This is the last of 2017’s reading. I’m going to restart the numbering for 2018. I don’t remember why I didn’t for 2017, but never mind.

The Metabaron Book 1: The Techno-Admiral & the Anti-Baron, Alejandro Jodorowsky, Jerry Frissen & Valentin Secher and The Metabaron Book 2: The Techno-Cardinal and the Transhuman, Alejandro Jodorowsky, Jerry Frissen & Niko Henrichon (2016/2017, France). As far as I can work out, Jodorowsky’s name only appears on the covers of these two graphic novels because the Metabarons are his characters (they were originally spin-offs from The Incal). The actual story of this trilogy – the third book is due out this year, I think – is by Jerry Frissen. The Techno-Techno Empire has control of Marmola, the planet that is the only source of the Epiphyte, used to fuel all starships. When they learn the last Metabaron is on his way to the planet, they assume he is going to wrest it from them. So they assign the Techno-Admiral, their cruellest warlord to to stop him. In the second book, the Techno-pope’s closest advisor is promoted to Techno-cardinal and then sent to Marmola to take over production, as the Eipiphyte stocks are dwindling. With him, he takes the Transhuman, an engineered assassin who has all sorts of built-in weapons. But the Metabaron is still out there, causing problems… Frissen manages a good pastiche of Jodorowsky’s bonkers storytelling – not just the bizarre ideas; but also the male gaze and whiff of misogyny (something happily missing from The Incal, but sadly not from its spin-offs). The artwork in the first volume is very -CG-like and really quite gorgeous. In the second, however, it’s more sketchy, more like the penciller’s work has been coloured. I didn’t think it as effective. On the whole, I suspect it’s a series for fans only, as there’s little here to attract a new audience or those unfamiliar with the universe or Jodo’s work.

Ways of Worldmaking, Ben Rivers (2017, UK). A compilation of notes by Rivers on his films, and essays by critics, some of which are about Rivers’s art/films while others are about the man himself. The book is copiously illustrated with stills, photographs and strips of film. It’s also a handsomely put together volume, a solid hardback (and stitched, not glued!), of the sort you seldom see these days in bookshops. Obviously, it’s only going to appeal to someone who appreciates Rivers’s films. I’ve seen only a handful of them – his three feature-length pieces and a couple of short films (included as extras on the DVDs of the former) – but I’m definitely a fan. So Ways of Worldmaking certainly gave me an insight into the man and his works. The title, incidentally, is deliberately taken from Nelson Goodman’s 1978 book, which was a seminal influence on Rivers at college. Goodman argued that “art, philosophy, and the various sciences all make statements about the nature of reality through the creation of ‘worlds’,” as one of the essays in Rivers’s Ways of Worldmaking explains. As someone who reads and writes science fiction, that’s an idea which resonates for me, although in sf the act of worldmaking is not so much overt as it is a fundamental tenet of the genre.

Holidays in Soviet Sanatoriums, Maryam Omidi (2017, UK). Titles don’t get more descriptive of a book’s contents than this one. Apparently, back in the day, Soviet workers were encouraged to go on holidays to places that were a combination of holiday resort and health spa (and surely the plural is sanatoria?). Many were on the Caspian Sea, but there were also plenty in the mountains, particularly the Urals and Caucasians. With the fall of the USSR, most of them fell into disrepair and closed down. But some kept on going, and some have since been re-opened by private consortiums (or even consortia). Architectually, most of the sanatoriums were good examples of Early Soviet Modernist, and several of them are attractive buildings. The holidays offered varied by region and sanatorium, with many having specialist treatments, such as crude oil baths, mineral waters, or just sun, sea and sand. There are plenty of photographs in Holidays in Soviet Sanatoriums, but it’s not a deep study of its subject and the text is quite light. But I just wanted the pictures anyway.

Bodies of Summer, Martín Felipe Castagnet (2012, Argentina). I saw mention of this on someone’s blog, and the central premise sounded interesting so I picked up a copy. In the near-ish future of this short novel – it might even be a novella – the minds of dead people can be downloaded into reanimated corpses. But those who keep their own corpses for their life after death are shunned as pariahs. The narrator occupies the body of an old and overweight woman – he was male when alive – and lives with his grandson. The older the reanimated corpse when it died, the more power it needs to remain whole; otherwise, it starts to fall apart. The science in all this, incidentally, is complete bollocks, but never mind. Some people choose not be reanimated, but stay as virtual personalities on the Web. On the one hand, there’s a Catholic country (the author’s own) and a world in which there is demonstrably no afterlife. But the reanimation thing is also economic, and the quality of the body being occupied is dependent upon the price. The narrative mentions in passing rich people who deliberately kill themselves in order to inhabit better, or different, bodies; as well as those who indulge in dangerous pasttimes with no fear of really losing their lives. For the narrator, however, it’s more a case of reconnecting with his family, both alive and dead, and navigating a world that has changed considerably since he died. Much as I enjoyed Bodies of Summer, I didn’t find it an especially convincing story, but it was clearly not intended to be. I don’t mean that old thing about literary writers “slumming it” in genre, because that’s complete bollocks. It’s not just a matter of approach, or perspective, or even focus; but also how the writer chooses to use the tools available in genre. And there’s enough variation in those among writers who self-identify as genre, never mind among those who don’t. Worth reading.

Emperor (Time’s Tapestry 1), Stephen Baxter (2006, UK). I’m not really sure what to make of Baxter’s novels. He’s frighteningly prolific, and keeping up with his books is almost a career in itself. Some of his novels I’ve enjoyed and thought quite good. And then the next one I pick up is weak and juvenile. And there doesn’t seem to be any pattern to it. For example, I liked the first book of the Destiny’s Children quartet, Coalescent, but was bitterly disappointed by the second, Exultant, and I really must read last two some day… Emperor I quite enjoyed, although it was ridiculously contrived. A woman in pre-Roman Britain begins speaking in tongues while in labour. Someone recognises it as Latin and writes it down. She dies in childbirth, but the son survives. And the Latin becomes the family prophecy… It is supposedly the words of the “Weaver”, a mysterious someone from the future. At least, this is the interpretation by several of the characters, as the prophecty is passed down, and mangled, through generations, and elements of it come true. The novel paints an interesting portrait of Roman Britain, mostly in the region around Hadrian’s Wall – the building of which comprises one section, and a visit to it a couple of centuries later forms another. The whole Weaver thing, however, feels too modern a conceit for the novel’s setting, but since it’s the link which ties the four novels of the quartet together – or so I’m guessing – then I suppose the novel is stuck with it. As Baxter novels go, this is a thin one, a mere 302 pages in hardback. I’m hoping I’ll find the second book as enjoyable a read, unlike the Destiny’s Children quartet.

Murder Take Three, Eric Brown (2017, UK). Despite the title, this is the fourth book in Brown’s Langham and Dupré series of crime novels. They’re set in the 1950s, Donald Langham is a midlist crime writer who works part-time for a private investigation agency with a wartime buddy, and French emigrée Maria Dupré is Langham’s agent and fiancée. A Hollywood starlet, filming at a country house, employs Langham to snoop around the set as she thinks there’s something fishy going on. Langham duly heads up there for the weekend, with Maria in tow, and they get to meet the cast (there is, curiously, not much of a crew on this film). It transpires that Langham knows the scriptwriter, a crime novelist like himself. The cast of the film are a mostly unpleasant lot, and there’s definitely an odd atmosphere to the place, but nothing especially peculiar seems to be going on… Until the starlet is found shot to death in the director’s trailer… They’re easy reads these books, and setting them in the 1950s means all the old murder-mystery tips and tricks and tools can still be used. The two leads are engaging characters, and if the supporting cast tend to drift into caricature territory, it’s no big deal. I think on balance I preferred the volume prior to this, Murder at the Loch, as its plot revolved around an interesting historical mystery. This one feels more like a pastiche of a 1940s Hollywood take on an English countryhouse murder, which gives it more of an air of unreality than it deserved.

The Chrysalids, John Wyndham (1955, UK). I may have read a Wyndham novel when I was at school, but I’m not entirely sure. I do remember reading one of his collections a few years later – if only because the cover art was a blurry photo of an Airfix model of a Colonial Viper from Battlestar Galactica. From what I recall, the stories were pretty bad. But Wyndham occupies a peculiar position in British sf – considered an important writer in the history of the genre by many, but also widely accepted by the mainstream. Some elements of his novels have even entered British culture, such as the Triffids. The Chrysalids, however, is set in Canada, although it might as well be set in Kent. The Earth has been depopulated by nuclear war, and much of it lies in ruins. In Labrador, in a small farming community, the narrator and seven other kids can all talk to each other telepathically. But they keep it secret, because mutations are ruthlessly culled (if animal) or exiled (if human), although the latter do sometimes have a tendency to turn up dead. Unfortunately, the secret gets out when the narrator is in his late teens/early twenties, Chiefly thanks to his very young sister, who is an extremely powerful telepath, so powerful in fact that she can just about hear the thoughts of people in New Zealand… which comes in useful as New Zealand is apparently a near-utopia for telepaths, and they’re sending a mission to Labrador to rescue the mutant teenagers. But not before the teenagers have been chased into the badlands and have witnessed a battle between the farmers and the mutants. Of course, radiation doesn’t cause hereditary mutation, we know that now, although perhaps they didn’t in the 1950s. The whole “keeping the genome pure” thing is also policed using religion, leading to some all too plausible – and sadly common, even now – Bible-backed bigotry. The narrator’s father is an especially big arsehole in that regard. And yet… it all feels very Home counties. For all the regard in which Wyndham is held, he’s never been an important figure in my map of science fiction, UK-only or Anglophone; and I’ve yet to be convinced he should be considered as important as he is.

1001 Books You Must Read Before You Die count: 131