New York society in 1893. Piero Piambo, an artist slumming as a portraitist, is hoping to make enough money to allow him to paint what he wants although he’s not at all sure what that might be. The Portrait kicks into gear when Piambo is given a mysterious and high-paying commission: to paint the eponymous Mrs. Charbuque. The job has one difficult condition, however; he must paint her without ever seeing her. Piambo cannot resist the challenge and is soon attempting to paint Mrs. Charbuque (who sits in the same room with him, but behind a curtain) while listening to her strange tales. As Piambo becomes obsessed with finding out the truth behind Mrs. Charbuque and her increasingly strange and frightening stories, he lets own life, his friends and his lover, Samantha, a beautiful actress, slip out of his hands. Painting an unseen subject is a captivating idea that sprang from Ford’s own experience as a reader. I see the characters of a novel in my mind, he said in a recent interview. They take on features, hair color and expressions, and bulk and height, becoming real individuals. When Piambo tries to see Mrs. Charbuque in his mind, the image keeps changing. I want the reader to have the same experience as Piambo is having as he tries to decipher her looks form her words, Ford says.

The author faced another challenge in creating the novel: how could he convey a painter at work or the beauty of a painting so that it would feel real to the reader? To solve this dilemma, Ford interviewed painters and read up on the subject particularly in James Elkin’s insightful book, What Painting Is. He also used his own experience as a painter in the Henry Miller school of paint what you like and die happy.’ One aspect of writing the novel came easily to Ford the setting. A New York-area native with a long-standing interest in local history, he grew up on Long Island and as a child was often taken into Manhattan. He later worked in the city, and he and his family now live within easy reach of New York in South Jersey, where he teaches English at Brookdale Community College. Despite his local background, Ford spent considerable time researching the New York of 1893. He discovered just how much difference 109 years makes: coffee cost less than a penny; an all-naked review in the name of high art was popular (although it didn’t last long); and many of the buildings of the period are long gone. However, not everything he discovered made it into the book; otherwise he’d never have finished. As his editor pointed out, a little research goes a long way.

Although he made his name as a fantasy author, in The Portrait of Mrs. Charbuque, Ford handles the mystery genre with apparent ease, building suspense right from the start when Piambo is handed a note by a blind man. Ford says his primary goal in writing the novel was to see how far his character would go to successfully paint his unseen subject. As Piambo is drawn deeper and deeper into the mystery behind the curtain, the novel moves from one climax to the next, slowly and skillfully increasing the tension so that as the ending nears, the reader, like Piambo who lives for the stories and will do almost anything to find out more about Mrs Charbuque has to know what happens. Gavin J. Grant lives in Brooklyn with the usual overload of books.

How can a painter create a portrait of a model he never actually sees? That question is at the center of Jeffrey Ford's fascinating new novel, The Portrait of Mrs. Charbuque. Set like Caleb Carr's The Alienist in 1890s New York, Ford's book is a…
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In the future depicted in Kelley Eskridge’s new novel, Solitaire, people grow up in a peer group known as a web. Those born on the cusp of a certain new year are known as hopes. When the hopes turn 23, they take their place in the EarthGov, symbolically leading the world into the bright and wonderful future. Jackal is the hope of Ko, a corporation that has almost achieved statehood. For the first 22 years of her life, Jackal has been aware of the thousands of people watching her, aware of their expectations; she is their hope.

Solitaire is the first novel from Eskridge, who has produced a series of sharp, well-thought-out short stories during the last decade. Her writing is sure and well-crafted, never letting the reader become complacent as the tale unfolds.

Despite Jackal’s advanced training in government work, she senses that something is wrong and her future is in jeopardy. When trouble finally comes, it is an order of magnitude higher than anything she imagined. Framed for a crime, she is sentenced to 40 years in prison and then offered a last-minute deal. There is a new form of punishment: virtual confinement. Prisoners are trapped in a virtual reality prison inside their own heads where time passes faster than in the outside world. Instead of 40 years in prison, Jackal can spend eight years in virtual confinement which will take only 10 months of real time. Not surprisingly, she accepts the deal and is stuck inside her own head for a very long time.

This is where Eskridge’s story takes off. What could have been a retread of every prison memoir, novel and film, is instead the emotional center of the book. In solitude, there is nowhere to hide, and Jackal is forced to face herself again and again, exploring her connections to the world, her family and friends.

Solitaire is a novel of our time: a story of dashed expectations and corporate manipulations. Eskridge explores what it means to really see ourselves, and what we are ultimately capable of. Jackal, a slight adolescent, matures into an adult capable of living well, no matter what her circumstances. She is a worthy role model for any reader. Gavin J. Grant reads, writes and publishes speculative fiction in Brooklyn, New York.

In the future depicted in Kelley Eskridge's new novel, Solitaire, people grow up in a peer group known as a web. Those born on the cusp of a certain new year are known as hopes. When the hopes turn 23, they take their place in…
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The storyline of Denise Giardina’s new novel, Fallam’s Secret, features time travel, an orphaned heroine and a love story punctuated by sex lots of sex.

It seems at first a departure for Giardina, a West Virginia author best known for serious historical fiction, including Saints and Villains, her acclaimed 1998 novel about the life of Nazi resister Dietrich Bonhoeffer. A closer examination of Fallam’s Secret reveals threads of serious themes, but it’s clear the author is mostly enjoying herself in this first book of a new series.

“It was just so much fun,” Giardina says during an interview in Charleston, West Virginia, where she lives and teaches writing. “I finally reached the point where I thought, you know, I don’t have to prove anything writing some big, heavy, serious thing anymore. Saints and Villains took a lot out of me.” Fallam’s Secret tells the fascinating story of Lydde, a West Virginia woman who goes back in time. “She’s an actress and she’s been living in England for a long time but she comes home because she thinks the uncle who raised her has died,” Giardina explains. “She ends up in the Mystery Hole, which has a wormhole under it, and she goes back in time.” A wormhole, in theory, is a space tunnel where time behaves differently. Giardina based the setting of the Mystery Hole on a real tourist attraction near the New River Gorge in West Virginia. “The gorge itself has always seemed very mysterious to me. It just popped into my head that it would be fun to have the Mystery Hole be the site of one of the wormholes.” Part of Lydde’s adventure is traveling through time as a 55-year-old woman and emerging in 1657 with a 20-something body. Giardina’s other books contain sex scenes, but she acknowledges these are more explicit. “I try to do different things in each book and this was something I decided to explore it’s supposed to be hard to write, so I wanted to try it. I also wanted to show sex as a beautiful thing and to show married sex as explicitly erotic and to challenge the puritanical attitudes toward sex that still exist.” Giardina researched the 17th century for authentic details, but emphasizes that most of the book came from her imagination. “It’s fantasy history. Chichester and Stratford I mushed together into a town I call Norchester. Even the New River I’ve fictionalized. I’ve got the Mystery Hole on the other side of the gorge I moved it.” On the serious side, characters in Fallam’s Secret challenge attitudes of prejudice and struggle against injustice, a trademark of Giardina’s fiction. “I really take on fundamentalism. The Puritans in this book stand in for modern fundamentalists. Not just Christian fundamentalism, but Islamic fundamentalism, too,” says Giardina, a multi-faceted woman who holds a divinity degree and ran unsuccessfully for governor of West Virginia in 2000. “This whole fundamentalist mindset is very scary to me. I think it’s the big challenge that we’re going to have for the next generation. It’s very powerful, it’s very irrational.” The ease with which Giardina wrote Fallam’s Secret astonished its author. After the arduous task of writing about the life of Dietrich Bonhoeffer in Saints, “I didn’t even know if I’d ever write another novel,” she says. But in six months, she was finished. “It even took my publisher by surprise. I’m already in the middle of book two.” “I hit 50, and I started doing several things differently. I started saying I’m going to read things I want to read, not because I think I should read them. If I start a book and I don’t like it, I’m not going to finish it. I’m 50. I don’t have as much time left as I used to have,” Giardina says. “I think I’ve decided to do that with my fiction, too. I just decided if it’s not fun, I’m not going to write it.” Belinda Anderson is a West Virginia writer and teacher and the author of The Well Ain’t Dry Yet, a collection of short stories published by Mountain State Press.

The storyline of Denise Giardina's new novel, Fallam's Secret, features time travel, an orphaned heroine and a love story punctuated by sex lots of sex.

It seems at first a departure for Giardina, a West Virginia author best known for serious historical fiction,…
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Jasper Fforde takes readers on a witty, wild ride Humpty Dumpty and his nursery rhyme mob are threatening a boycott. The rabbits from Watership Down have reproduced in such numbers that only Lennie from Of Mice and Men cares to visit anymore. Everyone in Wuthering Heights has been ordered to attend rage management class. And all misspellings must be reported at once to the Cat Formerly Known as Cheshire.

Welcome to the deliriously topsy-turvy world of Jasper Fforde's The Well of Lost Plots, the most incessantly inventive literary satire since Alice what's-her-name fell down the you-know-what.

A frustrated writer who was making a living in the film industry, Fforde first made a splash in the publishing world with The Eyre Affair, a genre-stretching fantasy featuring ace "Prose Op" literary detective Thursday Next. Thursday operates in an alternate universe where authorized Prose Ops can pursue villains into BookWorld, a place where fiction comes delightfully to life, in order to prevent dastardly plot tampering with classic novels.

Thursday continued her literary enforcement in a sequel, Lost in a Good Book, but even ace detectives occasionally need a rest. In his latest novel, Fforde chose to virtually suspend the series' storyline involving Next, her time-traveling Uncle Mycroft and missing husband Landen Parke-Laine in order to get downright daffy with the inner workings of the Well of Lost Plots.

In the 26 dingy sub-basements of the Well, characters, premises and prose are polished and peddled to nascent novels. Part Moroccan thieves' market, part B-movie back lot, the Well also is where A-list heroes and villains take a break from their classic novels to vacation in unpublished works via the Character Exchange Program.

So plentiful were the satiric possibilities of this font-of-all-fiction that The Well of Lost Plots is "is a 340-page digression almost, but the idea was so strong that I really just needed to play with it," Fforde says by phone from his home in Wales. "And rather than play with it in a separate book, since I've already established that Thursday can travel into the BookWorld, let's just have a go at the whole thing."

Indeed, the presence of the Cat Formerly tips us to the unusual adventure ahead. Along the way, we encounter bat-like, text-deleting grammasites, mispeling (sic) viruses, the chatline-like footnoterphone (with running gossip about Anna Karinina), black-market plot contrivances (Still waiting for Godot? That's him in the head-in-a-bag plot device) and one particularly uncivil Minotaur on the loose.

Casting a long shadow over the future of BookWorld itself is UltraWord, a revolutionary book operating system featuring Enhanced Character Identification (you'll breeze right through War and Peace), WordClot (Bigger words? Smaller? You choose!) and PlotPotPlus (to keep you from getting lost in a good book). UltraWord: Good for business, bad for books.

"It's having a little go about modern marketing. It's about trying to get the formula right so we can sell it instead of trying to get the story right so people will buy it," says Fforde. "Bookshops didn't used to be about retailing and marketing, they just used to be about books. Now they seem to be very much about hard sell this is what is selling, this is what you should read. That's what I was sort of railing against."

The London-born Fforde spent his youth at a Harry Potter-esque boarding school in Devon, where his interests ran to Victorian classics, airplanes and movies. Rather than continue on to university, he left school at 18 and became a "focus puller," or second assistant camera operator. He spent the next 19 years traveling the world, working behind the camera on such films as Goldeneye, Entrapment and Quills.

On the road, he stayed busy conjuring a fantastic alternative England circa 1985 in which some technologies, such as cloning and time travel, are hum-drum routine while others, such as computers and jet engines, do not exist at all. Great literature, not soccer, is the national passion in his alternate U.K. Shakespeare, Dickens and Austen are virtual superstars. Thursday Next, the detective assigned to protect these national treasures, is a thoroughly modern career woman, veteran of the still-in-progress Crimean War and proud owner of a regenerated pet dodo named Pickwick.

Fforde's fondness for puns is reminiscent of the late, great Douglas Adams of The Hitchhiker's Guide to the Galaxy fame. He has a particular soft spot for character names Paige Turner, Millon de Floss (after George Eliot's Mill on the Floss), Landen Parke-Laine (what you want to do in the British version of Monopoly) and so on. And the setting unremarkable Swindon echoes the buttoned-down world of Arthur Dent in Hitchhiker's Guide.

In each outing, Fforde selects major works from the Western literary canon around which to weave his merriment: Bronte's Jane Eyre in his debut; works by Poe (The Raven), Austen (Sense and Sensibility) and Carroll (Alice in Wonderland) in Lost in a Good Book, and Wuthering Heights in his latest. It's both an artistic and a pragmatic decision.

"People ask, why don't you use contemporary novels? For one reason, they're not in public domain. But for another reason, why? When there is so much good stuff to use in the classics," he explains. "I regard Dickens, the Bront‘s, Austen and Trollope as going back to primary sources."

The Well of Lost Plots might have been a drastically different book, in fact, but for the modern-day legal hurdles. Disney denied Fforde's request to enlist Eeyore from Winnie the Pooh, and the estate of H.G. Wells wouldn't release the Morlocks from The Time Machine, either.

How in the world, then, did he manage the neat trick of bringing in Godot from Samuel Beckett's classic existential play, Waiting for Godot, much less as a head-in-a-bag plot device? Fforde laughs: "The good thing about Godot is, he doesn't actually appear in the play; they're waiting for him but he never appears! He's not actually a copyrighted character because he doesn't exist, he's not there. And now you know why: his head is in a bag in the Well of Lost Plots."

 

Jay MacDonald is a writer based in Mississippi.

Jasper Fforde takes readers on a witty, wild ride Humpty Dumpty and his nursery rhyme mob are threatening a boycott. The rabbits from Watership Down have reproduced in such numbers that only Lennie from Of Mice and Men cares to visit anymore. Everyone in Wuthering…

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Fairy tales are, by their very nature, magical things. But something rather extraordinary happens to them after they’ve been re-imagined by Gregory Maguire: they get a loyal following. Best known as the author of the wildly popular Wicked (adapted into a Broadway musical) and its sequels, as well as books for both children (Leaping Beauty, What-the-Dickens) and adults (Confessions of an Ugly Stepsister, Mirror Mirror), Maguire has lent his witty, sophisticated storytelling to some of the most beloved tales in our collective consciousness, often altering our long-held and deeply felt reactions to notorious characters and infamous plotlines. While never contradicting or poking fun at the original tale, he always adds a new dimension to our interpretations.

All of which makes Maguire’s work perfectly suited to adaptation for stage, screen and, most recently, radio. Each year, NPR asks a well-known writer to create a Christmas story for broadcast, and in 2008, Maguire was tapped. The result was Matchless, inspired by Hans Christian Andersen’s classic story “The Little Match Girl.” In the original work, translated from Danish in the mid-19th century, a poor young girl dies alone in the night, freezing to death in the bitter cold. At the time, her dying visions were widely interpreted as religious metaphors. In Matchless, Maguire gently shifts the focus to illuminate a seldom-considered character. Young Frederik, living through desperate times with his mother, is the nameless boy from Andersen’s tale who absconds with the match girl’s shoe just before her death. The shoe is quite a find for Frederik, who has very little in the way of material possessions. But his intention for the shoe is unexpected. He returns home with his prize and quickly retreats to the attic where he has been meticulously constructing a miniature island town, made from bits and pieces he’d collected at the docks.

“Andersen left me a little thread to pull,” Maguire says in a telephone interview. “Frederik is the only other child and he has a line: ‘Here’s a cradle for my babies.’ Therefore I felt invited to follow that. I began to realize who the boy was and what his particular hardships were. As sad as it is, it’s a beautiful story. There’s this little bit of domestic magic that re-illuminates the possibility of connection between the living and the dead.”

While “The Little Match Girl” was adored by generations past, it hasn’t reached as many 21st-century readers as Andersen’s other tales, which include “The Little Mermaid” and “The Ugly Duckling.” That’s one of the reasons Maguire selected it for the NPR project. “It struck me as being perfect,” he explains. “Though people of a certain age will remember the story, it has been gradually slipping away.” But writing a story—with very little lead time—intended to be read aloud before being published was a new experience for the author.

“When you’re doing a radio story, you have to let your characters have individual-sounding voices,” Maguire notes. “You have to roll the story out very quickly with just enough, but not too much, description so that the listeners can learn about the environment as well as the conditions. So it was very different for me. Sometimes I’ll have the story idea on my desk for five years before I feel like I have caught the particular cadence of how it should go.”

Published for the first time this fall in a beautifully designed gift edition, Matchless contains Maguire’s own finely detailed black-and-white drawings. These vignettes, each contained in a small circle as if viewed through a lens, show such scenes as a carriage on a cobblestone street and a cozy attic room accessed by a ladder.

Maguire’s story has the weight and solidity of a treasured folk tale, something to be handed down and retold. It’s for children at bedtime but also for their grandparents. That’s one of Maguire’s obvious strengths: the ability to write on several different levels to personally address the interests of his entire audience. He credits Andersen with a similar talent: “He had the capacity to start the story in the first sentence. He dispensed with many of the conventions of storytelling—the once-upon-a-times—and spoke colloquially.”

In Matchless, Maguire leaves open the possibility of an optimistic ending, as Frederik’s family joins together with the poor match girl’s. And with this retelling comes the possibility of renewed interest in the original story. But perhaps, too, the reading of Matchless will become a new holiday tradition for many families. “It’s something that all artists hope,” says the author, “that their work will live beyond the length of their days.”

Ellen Trachtenberg is the author of The Best Children’s Literature: A Parent’s Guide. She writes from Philadelphia.

Fairy tales are, by their very nature, magical things. But something rather extraordinary happens to them after they’ve been re-imagined by Gregory Maguire: they get a loyal following. Best known as the author of the wildly popular Wicked (adapted into a Broadway musical) and its…

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What marks the start of the holiday season for you?

The beginning of the holiday season for me is the Christmas shopping trip I take with my best friend. We arm ourselves with lists, clear out our cars, and head for either Shreveport or Texarkana for a day of shopping. We plan our route, eat a lunch at a good place, and come home tired but happy. Then I'm officially in the holiday mood.

Does your family have one very special holiday tradition?

We have a few things we usually do, but I wouldn't characterize them as traditions. We do always have the same meal, and I do always get all the kids books even now that they're grown. We open presents on Christmas morning, and we go to church on Christmas Eve.

What are you most looking forward to during the holiday season?

I most look forward to having my whole family together. The winter my son was in the service and had to stay on post in Alaska for Christmas was so painful.

What’s your favorite holiday book or song?

I love Christmas carols, and nothing gets me in the Christmas mood faster.

Why do books make the best gifts?

Books are such a great gift because you take the time to match the book to the recipient.. That process is a lot of fun, and you're thinking about the giftee all the time.

What books are you planning to give to friends and family?

I usually give my daughter some nonfiction book, my middle son gets science fiction, and my oldest son . . . well, he's pretty hard. Sometimes a nonfiction, sometimes some sort of adventure book. My husband is a Civil War buff, and if I can find a new publication on that topic, that's what he gets.

What was the best book you read this year?

The best one. Hmmm. That's almost impossible to pick, because I've read some really good ones. Kate Atkinson's When Will There Be Good News? was awfully good. So was Harlan Coben's Long Lost. I also loved The Mystic Arts of Erasing All Signs of Death by Charlie Huston, and Martin Mullar's The Lonely Werewolf Girl.

What’s your number one resolution for 2010?

I don't make New Year's resolutions! That's just asking for defeat.

What marks the start of the holiday season for you?

The beginning of the holiday season for me is the Christmas shopping trip I take with my best friend. We arm ourselves with lists, clear out our cars, and head for either Shreveport or Texarkana for…

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