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Best of the year 2019

I’ve been doing these best of the year posts since 2006. Which is a long time. They’ve never been the best of what was published or released during the year in question. I’ve never chased the shiny new, so there wouldn’t be enough material there for a best of and, really, how could it be a best of if there’s only a dozen items to chose from? So all those best of 2019 releases, they’re mostly bollocks. Unless the person has read/seen everything. Which I doubt. They’ll have only have read/seen the stuff they like, which just feeds into the whole online fandom tribalism thing.

Anyway, my best of… is the best among what I’ve read (books), watched (films) or listened to (albums) during the year in question. I don’t limit my consumption of culture to genre. Which does, I admit, make my best of lists something of a mixed bag.

books
It was an odd year, reading-wise. I set my reading challenge target at 140, the same as last year, but managed only 112 books. The move northwards was partly responsible, although not entirely. Several of my favourite writers published new books, but I only managed to read a couple of them – including, unfortunately, the last one we’ll ever seen from one author as he died in November. Overall, it was not a year of especially high quality reading – I read a number of enjoyable books, but none really blew me away. (Several did prove especially bad, however.) It made the year’s best of list much harder to put together than usual. Deciding to reread two series – Dune and the Wheel of Time – probably didn’t help, although I’ve only got three books into either series so far. The plan wasn’t to read the instalments back to back, but to take my time working may through the series. So it’ll be a while yet before I finish them.

1 Longer, Michael Blumlein (2019, USA). I’m not sure this deserves the top spot, but it’s such a close call between the top three so I gave it to Blumlein because we lost him in 2019 and I think he was a seriously under-rated author. Longer is, I think, a work that will reward revisiting and will linger, because Blumlein packed a lot into his prose – his later works were almost ridiculously dense, especially when compared to the genre works getting all the buzz throughout the year… Sadly, Blumlein doesn’t have a body of work coherent enough – and much of it is no longer in print – for it not to fade away, which is a huge shame. He was bloody good. Do yourself a favour and read one of his collections.

2 Big Cat & Other Stories, Gwyneth Jones (2019, UK). Speaking of collections, Gwyneth Jones is a writer better-known for her novel-length works but her short fiction is just as good – if not, in some cases, actually better. But she’s no longer considered commercially viable by the major imprints, which is why this collection was published by a small press, the ever-excellent NewCon Press. That’s a crying shame. She is the best science fiction writer still currently being published the UK has produced. True, “still being published” is a bit hand-wavey as I don’t think Jones is in contract – her last novel-length work was 2008’s Spirit: or, the Princess of Bois Dormant, and her pendant to the Bold As Love Cycle, The Grasshopper’s Child, from 2015 was self-published; but she does still have short fiction published, including a novella from Tor.com in 2017. Her career is not as robust as it once was, certainly – even her Ann Halam books seem to be mostly out of print – but she has yet to retire. Big Cat & Other Stories shows she’s still on fine form. This is good stuff, none of that awful over-writing currently in fashion, just sharp prose, clever ideas worked out carefully, no flashy reskinning of tropes to hide a paucity of ideas… Well, you get the picture.

3 The Waterdancer’s World, L Timmel Duchamp (2016, USA). I read two Duchamp novels in 2019 – this one and 2018’s Chercher La Femme, but this one I found the better of the two. It’s a purely human story, and also very political, both of which play to Duchamp’s strengths. A colony world is suffering both economically and culturally under the yoke of its occupiers, a situation not helped by the fact the world’s upper classes are routinely educated on the occupiers’ home world and take on board its culture. It’s a much better exploration of colonialism than I’ve seen in any other genre work – colonialism is a favourite topic of twenty-first century fantasy – and Duchamp has created another great character in Inez Gauthier. Duchamp remains one of my favourite genre writers with good reason.

4 As I Lay Dying, William Faulkner (1930, USA). I read my first Faulkner in 2018, The Sound and the Fury, and was blown away. This book had less of an explosive impact, but the prose was so good it deserves a place on this list. The idea that books could be all about the writing doesn’t seem to have occurred to many of the genre commentators I see on social media, or if it has they have very little idea of what constitutes good prose. By twenty-first century sensibilities, Faulkner could be considered problematic in some respects, given he wrote about the deeply racist South. But the two novels by him I’ve read don’t strike me – and I admit to a degree of ignorance here – as problematical in a way that doesn’t accept them as historical documents. Which is not to say I would accept historical documents that are explicitly racist or whatever. I just have yet to find it in Faulkner, and I don’t know enough about the man to know if I’m likely to find it.

5 The Sudden Appearance of Hope, Claire North (2016, UK). I tried the first two North novels several years ago and enjoyed them, but never thought of them as anything other than above average. This one strikes me as much more ambitious, and I applaud that ambition, whether or not it was entirely successful. The Sudden Appearance of Hope is a book that wears its research lightly, but still demonstrates North has done her homework. Its plot has a few too many targets, but it wears its heart on its sleeve and I happen to agree with its politics. The novel tries to be more than it is, and doesn’t entirely succeed, but it shows a damn sight more literary ambition than most successful genre works.

Honourable mentions: Brideshead Revisited, Evelyn Waugh (1945, UK), generally acknowledged to be Waugh’s best novel, and indeed one of English fiction’s great novels and, while I’m not sure it’s the best Waugh I’ve read, it’s certainly less offensive than a lot of his oeuvre. Planetfall, Emma Newman (2015, UK), Newman’s sf novels had been recommended to me several times but I take most recommendations with a pinch of salt… I finally bit the bullet and this one proved a pleasant surprise. The Green Man’s Heir, Juliette E McKenna (2016, UK), although I’ve been sort of meaning to read one of McKenna’s novels for a number of years, it took a 99p ebook promotion for me to try, and I found myself really liking this book’s mix of urban fantasy and rural crime novel. Time Was, Ian McDonald (2018, UK), I’ve bounced out of McDonald’s novels on a number of occasions so I usually don’t bother with his stuff, but a 99p ebook promotion on this novella persuaded me to give it a go, and I found it to be an engaging and well-constructed time-travel love story/mystery.

films
If it was an odd year for books, it was a quiet one for movies. In 2018, I watched 563 films new to me. In 2019, I managed only 242. Less than half. Partly this was due to my relocation – I no longer had access to as many films (no more rental DVDs by post, no more 1-day delivery from a certain online retailer) – but it was also thanks to some box set bingeing, including five seasons of Stargate SG-1, five seasons of Andromeda, seven seasons of Futurama, three seasons of First Flights, and yet another rewatch of Twin Peaks, among other assorted TV series.

1 Aniara, Pella Kågerman & Hugo Lilja (2018, Sweden). Well, I couldn’t not give this the top spot, could I? An adaptation of a 1956 epic poem by Swedish Nobel laureate Harry Martinson, and set on a spaceship on a routine trip between Earth and Mars. But a meteoroid strike damages the ship and it goes off-course, with little or no hope of rescue. The film presents the ship as a cross between a shopping mall and a Baltic ferry, and its low-key presentation of a world in which people regularly travel between planets amplifies the distress as rescue proves impossible.

2 The Untamed, Amat Escalante, (2016, Mexico). When a film opens with a woman having sex with a tentacled alien, you’d be forgiven for thinking it was Japanese. It’s a thing there, I believe. The Untamed then moves onto documenting a failing relationship between a young couple, in which the husband is having an affair with a man, a nurse, who makes friends with the woman who has sex with the alien… and it all sort of circles back around. Despite the presence of the alien, this is very much a film about humans and their relationships, told in a slowly-revealed almost-documentary way.

3 Zama, Lucrecia Martel (2017, Argentina). I’d been impressed by Martel’s earlier films – she is one of several female South American directors making excellent movies – so I was keen to see Zama when it was released on DVD. It’s a more straightforward film than her other work, a straight-up historical movie set in the late eighteenth century in a remote part of Argentina. It looks absolutely gorgeous – especially on Blu-ray – and if it’s not perhaps as compelling as some of Martel’s earlier films, it’s still an excellent movie.

4 Eva, Kike Maíllo (2011,Spain). Daniel Brühl plays a robotics researcher who returns to his research after a decade away, and finds in the daughter of his old partner the perfect model for the robot he is building. Except the girl turns out to be a robot, the previous project Brühl walked away from, completed by his partner. The eponymous robot girl is the star of the movie – although Brühl and his robot butler, Max, come a close second. This is one of those films set a few years from now that still manages to look like the near-future even a decade after it was released.

5 Spider-Man: Into the Spider-Verse, Bob Persichetti, Peter Ramsey & Rodney Rothman (2018, USA). Everyone said this was an amazing film, but I’m not a fan of MCU and most animated films leave me cold, so I was in no great rush to see it. I mean, Marvel has been turning out cartoon versions of their comics since the year dot and they’ve all been pretty much as disposable as the paper on which the comics were printed… But Spider-Man: Into the Spider-Verse was apparently something different. And, I was surprised to discover, it was. I can’t say I was taken with either the characters or the story, but the way it was animated, its look and feel, that was astonishing. I described it here on my blog as a “game-changer”, and I think it will certainly change the way animated films look over the next few years.

Honourable mentions: War and Peace, part 4, Sergei Bondarchuk (1967, Russia), the final part of the most epic adaptation of Tolstoy’s, er, epic, and possible one of the most epic films of all times; am eagerly awaiting the new Criterion Collection remastered version. What We Do in the Shadows, Taika Waititi (2014, New Zealand), Waititi’s humour had not clicked with me in his previous films, but in this one it seemed to work really well and I chuckled all the way through. Sherman’s March, Ross McElwee (1986, USA), I watched this because it was on the 1001 Movies You Must See Before You Die list and, to be honest, I wasn’t expecting much of it, but I loved the way McElwee’s life sort of took over his researches, and yet he still managed to make a fascinating documentary. Thadam, Magizh Thirumeni (2019, India), a polished Kollywood thriller, which kept me guessing to the end – one of a pair of twins is a murderer, but which one? Peterloo, Mike Leigh (2018, UK), somewhat polemical retelling of an important event in English history that should be much better known than it is – local magistrates ordered the army to attack working class people at a rally to protest their lack of an MP, 18 people are known to have been killed. Space Pirate Captain Harlock, Shinji Aramaki (2013, Japan), not, at first glance, the sort of movie that would get an honourable mention from me but, despite the usual incomprehensible plot, this CGI anime looks gorgeous, has some really interesting production design, and the characters are not quite as clichéd as usual (well, almost not). The Wandering Earth, Frant Gwo (2019, China), which is a not a great movie per se, but as the first international sf tentpole blockbuster from China – financing problems notwithstanding – it deserves some mention; it also looks pretty damn good, and its story is so relentless it steamrollers over any plot-holes.

music
When I left the UK, I gave six boxes of CDs to a friend to dispose of as he saw fit. I’d ripped them all, of course. Unfortunately, my old USB drive – which contained all the ripped MP3s – then decided to go on the blink. And I’d never backed it up. So I lost it all. Well, not all – I’d ripped some albums to a newer USB drive and that still works. Nonetheless, on my move to Scandinavia, I found myself without access to much of my favourite music. While the last few years had seen my listening decline, I can’t go totally without. So I did something I swore I’d never do: I bought a subscription to Spotify. Which has had the perverse consequence of me listening more to 1970s rock than my usual death metal, because those bands are better served by the platform. Ah well.

However, several of my favourite bands released new albums in 2019, and I also stumbled across several albums new to me, which received much play.

1 Deformation of Humanity, Phlebotomized (2018, Netherlands). I actually contributed to the kickstarter for this album back in 2015, but I’ve no idea what happened because I never received the CD and only learnt the album had been released because I follow the band on Facebook. But I can’t hold a grudge against them because Deformation of Humanity is a brilliant album. It’s the Phlebotomized of the 1990s, but much better-produced and with twenty years of progression built in. Album closer ‘Ataraxia II’ is a near-perfect instrumental.

2 Scars II (The Basics), Panopticon (2019, USA). One of my favourite tracks on 2018’s The Scars of Man on the Once Nameless Wilderness double album was an acoustic track called ‘The Itch’ whose lyrics were a savage attack on Trump and Republicans. Scars II (The Basics) is an entire album of acoustic songs, including ‘The Itch’, although it’s the only one with that lyrical content.

3 Miami, James Gang (1974, USA). I’ve liked the James Gang’s music for a couple of decades, although I’d only ever heard the original trio, the one that included Joe Walsh. I hadn’t known Tommy Bolin, who I knew from his stint in Deep Purple, had been a member. That is until I subscribed to Spotify and started listening to the albums the James Gang recorded after Walsh’s departure. Miami has Bolin’s stamp all over it, and I really do like Bolin’s guitar-playing. This album got a lot of play.

4 In Cauda Venenum, Opeth (2019, Sweden). They’ve yet to match their high-water park of 2001’s Blackwater Park (wow, was it really that long ago?), and not everyone has been a fan of their relentless drift into 1970s prog. I didn’t mind Heritage, but Pale Communion and Sorceress felt a bit forgettable. Happily, In Cauda Venenum, originally planned as a Swedish-language album but then also recorded in an English-language version, is something of a return to form. Åkerfeldt has said in interviews he wanted to make something “bombastic” and this album certainly qualifies in parts. The pure proggy bits also seem less, well, gratuitous than in preceding albums.

5 Unsung Prophets & Dead Messiahs, Orphaned Land (2018, Israel). The last couple of years I’ve sort of lost track of some of my favourite bands, and only learnt of new releases more or less by accident. Orphaned Land I’ve liked for many years, and have seen them perform live three times, but I discovered Unsung Prophets & Dead Messiahs when I followed them on Spotify in mid-2019. They are perhaps a little more melodic than they were previously, and perhaps even a little, well, less bombastic. There are some excellent tracks here, and some guitar-playing to rival that of founding guitarist Yossi Sassi, who left the band in 2014.

Honourable mentions: Garden of Storms, In Mourning (2016, Sweden), they’ve yet to deliver an album as consistently brilliant as 2012’s The Weight of Oceans, but there’s always at least one track on each album that blows you away. Illusive Golden Age, Augury (2018, Canada), it’s been a 9-year wait since Augury’s debut, but here’s more of their trademark batshit progressive death metal. Heart Like a Grave, Insomnium (2019, Finland), it all seems a bit over-polished these days, but Insomnium are still the dictionary definition of Finnish death/doom. No Need to Reason, Kontinuum (2018, Iceland), I’m not sure what you’d classify this band as other than, well, Icelandic; it’s doomy post-metal but very melodic, and even a bit like Anathema in places. The Hallowing of Heirdom, Winterfylleth (2018, UK), an acoustic album from a black metal band known for their acoustic interludes; like the Panopticon above, it works really well. Teaser, Tommy Bolin (1975, USA), I started listening to Bolin’s solo albums after liking his work in the James Gang; I find his solo stuff slightly less satisfying, perhaps because he covers a lot of musical genres and I prefer his rock songs; but this is still good stuff and it’s a tragedy he died so young.


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100 books, part 5

100 books that “shaped your world”… Sounds easy enough. Until you start thinking about titles. I could have just banged out a list, and not worry about whether some of the books actually deserved to be on it. But no, I had to put together an annotated list – which meant I had to give a reason why each book made my 100. You can find the earlier parts of my list at: part 1, part 2, part 3 and part 4. But I’ve also included a full list of the 100 Books That Shaped My World at the end of this post. Because this is the last post on the topic, and it covers…

The 2010s

I spent all but the last ten months of the decade living in South Yorkshire, buying far too many books online and from local charity shops. It all got a bit out of hand. When I put everything in storage and moved, I filled 85 boxes, mostly with books. I also sold about 15 boxes of books, and gave away close on 100 paperbacks. The good thing about this was it actually financed my move north. Even so, I was still a little surprised at how much I’d amassed.

I did, however, read plenty of books this decade. Just shy of 1500, in fact. My reading tastes also changed. As the 1990s and 2000s had progressed, I’d found myself reading more and more “literary” fiction, although science fiction still formed the bulk of my reading. During the 2010s, I started reading more British postwar fiction, and treasuring the prose of a number of such writers.

But I wasn’t just drifting toward fiction that wasn’t genre, I was also starting to be put off by current genre writing. Twenty-first century science fiction, especially US sf, began to privilege sentiment over rigour. And then there was the somewhat florid prose, and the over-use of metaphors in an attempt to add invention to over-familiar sf tropes. Changes in the publishing industry also meant editors chased debuts – because at least debuts weren’t “categorically killers”… yet – and the decline of marketing budgets pushed most of the promotion online and onto the authors themselves, and reviewers, bloggers, fans and readers. Which made it all tribal as fuck. The growing dominance of fantasy also limited the science fiction considered commercially viable, and in recent years several popular works have melded the two genres.

Of course, writers whose works I liked and admired were still published, and I discovered new writers whose books I liked and admired, and, even though I’ve been reading science fiction for close on 45 years, there’s still plenty of old science fiction for me to explore (even if its appeal is often somewhat limited).

This is, of course, a purely personal perspective. The science fiction genre has changed – this is hardly surprising – not only artistically but also in the way the publishing industry treats it. Some of those changes have worked for me, some haven’t. But it’s probably telling that only three category sf books from the 2010s appear in the list below, and one of those is in a negative capacity.

Lady Chatterley’s Lover, DH Lawrence (1928). My father had been a big fan of Lawrence’s fiction for much of his life, even going so far as to drag my mother to Taos to visit Lawrence’s shrine during a visit to the US. I think perhaps because of my father’s reverence for Lawrence, and what I imagined 1920s prose to be like, I sort of avoided reading him. But for some reason I decided to give Lady Chatterley’s Lover a go, and immediately fell in love with the book and Lawrence’s prose. So much so, in fact, that I tracked down Lawrence’s other books. But even that wasn’t enough, and I spent a long time hunting down copies published in the 1970s by Penguin, with white covers and Lawrence’s name in orange, as shown to the left. I now have twenty-eight of them. I’m still working my way through Lawrence’s oeuvre.

Seven Miles Down, Jacques Piccard & Robert S Dietz (1961). I can’t remember what prompted it – possibly watching the terrible BBC TV series The Deep – but deep sea submersibles, particularly historical bathyscaphes, became another “enthusiasm”. It took me a while, and it wasn’t cheap, but I tracked down a copy of Seven Miles Down, the only book written about the record-breaking descent to Challenger Deep, some 11,000 metres deep, by the Trieste in January 1960. Two people have since equalled that dive – James Cameron in 2012 and Victor Vescovo in 2019. The enthusiasm fed into my fiction, and the Trieste appeared in a couple of short stories and the third novella of the Apollo Quartet. I also collected several books on submersible and undersea habitats.

Synthajoy, DG Compton (1968). I consider Compton one of the best prose stylists UK science fiction has produced. He was not one of UK science fiction’s best plotters (which, as I suggested in a recent Reading diary post, may be why he switched from writing crime to science fiction). But it’s not just Compton’s prose I find so impressive, he was also superb at writing characters and he liked to experiment with narrative structure. All of which are on display in abundance in Synthajoy. The book is told entirely from the POV of its protagonist, but her story drifts back and forth seamlessly in time, building up the story from both present and past. Compton’s best books all exhibit a very 1970s aesthetic, which I admit I also find appealing. Compton’s books led me to the works of other British sf authors of the 1970s, some of whom I had read in previous decades, but now I found myself appreciating them, especially those whose novels were explicitly British.

China Mountain Zhang, Maureen F McHugh (1992). This book makes my list not because it’s a good book – which it is – or because I’m a fan of the writer – I haven’t actually read all that much by her – no, it makes my list because it was the first book reviewed on SF Mistressworks. Back in 2010, there’d been a conversation online about the fact so few British women genre writers were in contract with publishers in the UK. So I put together a list of 100 science fiction novels by women writers that had been published prior to 2000, a sort of response to the SF Masterwork series published by Gollancz. And after the list, it seemed like a good idea to build a website which reviewed science fiction books by women writers published before 2000. So I did. And it certainly changed my reading. Not only did I seek out sf novels by women to review for SF Mistressworks, but I also made an effort to balance my reading between male and female writers, and not just in genre fiction.

Correspondence, Sue Thomas (1991). When I was at university in Coventry, I remember visiting a bookshop/cafe called The Wedge. They had a carousel filled with books published by The Women’s Press, most of which, I seem to recall, were the sf titles in their distinctive grey design. I didn’t buy any, I wasn’t into that sort of science fiction at that time. But after kicking off the SF Mistressworks website, it occurred to me The Women’s Press sf titles would be good books to review. I had a read a few in the years since graduating from university, but now I decided to collect them. And I built up quite a collection: 45 out of 52 titles (including the two YA titles), both the grey cover design (A and B format) and the ones with the black-and-white striped spines. Correspondence was the first title published by The Women’s Press I read specifically because it had been published by them. I went on to read many more – again, because they had been published in The Women’s Press sf series.

Ancillary Justice, Ann Leckie (2013)
God’s War, Kameron Hurley (2011). I’m not sure it’s fair to say these two books “shaped” my world, but I bought and read them because of the social media buzz attending them. I thought them both good, but one better than the other, and I did read both trilogies through to the end. Of course, there have always been books published that generate excitement within fandom, but the ones I remember from the early 1990s were by authors with proven track records. Both Ancillary Justice and God’s War were debuts, and the buzz promised they were something different. They’re both space operas, of course, but very different in their approach to the subgenre. And, it had to be said, to me they felt like they were indeed doing something new with space opera, something interesting. There was nothing unique about that – Colin Greenland had done the same more than twenty years ago with Take Back Plenty, but his re-imagining of space opera seems to have ended with him. The success of Leckie’s and Hurley’s books – especially Leckie’s, which seemed to win every English-language sf award on the planet – promised real change in the subgenre. It could be argued Becky Chambers’s The Long Way to a Small Angry Planet also fit the same pattern, but its online buzz felt manufactured, and I hated the book and thought it badly-written, derivative and mostly cheap sentimentality. But the Hurley and Leckie showed the power of social media in genre fandom, and that still influences my reading to some (albeit diminishing) degree.

Evening’s Empire, David Herter (2002). Herter is an author I picked up on after reading his debut, Ceres Storm, published in 2000. He makes this list for two reasons. First, even though I bought Evening’s Empire when it was first published, it sat on my bookshelves for nine years before I eventually got around to reading it – and then I picked it as the best book I read that year. It’s not the book I’ve owned the longest without actually reading, but it’s a good example of one. The second reason is that Herter was quite open about his writing plans. He wrote an East European fantasy set in Czechoslovakia post-WW1, and a dark fantasy based on Something Wicked This Way Comes… but, sadly, the ambitious space operas he blogged about have yet to appear. It is, perhaps, one of the downsides of social media.

Spomeniks, Jan Kempenaers (2010). As I remember it, I stumbled across a website with photographs of Yugoslavian monuments to those who died in World War 2. Further research led me to an ad for Kempenaers’s exhibition of photographs of many of those monuments, not all of which had survived intact. The exhibition published a book of the photographs, which I bought. And that sort of sparked off another “enthusiasm”, this time for architecture, specifically East European and Soviet Modernism, and Oscar Niemeyer. To be honest, it was all pretty much eye candy to me. While the engineering of exploring space and underwater I find fascinating in a technical way, buildings and architecture not so much. But I do enjoy looking at pictures of the sort of buildings that seem to embody the enthusiasm for, a celebration of, the future that at some point around the middle of last century seemed humanity’s reward for its discoveries. Er, despite the Cold War and the threat of Mutually Assured Destruction.

The Member of the Wedding, Carson McCullers (1946). Among the things my father left behind when he died was a collection of about one hundred Penguin paperbacks he’d bought in the late 1960s and early 1970s, most of them directly from the publisher (there was a receipt in one). I’d read one or two of the books over the years, but few of the authors in the collection had appealed to me. But I took my pick of them, intending to give the authors I’d not read before a go. The Member of the Wedding was the first book I read of the ones I took. It wasn’t… to my taste. But it did not alter my plan to work my way through the collection. And that proved an excellent decision – as can be seen below. Twice.

Leviathan Wakes, James A Corey (2011). Like the Leckie and Hurley mentioned above, this book received a lot of online attention. And even more so when it was turned into a television series. Many people recommended it to me because, they felt, it was the sort of science fiction I liked: near-future hard sf. I fucking hated it. I thought the book was terrible, with deeply embedded, and unquestioned, right-wing sensibilities. The attempt at diversity struck me as little more than a thin glaze. And the plot hinged on an act so heinous it should have been unthinkable to any civilisation that claimed to be, well, civilised. It was also American as fuck. I tried watching the TV adaptation, but gave up after one too many mentions of torture. Leviathan Wakes made me realise I was no longer willing to put up with the right-wing bullshit endemic in space opera which science fiction fandom, and the general sf-reading public, seems happy to accept.

Hear Us O Lord from Heaven Thy Dwelling Place, Malcolm Lowry (1961). Among my father’s Penguin paperbacks were three by Malcolm Lowry – this collection, Under the Volcano and his debut, Ultramarine. I was aware of Under the Volcano, although I’d never read it; but I knew little about Lowry, his life or his other works. Hear Us O Lord from Heaven Thy Dwelling Place was… interesting. Until I got to the novella, ‘Through the Panama’. It blew me away. I read more Lowry, learnt of the semi-autobiographical nature of his fiction. I loved that. I loved his discursive prose style, his use of meta-narratives. He became a favourite author, and I began to collect his books – in first edition. I have now read all of his fiction, except his last unfinished novel, La Mordida.

Girl Reading, Katie Ward (2011). One of the things I dislike about the online culture surrounding books and fandom is that everything seems to be given five stars in reviews. It’s bad enough that many online reviews are indistinguishable from marketing hyperbole, but the tendency to give everything top marks has meant retailers’ ranking algorithms now count only the number of reviews, and don’t weight them by the number of stars given. Potentially, giving a book five stars is only setting up a future reader for disappointment. Which does not mean every now and again a book comes along that rightly deserves five stars. Girl Reading was one of those books. And, astonishingly, it was a debut. Sadly, Ward has yet to follow up on Girl Reading. I’ve been eagerly awaiting a second novel from her for eight years.

The Wall Around Eden, Joan Slonczewski (1989). I started collecting copies of the Women’s Press sf titles partly because some of the books interested me, but also partly because they were ideal material for the SF Mistressworks website. Slonczewski was not an author I had read before, although her name was known to me, chiefly from her novel A Door into Ocean (also in the Women’s Press sf series). I had not expected much of The Wall Around Eden, but I was delighted to find the novel was put together like a precision-built watch. Many of the books I read, I read critically; but this was the first time I found the actual craft present in a novel to be the most impressive thing about it.

Women of Wonder, Pamela Sargent, ed. (1974). Another read prompted by SF Mistressworks. Once I looked into it, I discovered there had been several female-only science fiction anthologies published over the years. Women of Wonder was not the first, but it was a prominent pioneer. And yet there are people who insist that women writing science fiction is a twenty-first century phenomenon. It’s a bullshit position. Women have been writing science fiction – very successfully – since it was invented. And there were many women who wrote novels and stories in early centuries which fed into what became science fiction. But, somehow, women sf authors were written out of the genre’s history, probably by the cyberpunks of the early 1980s. That rewriting of genre history was one of the inspirations behind SF Mistressworks. I went on to read – and review – several female-only sf anthologies, and found a number of authors whose longer works I then sought out.

HHhH, Laurent Binet (2012). This was a book that generated some small buzz among my circle of acquaintances on social media, despite not being genre – and most of my circle are genre writers and fans. It is, in fact, WWII history. And yet it’s also about the author and about the process of writing the history book. Its ostensible subject is Reinhard Heydrich, a Nazi bigwig and war criminal, one of the men responsible for the Holocaust, and, during the period covered by HHhH, Reich-Protector of Bohemia and Moravia. But it’s not Heydrich, or Operation Anthropoid, the attempt to assassinate him (which succeeded more by accident than design), that puts HHhH on this list. The Nazis have never been an “enthusiasm” of mine. But I have always been a fan of experimental narratives – not so much experimental prose, like stream-of-consciousness, but narrative structures other than straightforward linear. HHhH helped crystallise my interest in such narratives – and helped explain why some books I had read in previous years had appealed to me so much. It’s something I’ve continued to explore, both in my reading and my own writing.

The End of Days, Jenny Erpenbeck (2012). I think this was also a recommendation. Or perhaps I saw a review of it in a newspaper. There was another book with the same premise – a person who lives through several alternate variations of their life – which proved much more popular, particularly in genre circles, and that was Kate Atkinson’s Life After Life. But I fell in love with Erpenbeck’s dry reportage-like prose. If I had become disillusioned with genre’s turn to over-written and sentimental prose, then the clarity and emotional distance of Erpenbeck’s novel – albeit translated – was exactly the sort of fiction I wanted to read. And I went looking for it.

Party Going, Henry Green (1939). And speaking of clear prose, Henry Green is surely a master of it. I found this omnibus of three of his novels in a charity shop, but it was around six years before I got around to reading one of the novels. And then I was sorry I’d not read it much sooner. Green’s prose is among the best I’ve read. And, astonishingly, he makes no concessions towards his readers. Everything – the plot, the characterisation – is conveyed through dialogue. Coming from a science fiction background, a genre which feels a need to explain everything, a genre which has developed a number of techniques for lecturing the reader, not just in invented worlds and “facts”, but also in information the reader could easily find out for themselves, this was something to definitely striking. It might seem that mainstream fiction, or even crime fiction, or thrillers, do not use exposition, but of course they do, it just occupies a different place in the narrative. Green’s novels showed me that stripping back exposition to the bare minimum did not have to handicap a narrative.

Nocilla Dream, Agustín Fernández Mallo (2006). Nocilla Dream came to my attention via a review on a friend’s blog, and it sounded intriguing enough for me to give it a read. Like the Binet above, Nocilla Dream uses a non-standard narrative structure – in this case, short unrelated sections, only some of which are narrative. It is also pretty much the antithesis of Green’s fiction, in that some of the sections are pure exposition, pure dry reportage, not always related to the fictional narratives. There’s more, of course, to Mallo’s book, which is the first of a trilogy, and which spawned a literary movement, the Nocilla Generation, in Spain. I plan to explore the other Nocilla Generation writers, and have so far read only a novel by Álvaro Colomer, titled, coincidentally, Uppsala Woods, but few of the books have been translated into English, and Spanish is not a language I speak or read. Perhaps I should try learning it.

The Sound and the Fury, William Faulkner (1931). This was another book from my father’s Penguin collection. I knew of Faulkner, but knew nothing about the man or his fiction. An early twentieth-century US author – and while I had read one or two of them many years before, I couldn’t say any had really appealed to me. But The Sound and the Fury did something those other US novels had not done: it used an experimental narrative structure. It told its story through three limited POVs, none of which were actually central to the plot. I was hugely impressed. Books with complex narrative structures interest me, and it’s something I’m keen to explore in my reading. Faulkner’s prose is also wonderfully sharp. I have already read more Faulkner.

Here is the full list, for those of you like lists in, er, list form:

1 The Golden Bird, Jan Pieńkowski & Edith Brill (1970, UK)
2 The Weirdstone of Brisingamen, Alan Garner (1960, UK)
3 Destination Moon, Hergé (1950, Belgium)
4 Edgar Rice Burrough’s Tarzan of the Apes, Burne Hogarth (1972, USA)
5 Dan Dare: The Red Moon Mystery, Frank Hampson (1951, UK)
6 Doctor Who and the Zarbi, Bill Strutton (1965, UK)
7 Starman Jones, Robert A Heinlein (1953, USA)
8 Gray Lensman, EE Doc Smith (1951, USA)
9 The Trigan Empire, Don Lawrence & Mike Butterworth (1965, UK)
10 Jack of Eagles, James Blish (1952, USA)
10 Tactics of Mistake, Gordon R Dickson (1971, USA)
10 Time and Again, Clifford D Simak (1951, USA)
13 Final Stage, Edward L Ferman & Barry N Malzberg, eds. (1974, USA)
14 Dune, Frank Herbert (1966, USA)
15 Traveller: Characters & Combat, Marc Miller (1977, USA)
16 The Undercover Aliens, AE Van Vogt (1950, USA)
16 The Winds of Gath, EC Tubb (1967, UK)
18 The Book of Alien, Paul Scanlon & Michael Gross (1979, UK)
19 The Dune Encyclopedia, Willis E McNelly, ed. (1984, USA)
20 The Future Makers, Peter Haining, ed. (1968, UK)
21 Dhalgren, Samuel R Delany (1975, USA)
22 The Right Stuff, Tom Wolff (1979, USA)
23 The Far Pavilions, MM Kaye (1978, UK)
24 Iceberg, Clive Cussler (1975, USA)
25 The Complete Book of Science Fiction and Fantasy Lists, Malcolm Edwards & Maxim Jakubowski (1983, UK)
26 Radix, AA Attanasio (1981, USA)
27 The Barbie Murders, John Varley (1980, USA)
28 Serpent’s Reach, CJ Cherryh (1980, USA)
29 The Science Fiction Sourcebook, David Wingrove (1984, UK)
30 The War for Eternity, Christopher Rowley (1983, USA)
30 Under a Calculating Star, John Morressy (1975, USA)
30 Where Time Winds Blow, Robert Holdstock (1981, UK)
33 Knight Moves, Walter Jon Williams (1985, USA)
34 Kairos, Gwyneth Jones (1988, UK)
35 The Space Mavericks, Michael Kring (1980, USA)
36 The Female Man, Joanna Russ (1975, USA)
36 The Fith Head of Cerberus, Gene Wolfe (1972, USA)
36 The Five Gold Bands, Jack Vance (1950, USA)
36 The Left Hand of Darkness, Ursula K Le Guin (1969, USA)
40 The Innocent, Ian McEwan (1990, UK)
41 Use of Weapons, Iain M Banks (1990, UK)
42 Take Back Plenty, Colin Greenland (1990, UK)
43 Raft, Stephen Baxter (1991, UK)
44 Semiotext(e) SF, Rudy Rucker, Peter L Wilson & Robert A Wilson, eds. (1989, USA)
44 The Brains of Rats, Michael Blumlein (1989, USA)
46 Metrophage, Richard Kadrey (1988, USA)
47 Dreamside, Graham Joyce (1991, UK)
48 Iris, Wiliam Barton & Michael Capobianco (1990, USA)
49 A Vision of Battlements, Anthony Burgess (1965, UK)
49 How Far Can You Go?, David Lodge (1980, UK)
51 Angel at Apogee, SN Lewitt (1987, USA)
52 C is for Corpse, Sue Grafton (1986, USA)
52 Guardian Angel, Sara Paretsky (1992, USA)
54 The Alexandria Quartet, Lawrence Durrell (1957, UK)
55 An Exchange of Hostages, Susan R Matthews (1997, USA)
55 Bending the Landscape: Fantasy, Nicola Griffith & Stephen Pagel, eds. (1997, USA)
57 Coelestis, Paul Park (1993, USA)
58 Holy Fire, Bruce Sterling (1996, USA)
59 Cotillion, Georgette Heyer (1953, UK)
60 The Master Mariner, Nicholas Monsarrat (1978, UK)
61 The Second Angel, Philip Kerr (1998, UK)
62 The Children of Anthi, Jay D Blakeney (1985, USA)
63 The Forever War, Joe Haldeman (1974, USA)
64 The Mechanics of Wonder, Gary Westfahl (1998, USA)
65 The Eye of the World, Robert Jordan (1990, USA)
66 Watchmen, Alan Moore & Dave Gibbons (1987, UK)
67 The Incal, Alejandro Jodorowski & Moebius (1980, France)
67 Valérian and Laureline 4: Wlecome to Alflolol, Pierre Christin & Jean-Claude Mézières (1972, France)
69 The Levant Trilogy, Olivia Manning (1977 – 1980, UK)
70 Penguin Anthology of Classical Arabic Literature, Robert Irwin (1999, UK)
71 Ascent, Jed Mercurio (2007, UK)
72 Moondust, Andrew Smith (2005, UK)
73 Alanya to Alanya, L Timmel Duchamp (2005, USA)
74 Poems, John Jarmain (1945, UK)
75 Postwar Military 4: Avro Vulcan, Andrew Brookes (1985, UK)
76 The Raj Quartet, Paul Scott (1966 – 1975, UK)
77 The Stainless Steel Rat, Harry Harrison (1961, USA)
78 First Man: The Life of Neil A Armstrong, James R Hansen (2005, USA)
78 Carrying the Fire, Michael Collins (1974, USA)
78 Return to Earth, Buzz Aldrin (1973, USA)
81 Lady Chatterley’s Lover, DH Lawrence (1928, UK)
82 Seven Miles Down, Jacques Piccard & Robert S Dietz (1961, USA)
83 Synthajoy, DG Compton (1968, UK)
84 China Mountain Zhang, Maureen F McHugh (1992, USA)
85 Correspondence, Sue Thomas (1991, UK)
86 Ancillary Justice, Ann Leckie (2013, USA)
86 God’s War, Kameron Hurley (2011, USA)
88 Evening’s Empire, David Herter (2002, USA)
89 Spomeniks, Jan Kempenaers (2010, Belgium)
90 The Member of the Wedding, Carson McCullers (1946, USA)
91 Leviathan Wakes, James A Corey (2011, USA)
92 Hear Us O Lord from Heaven Thy Dwelling Place, Malcolm Lowry (1961, Canada)
93 Girl Reading, Katie Ward (2011, UK)
94 The Wall Around Eden, Joan Slonczewski (1989, USA)
95 Women of Wonder, Pamela Sargent, ed. (1974, USA)
96 HHhH, Laurent Binet (2012, France)
97 The End of Days, Jenny Erpenbeck (2012, Germany)
98 Nocilla Dream, Agustín Fernández Mallo (2006, Spain)
99 Party Going, Henry Green (1939, UK)
100 The Sound and the Fury, William Faulkner (1931, USA)


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Reading diary 2019, #5

I’m sort of getting into this ebook thing. Four of the books below are ebooks; the other two are paperbacks I brought with me. And no, I don’t know why I brought Troubled Star. It’s a duplicate copy, and I have much cleaner copy in storage, so I probably just threw it in the suitcase rather than bin it.

The Eye of the World, Robert Jordan (1990, USA). Members of the 2017 Worldcon in Helsinki, which I attended, were given an ebook copy of all fourteen volumes of Robert Jordan’s Wheel of Time series as it had been shortlisted for the Best Series Hugo Award. I’d previously read up to book ten or eleven, I forget which, and had the next volume in the series sitting unread on the bookshelves. I distinctly remember reading the first six or so books. I’d seen them in Books Gallery in the Liwa Centre in Abu Dhabi, and bought them because I wanted to know what it was that had made them such massive sellers. I read them in quick succession. And to this day, I’ve no idea why they sold so many copies. They were badly-written, bloated and derivative. But now that I have my Kindle, I thought it might be time to time finish off the series. Which meant starting from the beginning. So I reread The Eye of the World. I thought it might prove an interesting exercise, seeing what I thought to it now, twenty-five years or so after my previous read. And, well, my opinion of the book has not substantially changed. The writing still struck me as poor, the characterisation is simplistic at best, and a lot of the world-building consists of over-used tropes and borrowings. What I hadn’t noticed previously was how badly-structured the novel is, with the entire story pretty much wrapped up in the final chapter, after long chapters of travelogue that barely advanced the plot. On the other hand, knowing how the story pans out (well, most of it) and seeing the story hooks here (even if many of them weren’t actually planted) was just enough to keep me from throwing the book (well, Kindle) at the wall or gouging my eyes out. And in the series’ favour, it’s not grimdark, so it’s not gratuitously violent, rapist or sexist. Which is not to say it doesn’t feature all three – but not to grimdark’s offensive levels, nor, like grimdark, does it try to make a virtue of their inclusion. The reread wasn’t entirely painless, and I think it might take me longer to work my way through all fourteen books that I had initially expected… but I’m still going to try and do it.

As I Lay Dying, William Faulkner (1930, USA). Although Faulkner was a name known to me, I’d read none of his books and knew nothing about him or his works. But my father had two novels by him, which I took, and I read one, The Sound and the Fury, last year and was hugely impressed. So I picked up a couple more on eBay. And I brought them with me to Sweden. The first of these was As I Lay Dying, arguably Faulkner’s best-known and most highly-regarded novel. There’s even a commercially successful metal band named after it. The story is told from several viewpoints, each in their own voice, and it concerns the death of Addie Bundren, and her husband’s attempt, with family and friends, to take her body to a neighbouring town to bury her among her kin. But all that is either incidental, or merely the trigger, for what happens in each narrative. It all takes place in Faulkner’s native American South – Mississippi, I think, for the most part – and the language reflects the setting. Despite As I Lay Dying‘s reputation, I didn’t find it as impressive a work of literature as The Sound and the Fury, possibly because the latter had the more adventurous structure, and I’m big on novels that experiment with narrative structure. But that’s really damning it with faint praise as this is full-on classic American Literature, and though not all works and writers described as that appeal to me, I do admire Faulkner’s prose a great deal. Definitely worth reading.

Rosewater, Tade Thompson (2016, UK). I’d heard so much about this, and it was shortlisted for the BSFA Award this year (despite being originally published in 2016, but never mind), and it was 99p on Kindle… so I bought it. And I read it. And… There’s a good story in Rosewater, but it throws too much in, like a writer not sure which of their ideas have real merit so they chuck them all in hoping that at least one makes the grade… And because there’s so much going on, the story doesn’t seem to have much of a clue where it’s heading for much of its length. Is it about the titular city and the alien entity around which it has grown, and the regular frenzies of miracle healing it creates? Or perhaps it’s about Kaaro, who works for the Nigerian intelligence service (or a side-branch of it) and has telepathic powers – as do many others – also created by the alien entity? Or maybe it’s about Bicycle Girl, a semi-mythical figure who seems to be associated with a village that disappeared and now exists in an alternate dimension or pocket universe, created by entirely human tech? There is currently something of a feeding frenzy in sf about African genre fiction, which is all a bit white man’s tears as the various African nations – Africa is not a country – have literary traditions going back centuries or longer and many of them have had their best writers and works translated into English for decades. They just don’t happen to be category genre. So sf from a Nigerian writer – as Thompson is – should, were the genre not so overwhelmingly white- and Americo-centric, not really be cause for celebration. But sf is as it is, and Thompson’s origin and the setting of Rosewater play a major part in reviews of the book. That’s just as racist as ignoring the book because of the author’s race. There’s no doubt Thompson could be a major voice in UK sf – he’s based in London – and Rosewater amply demonstrates that. This is a strong debut, but it’s a messy piece of work to make an award shortlist. A few years from now, Thompson will be churning out award-worthy books. But that’s more a criticism of awards than it is the author.

Star Maker, Olaf Stapledon (1937, UK). I have the SF Masterwork edition of this book – that’s the one from the original numbered series – but that’s in storage now. I bought a 99p copy on my Kindle so I could read it. I’ve no idea if the two editions are the same – they can’t be that different, I’d have thought, since this isn’t a work that needed translating. But the copy I read certainly had more than its fair share of OCR errors and typos. There’s not much of a plot to review: the narrator is an Englishman of the 1930s who falls asleep on a hillside and becomes a disembodied galactic traveller, as you do. He visits various worlds, learns to cohabit the minds of certain of their inhabitants, and they too join him on his travels, until he is more of a gestalt intelligence than the man he once was. Stapledon describes the various types of civilisation his observer visits, and while they’re initially based on extrapolations of Earth biology – even the symbiotic races, which play such a great part in the book – but soon it transpires the stars are sentient, and then the galaxies too. This is sf on the grandest scale, and it’s unlikely it would wash these days because it only really works with a style that’s no longer commercially acceptable. It’s not that genre fiction of the past fifty years has been stunted in any way, or has held off from Stapledonian scales because he did it first – Stephen Baxter’s entire career is ample rebuttal to that – but more that the style which allowed Stapledon to what he did is no longer considered commercially viable. Is that a bad thing? Not really. We still have Stapledon. He’s in the SF Masterworks series, and his books are readily available in a variety of editions as ebooks. Obviously, these are, paradoxically, historical documents, but for those who know what they’re getting into, they’re definitely worth a go.

The Green Man’s Heir, Juliet McKenna (2016, UK). Another Kindle book that was 99p, but this time as a promotion. The author tweeted the book was reduced, and since I’d never read anything by her – she mostly writes fantasy, which, er, Wheel of Time reread above aside, I don’t normally read – and The Green Man’s Heir is urban fantasy, which I definitely don’t read… But the plot sounded interesting so I thought it worth a go. And I’m glad I did give it a punt. The narrator is Daniel Mackmain, a jobbing carpenter who happens to be the son of a dryad. Which means he is plugged into the mythological world based on landscape. So when a woman is brutally murdered near where Mackmain lives, and a dryad gives him enough to clues so he thinks he might be able to solve the case… The Green Man’s Heir is a mashup of mystery novel and fantasy novel but it works because it’s centred on its hero and not focused on its central crime. The story moves on from the murders and pulls in romance, but it all ends in a place that feels entirely a consequence of what has gone before. This is clearly a book by someone who knows what they’re doing. And if their earlier fantasy series have not made the big time, I hope this one does – there’s a sequel – because it’s good stuff. It may be a bit Mythago Wood meets Midsomer Murders, but it does it well and it certainly does it a great deal better than the last of those two.

Troubled Star, George O Smith (1957, USA). Back in the day, Galaxy magazine provided a free paperback with every issue. For some reason, after several issues they handed this over to Beacon Books, better known for publishing hospital romances, and they decided the books should be a little more, well, suggestive. So they rewrote a bunch of sf novels and published them. I’ve managed to collect them all, and most of their original editions, or author-preferred editions, chiefly so I can compare the two. Because, to be honest, they didn’t exactly choose good novels. Much as I love AE van Vogt’s The House That Stood Still, the Beacon Book version of it, The Mating Cry, adds little, and in fact only makes the female lead less sympathetic. I don’t have a copy of the book on which Troubled Star is based – originally published under the same title in February 1953 – but I think I can guess what’s been changed. It’s not very subtle. Anyway, three scouts for a galactic transportation company are on Mercury in the Solar System (note to sf writers: only capitalise when it refers to the Sol system, and the planets of any other star are a planetary system not a solar system). Anyway, Earth is in the way of a new hyperspatial route or something, and no, I’ve no idea if Douglas Adams had read this although he may have done. There’s a sex scene – that’s the Beacon touch – but this is otherwise true to its origins: pulp sf. I can claim a legitimate interest, although that’s wearing thin, but I suspect no other reader can. Avoid.

1001 Books You Must Read Before You Die count: 134


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Best of the year 2018

I usually do these posts in early December, which is not exactly the end of the year. But I’ve been so busy the last few weeks, I’ve not had the chance – which means this best of the year actually represents what I read, watched and listened to in all of 2018. This is likely the best way to do it.

And what a year it was. The Big Project at work finally ended in September. I applied for a job in Sweden, was offered it, and accepted. I made five visits to Nordic countries during the twelve months: twice each to Sweden and Denmark, once to Iceland. I beat my 140 books read Goodreads challenge by ten books. I watched 547 films new to me, from 52 different countries, forty-nine of them by female directors. I didn’t do much listening to music, I have to admit and I only went to two gigs: Therion in February and Wolves in the Throne Room in June.

And then there was Brexit. Yes, we had the referendum two years ago, and 17 million people – around a third of the actual electorate, so not a majority – voted for something very very stupid and self-destructive, in response to a campaign that told outright lies and broke election law. None of which is apparently enough to consider Brexit a travesty of democracy. And just to make things even worse, the last two years have demonstrated just how useless and incompetent the UK’s current government is, and how committed they are to destroying the country’s economy and perhaps even ending the union. Their latest scam is giving a £14 million contract to a ferry company that owns no ferries and has never operated any ferries previously. The whole lot of them should be in prison. Who knows what 2019 will bring? Will the government see sense and revoke Article 50? I think it unlikely given how racist May is and how committed she is to ending freedom of movement. Her deal will likely be the one that goes into effect, and it’ll be voted through because no deal is an unthinkable alternative.

But me, I’ll be out of it. Living in another country, a civilised country. I can’t wait.

This post, however is, as the title cunningly suggests, my pick of the best books, films and albums I consumed during 2018. (Position in my Best of the half-year post is in square brackets for each book, film and album.)

books
1 The Sound and the Fury, William Faulkner (1929, USA). [-] My father had a sizeable collection of Penguin paperbacks he’d bought direct from the publisher in the late 1960s and early 1970s. I’ve no idea why he bought them, but he certainly read them. After he died, I took a couple of dozen of them for myself. Including two by Faulkner. And it’s taken me a while to get round to reading one of them… And I loved it. It tells the story of a family from three viewpoints, and from them you have to piece together exactly what happened. It’s set in the Deep South at the beginning of the twentieth century, so of course it’s very racist. But that feels like something Faulkner wrote because overt racism was endemic in that place and at that time (and still is now, to be fair), and not a sensibility of the author that has leaked through into the text. I now want to read everything Faulkner wrote.

2 The Smoke, Simon Ings (2018, UK) [1]. Being knocked off the top spot, which is where this book was in my best of the half-year, by William Faulkner is no bad thing. The Smoke is genre, and was published by a genre imprint, but it’s not a book that invites easy description. It does some things I don’t think I’ve seen genre novels do before, and it crashes together ideas that really shouldn’t work on their own, never mind side by side. It’s set in alternate mid-twentieth century, where “biophotonic rays” have radically altered the world. Animalistic homunculi created by the rays have spread throughout Europe, and a secular group of Jews turned the ray on themselves and now lead the world in technology by a century or more. The Smoke is a story about a man whose mother has been reborn as an infant in order cure her of her cancer, a treatment pioneered by his ex-girlfriend’s father… The Smoke reads like an unholy mash-up of so many things that it’s a wonder it doesn’t collapse under its own weight. In fact, it rises above them.

3 The Rift, Nina Allan (2018, UK) [3]. This is where the top five sort of gets all Schrödinger, because this novel and the two below might well have, on any other day, been swapped out for one of the honourable mentions. But I’ve kept The Rift here, in the same spot it occupied in my best of the half year, because Allan’s two previous novels never quite gelled for me. They felt like fix-ups, but without a framing narrative or much in the way of a link between the constituent parts. But The Rift is coherent whole, from start to finish. It has an interesting plot, which it not only fails to resolve but presents several possible mutually-exclusive endings all at the same time. A woman’s sister reappears several decades after mysteriously vanishing and claims to have been living on an alien world. Is she telling the truth? Is she indeed the long-lost sister? Or was the sister murdered years before by a spree killer? Everything about the story confounds a One True Reading, which is its strength.

4 Spring Snow, Yukio Mishima (1962, Japan) [-]. I bought this on the strength of Paul Schrader’s film about Mishima, although I was aware of how Mishima had died. The novel is the first of a quartet, and details the illicit affair between the son of a wealthy family with the daughter of much less wealthy aristocratic family. They have been friends since childhood, but he grew irritated with her affections and so convinced her he could never love her. But now she has been affianced to an Imperial prince, and the two conduct an clandestine affair. The writing is crystal clear, and even though set in a culture not my own, and a history of which I know only a few small bits and pieces, Mishima makes everything comprehensible. I’ve seen historical novels set in Britain by British writers that are larded with footnotes and info-dumps. Mishima was writing for a Japanese readership, obviously, but it’s astonishing how he makes his narrative flow like water.

5 1610: A Sundial in a Grave, Mary Gentle (2003, UK) [-]. I’m a huge fan of Gentle’s fiction, and buy each of her books on publication. And it continually astonishes me she seems to go out of print almost immediately. I bought 1610: A Sundial in a Grave back in 2003. But for some reason, it sat on my bookshelves for 15 years before I finally got around to reading it. Possibly because it’s a pretty damn large hardback. And… I loved it. It’s that mix of fantasy and historical Gentle does so well, better in fact than anyone else. There’s a slight framing device, but the bulk of the story is the journal of a seventeenth-century French adventurer who has to flee France when a faked-up plot to kill Henri IV actually does just that. He ends up in a plot in England by Edward Fludd to kill James I, along with the sole survivor of a Japanese mission and a sixteen-year-old crossdressing sword prodigy he believes to be male but with whom he falls in love. It’s brilliant stuff – thick with historical detail, visceral and smelly and real. The novel’s fantasy content is also fascinating, a sort of reworking of ideas from the White Crow books, but thoroughly embedded in the history.

Honourable mentions: Irma Voth, Miriam Toews (2011, Canada), a fascinating study of a Mennonite girl, by a Mennonite writer, in a Mexican colony, inspired by the excellent film Stellet Licht, I will be reading more by Toews; Golden Hill, Francis Spufford (2016, UK), intriguing historical novel set in early New York, paints a portrait of a fascinating, if horrifying, place; If Then, Matthew de Abaitua (2015, UK) [hb], any other year and this might have made the top five, the sort of liminal sf the British do so well, historical and alternate history, not unlike Ings’s novel above; The 7th Function of Language, Laurent Binet (2017, France) [hb], a contrived plot but a fascinating lesson in semiotics and Roland Barthes, cleverly mixed into real history; The Buried Giant, Kazuo Ishiguro (2015, UK) [hb], a book that has grown on me since I read it, an elegy on both the Matter of Britain and genre fantasy, that is a more intelligent commentary than 99% of actual genre fantasies; Pack My Bag, Henry Green (1940, UK) [2] [hb], autobiography by Green, written because he thought he might not survive WWII, but he did, a fascinating and beautifully written look at life among the privileged in 1920s Britain; Four Freedoms, John Crowley (2009, USA) [5] [hb], a semi-utopian community created around an aircraft factory in the late years of WWII and how it fell apart once the war was over, beautifully written.

films
1 The Lure, Agnieszka Smoczyńska 2015, Poland) [1] No change for one of the most bizarre films I watched in 2018, and I watched a lot of bizarre films. Carnivorous mermaids in 1980s Poland. Who join a band. In a nightclub. With music. It is entirely sui generis. It also looks fantastic, the mermaids are scary as shit, and the music is pretty good – if not technically entirely 1980s. I watched a rental of this and love it so much I bought myself the Blu-ray.

2 Dunkirk, Christopher Nolan (2017, UK) [2] No change here either. And the fact I love this film continues to astonish me. I’m not a Nolan fan but something about this – the cinematography, the sound design, the total absence of plot… appealed to me so much, I bought myself a Blu-ray copy after watching a streamed version. Perhaps it’s because the hardware features so heavily in it and I love machines. I’m not sure. It’s one of the most immersive films I’ve ever watched. Perhaps that’s it.

3 Girls Lost, Alexandre-Therese Keining (2015, Sweden) [-] Three girls discover a magic seed that transforms them into boys, and they get to experience life as the other gender – and they’re each in a position to appreciate the advantages of being male. This film just blew me away with its treatment of its premise, and then did more by turning the stereotype – girl becomes boy becomes bad boy – into something meaningful.

4 Shirley: Visions of Reality, Gustav Deutsch (2013, Austria) [-] A film which comprises a series of vignettes in the life of the eponymous woman, all of which are inspired by, and set up to resemble, paintings by Edwin Hopper. It sounds like something that belongs in a modern art museum, and it probably should be there, but it is also a beautiful piece of cinema. There’s something about the look of the film – attributable to Hopper, of course – which makes something special of it. It also made me more appreciative of Hopper’s art.

5 Thelma, Joachim Trier (2017, Norway) [3] Comparisons with Carrie are both inevitable and do this Norwegian take on the story an injustice. When something is a thousand times better than something it might resemble, why forever harp on about the resemblance? De Palma’s film is a blunt instrument compared to Trier’s, although to be fair to Trier he does push the religious angle quite heavily. But Thelma looks great, and its lead is very impressive indeed.

Honourable mentions: to be honest, I’m not sure if some of these should not have appeared in the above five – that’s the peril of choosing a top five, especially when you’ve watched so many bloody good films, or just so many bloody films… Here, Then, Mao Mao (2012, China) [-] although not associated with any “generation” of Chinese film-makers, this film exhibits all the hallmarks of the Sixth Generation: a semi-documentary feel, disaffected youth, narrative tricks… and it does it like a master of the form; Vampir Cuadec, Pere Portabella (1970, Spain) [4] I loved this experimental film so much I tracked down a 22-film collection from Spain of Portabella’s works and bought it, this particular film is a heavily-filtered re-edit of Jess Franco’s Count Dracula that turns cheap commercial horror into avant garde cinema; India Song, Marguerite Duras (1975, France) [5] my first Duras and such a remarkably different way to present a film narrative, sadly her movies aren’t available in UK editions but I would dearly love to see more; Mandabi, Ousmane Sembène (1968, Senegal) [-] I love Sembène’s films and this might be his best, the story of the hapless eponymous man who spends money he doesn’t have and chases down the paperwork he needs to cash it in, even though it’s not his, a beautifully pitched comedy; Stellet licht, Carlos Reygadas (2007, Mexico) [-] precisely the sort of film that appeals to me – slow, beautifully shot, and a slow unveiling of the plot; War and Peace, parts 1-3,  Sergei Bondarchuk (1966-1967, USSR) [-] movies as they used to make them, a cast of tens of thousands, more technical innovations than you could shake a large stick at, and the widest screen on the planet, and despite there not being a single decent 70 mm print in existence what remains is more than sufficient to show this was a remarkable piece of film-making… and I’ve not even seen the final part yet; Bambi, David Hand (1942, USA) [-] why not a Disney animated movie? I’ve been working my way through them and this is one of the best, despite the mawkishness and frankly dubious message.

albums
Frighteningly, I only bought ten albums in 2018. Music really seems to have drifted out of my life. Which is a shame as, well, I like it a lot. But I generally have a fast turnover in music and will move onto something new quite quickly. I’m not one of those people who can listen to the same album over and over again for years. But I do have my “classics”, albums I return to again and again. And that list, of course, is always evolving…

On the other hand, my album picks each year tend to be from albums published during the year as I don’t “discover” older music as much as I do books or films.

1 No Need to Reason, Kontinuum (2018, Iceland). I liked Kontinuum’s previous album, Kyrr, especially the track ‘Breathe’, but No Need to Reason is much much better. In places, it’s a bit like mid-career Anathema, although deeper and heavier. In other places, it’s a bit post-metal, or a bit rocky, or a bit, well, heavy. It’s probably that melange of styles that appeals to me the most – all filtered, of course, through a metal sensibility.

2 Slow Motion Death Sequence, MANES (2018, Norway). Frank Zappa once wrote that writing about music is like dancing about architecture, and certainly I’ve yet to find a way to explain in print why some music appeals to me and some doesn’t. I don’t, as a rule like EBM, but MANES might well be classified as that – although, to me, they come to it with a black metal sensibility because they were once a black metal band. They changed their sound, quite drastically, yet for me something of their origin remains in the mix. I’ve no idea if that’s true or exists only in my head. I do know that MANES approach to electronica, and their occasional use of heavy guitar, seems very metal to me and I like it a lot.

The Scars of Man on the Once Nameless Wilderness I and II, Panopticon (2018, USA) I’ve been following Panopticon since stumbling across one of their albums which mixed bluegrass/folk and atmospheric black metal, and over the past few years I’ve seen them – well, him, as it’s a one-man band – grow increasingly sophisticated in his use of the two musical genres. And here he’s at his current best – the folk sections are excellent and fade naturally into the black metal and vice versa. I’ve been impressed by all of Panopticon’s albums, but this one was the fastest like of them all. Everyone should be listening to them.

Currents, In Vain (2018, Norway). Ten years ago, I suspect this may not have made my top five. It’s good – because In Vain are good, But their previous albums were better, and this feels less musically adventurous than them, which is perhaps why I think it less successful. It’s solid progressive black metal from someone who has made the genre their own, but nothing in Currents is as playful as tracks on earlier albums. I liked that about them. Good stuff, nonetheless; just not as good as previously.

The Weight of Things, Entransient (2018, USA). Some bands are easy to categorise, others require such detailed tagging that they might as well be in a category all their own. Entransient are sort of progressive rock, but they’re a little too heavy to be just rock, and yet their music is not intricate enough to be metal. Some might call that heavy rock. But Entransient feel like they have elements of metal in their music, even if they mostly make use of non-metal forms. One of the tracks on this album has harmonies you would never find on a metal album, and yet works really well. Entransient give the impression they aren’t trying very hard to be anything other than what they want to be. They’re just writing songs down the line they’ve chosen… But they seem to be operating in a much bigger, and more interesting, space than they might have imagined.

Hopefully, my changed circumstances in 2019 will have me watching less films, reading more books, and listening to more music. And buying less books too, of course.


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Books fall

To Brits, the American English for autumn, fall, doesn’t really capture the season – “of mists and mellow fruitfulness” and all that – which is silly as it’s a contraction of “leaf fall”, which was the more common name for autumn in sixteenth-century England. Also, it should be pointed out that dropping books is likely to damage them, and I would never do that (if someone broke the spine of a book I’d lent them, I would break their fingers). Anyway, the following books metaphorically fell into my collection…

The Day of the Triffids was given to me by a friend, Ole. He told me he’d accidentally bought a second copy. I know the feeling. Author’s Choice Monthly 15 and Author’s Choice Monthly 16 makes the complete set a little bit nearer.

Some new hardbacks and, er, Oscar, who was determined to be involved. Obelisk is a collection from last year, and Xeelee Redemption is the latest book in the extended and drawn-out series which, I think, made its first appearance back in the late 1980s in an issue of Dream Magazine (a UK small press magazine from that period). Spring Tide is a collection, and America City is a novel. I don’t actually know anything about either of them, but Chris Beckett is an excellent writer and I’ve known him for a decade or more. I enjoyed Goss’s The Strange Case of the Alchemist’s Daughter (see here), and European Travel for the Monstrous Gentlewoman, which is a bit of an unwieldy title, is the sequel.

Three favourite writers and a review copy from Interzone. Guess which is which… Duchamp’s Marq’ssan Cycle is an excellent series about first contact, and her ‘The Forbidden Words of Margaret A.’ is one of the best short stories the genre has produced. I’m looking forward to reading Chercher La Femme. Varley was one of those writers whose novels and stories I loved back in my late teens. I still have a lot of fondness for The Ophiuchi Hotline. He returned to his Eight Worlds universe for two novels in the 1990s. Irontown Blues, a second return to that universe, has been promised for years, so it’s good to see it finally appear. Thoreau’s Microscope is a collection in PM Press’s Outspoken Authors series (see here). And Liminal, I reviewed for Interzone.

I’ve been working my way – slowly – through Snow’s Strangers and Brothers eleven-book series. Corridors of Power is the ninth book, and Last Things the eleventh. I’ve yet to find a copy of the tenth novel, The Sleep of Reason – or rather, I’ve yet to find a Penguin paperback copy of the novel that matches the ones I own. Bah. As I Lay Dying I bought after being hugely impressed by The Sound and the Fury, my first Faulkner, which I read a few months ago (see here). And yes, it matches the two Penguin Faulkner paperbacks I own (cover art by André François; he apparently designed six of them).

In hindsight, I should have put Without a Summer up with the Duchamp, Varley and Lewis as it’s more genre than Blumlein’s Thoreau’s Microscope, but never mind. It’s the third book in the series and I enjoyed the previous two. Irma Voth I added to my wishlist after watching, and being impressed by, Silent Light (see here). Toews starred in that film and the novel is a fictional adaptation of her experiences. Spring Snow I also bought after watching a film: Mishima: A Life in Four Chapters. An excellent film (see here).

Oscar had to get into the act again. He’s standing on Apollo, a graphic novel adaptation of the Apollo 11 mission by three Brits. I, Rene Tardi, Prisoner of War in Stalag IIB is the latest Tardi release by Fantagraphics. I’ve been collecting them as they’re published. I really ought to get the original French ones, of course.


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Reading diary 2018, #13

The heat seems to have lessened a little, but we’ve still two months to go before summer is over, and even then heatwaves in October are not unheard of in these days of climate change. Having said that, two of the books below are slight cheats as they’re novellas. But then the Faulkner – famously described as a “difficult” book – I managed to knock off in three days…

Empery (Trigon Disunity 3), Michael P Kube-McDowell (1987, USA). And so we come to the third and final book of the Trigon Disunity, which also includes the first use of the word “trigon”, although the word “disunity” appears nowhere in all three books. The story opens several centuries after the events of Enigma. Earth is now the centre of the Affirmation, which includes several advanced human colonies discovered since the second book. But one political wing of the human race is determined to take war to the Mizari, the “Sterilizers” of Enigma who wiped out humanity back in the last Ice Age (which was then reseeded by a good energy alien, as also described in Enigma). When Empery focuses on the politics of Earth and the United Space Service, and the fight between those who think the Mizari no longer present a threat (their last attack was 60,000 years ago, after all) and those determined on a pre-emptive strike, it’s not bad. It’s less good, however, on the science fiction. The Mizari are the worst sort of Trek super-aliens, and the only really remarkable thing about Empery (which apparently means “absolute dominion”) is how long it drags out its story. It doesn’t at least rely on superhuman intervention by a, er, human being, as Enigma does. Nor is its “good” character a paragon as in Emprise. That the books improve as the trilogy progresses is no surprise, but the initial world-building is too big an obstacle for the story to overcome and the aliens are shit too. Best avoided.

Unpublished Stories, Frank Herbert (2016, USA). Stories generally remain unpublished for a reason, and smart writers make sure they never see the light of day, even after their death. Hergé refused to allow new Tintin adventures to be written after he died, and so the last Tintin book we have is an unfinished one. Edgar P Jacobs, on the other hand, placed no such restrictions on his Blake and Mortimer characters, and the  Edgar P Jacobs Studio has continued his series, producing, to be honest, better stories than Jacobs himself ever did. Then there’s all the controversy surrounding the publication of Harper Lee’s Go Set a Watchman… Frank Herbert died before completing his Dune series, leaving only cryptic notes explaining where he planned to go with the narrative after Heretics of Dune and Chapterhouse Dune. Brian Herbert and Kevin J Anderson used the existence of these notes as a mandate to expand Herbert’s universe, and it’s a crying fucking shame what they did to it. However, Anderson has done good in making available Herbert’s unpublished fiction. ‘Spice Planet’, an early draft of Dune, which was published in The Road to Dune, is a fascinating historical document and does Herbert’s career no harm. And I’m pretty sure the stories in Unpublished Stories, despite being generally not very good, are unlikely to affect Herbert’s reputation either. For a start, they’re pretty much all mainstream. He fancied himself as a thriller writer before turning to sf. And that’s what we have here, a collection of mainstream stories (only two are sf, and one of them appears in The Collected Stories of Frank Herbert too), some of which work and some of which don’t. The prose is no better and no worse than you’d expect for commercial fiction from the middle of last century, but nothing about the stories stands out. Which is likely why they were never published. They’re interesting historical documents, but likely of interest only to fans.

Cottingley, Alison Littlewood (2017, UK). The title of this novella, from NewCon Press’s second quartet of novellas, immediately signals what this story is about, who it is likely to feature, and what is likely to happen… Which means that when a writer uses a title that is, so to speak, a hostage to fortune, they’re going to have to work especially hard to confound expectations. Littlewood frames her story as epistolary, a series of letters between an invented character, Lawrence Fairclough, and Sir Arthur Conan Doyle, or rather Doyle’s associate, a “Mr Gardner”. Fairclough describes how he and his granddaughter stumbled across a small group of fairies at a brook in a wood by their home. But these fairies are more like malevolent insects. When Fairclough finds the skull of one, typical fairy tricks such as souring milk and making food go off persuades his daughter to return the skull – and a fairy spits in one of her eyes, blinding it. The story, making many references to the fairies photographed by Elsie Wright and Frances Griffiths, unfolds through several letters. We do not see Gardner’s letters and can only infer what he wrote from Fairclough’s replies. Fairclough has answers to all of Gardner’s questions – clearly he’s afraid it might be a hoax – but whatever evidence he has gathered disappears one by one (such as the skull). Cottingley suffers from the same problem as all epistolary novels: how to tell the story in a way that doesn’t read like reportage. Which means the letters don’t really read like letters. They’re too descriptive, there’s too much interiority, and they’re far too fixed on the theme of the novella. On the one hand, these quartets of novellas NewCon Press are publishing are handsome books; on the other, I’m not a fan of dark fantasy or horror, so I knew this particular quartet were unlikely to appeal to me. There’s still three to read, of course; and a fourth quartet being published even now – with novellas by Gary Gibson, Adam Roberts, Ricardo Pinto and Hal Duncan.

Body in the Woods, Sarah Lotz (2017, South Africa). I read Lotz’s The Three a few years ago on a trip to Finland for Archipelacon. It struck me as commercial light horror and I didn’t bother with the sequel (three, er, well, some guesses to what the sequel was titled). And while I enjoyed Body in the Woods, there’s nothing in it to persuade me to seek out further work by her. A woman living alone in a country cottage – her partner is working in Qatar on contract – is visited by an old friend. He has a body wrapped in plastic in the boot of his car. Years before the two had defined friendship as “helping to bury a body, no questions asked”, and he’s turned up to make good on that. After the deed is done, she begins to obsess over the identity of the victim, leading to several flashbacks explaining how the woman and man are linked, and her thoughts and fears are manifested as corruption in her garden – a nettle patch that refuses to die and expands, growing mould patches, etc. It is, like The Three, all very light horror and written in commercial and readable prose. There is one minor weirdness: occasional Americanisms which appear in the prose, even though the voice is very British (the author is British but resident in South Africa, which may explain that). I found Body in the Woods are more involving read than Cottingley, but the latter struck me as a better work.

The Exile Waiting, Vonda N McIntyre (1975, revised 1985, USA). In a recent exchange on Twitter with Kev McVeigh, he wondered why McIntyre, a feminist sf writer and multi-award winner, was not as well known as Joanna Russ. McIntyre wrote a number of Star Trek tie-in novels, and so may have become associated with that rather than straight-up sf… Although a look at her bibliography on isfdb.org shows she wrote only 5 Trek novels (including novelizations of films II, III and IV), one SWEU novel, and, er, ten genre novels that aren’t tie-ins. The first of which was The Exile Waiting in 1975, although the version I read is the revised 1985 edition. It’s one of those sf novels which posits a world which includes slavery and children deliberately mutilated to make them more effective beggars. I really don’t understand why sf writers feels a need to populate their novels with either of these. True, these last twenty years we’ve seen technological progress increase inequality – please please please, someone make like Max Zorin and flood Silicon Valley – when you’d imagine technology would make things better for everyone equally. As someone once said – was it Bruce Sterling? – the market finds its own use for things; except it would be perhaps more accurate to say that Silicon Valley finds its own way to develop revenue streams from things that were otherwise free. (Multi-passenger Uber! Er, that’s a bus, you’ve just invented a bus. And so on.) But The Exile Waiting is 42 years old, revised 32 years ago, and what is about American sf that all roads lead to libertarian variations on the Great Depression? Mutilating kids? Seriously? Slavery? Really? It doesn’t matter that the protagonist of this novel is female and has agency, because the world in which she lives embodies the worst of US sf. At one point, she’s whipped because she sneaked her way into the palace, was caught and accused of stealing, and given no opportunity to explain herself. Anyway, a more extensive review of this should appear at some point on SF Mistressworks. I don’t think The Exile Waiting was typical of its time – in some respects, it’s an improvement on mid-seventies American sf – but in some areas it demonstrates remarkably little commentary on the tropes it uses, even in the revised edition, and even its above average prose can’t really save it.

The Sound and the Fury, William Faulkner (1929, USA). When my father died he left behind a collection of around a hundred Penguin paperbacks from the 1960s and 1970s. Most of them he had ordered directly from the publisher – I found an invoice in one – and included works by DH Lawrence (the writer he admired most), Carson McCullers, JP Donleavy, Ralph Ellison, Malcolm Lowry, Raymond Chandler, Herman Hesse, George Orwell and, among others… William Faulkner. I kept many of the books for myself – and subsequently became a big fan of Lowry’s fiction. (I had already sampled Lawrence’s fiction, and found it excellent, earlier.) There was always the possibility I’d be enormously impressed by another author from his collection, although a read of two of McCullers novels showed it wasn’t going to be her. William Faulkner, on the other hand, what little I knew of him – early twentieth century author, American, wrote mostly about the South, his novels had quite pretentious titles, I couldn’t think of anything by him that been adapted by Hollywood… Well, I’d expected The Sound and the Fury to be a bit of a chore to read, and it was only a complete inability to brain early one weekday morning that resulted in me grabbing it to read next on my commute. So I was very surprised to discover the novel hugely impressive. The casual use of racial epithets – the racism itself, especially in the third section, narrated by Jason Compton, who is racist – is hard to take, although nothing in the prose persuades me that Faulkner held those views, and in fact he develops his black characters as carefully and as well as he develops his white ones. And, of course, this is a book that was written, and set, within living memory (just) of slavery and the American Civil War. US society, especially southern US society, is hugely racist, and if the language in The Sound and the Fury is offensive it is at least a legitimate product of its time. But one of the areas that fascinates me about literature is narrative structure, and there The Sound and the Fury has plenty to recommend it. It is divided into four parts, three dated 1928 and one dated 1910, and each part subsequently sheds more light on the story. The first is told from the point of view of Benjy, who has learning disabilities, and presents his 33 years of life in an achronological almost stream-of-consciousness narrative, with time-jumps signalled by changes from italics and back again, although not with any degree of rigour. The second section is set 18 years earlier and mixes a straightforward narrative with stream of consciousness, and is perhaps the hardest to parse as its narrative is mostly peripheral to the main story. The third section, set in 1928 again, is more straightforward and, as mentioned earlier, is in the POV of the racist brother of the protagonist of the second section. The final section takes place a day later than the third, and is omniscient, but chiefly features the family’s black housekeeper. With each section, the overall story becomes clearer. It is not, it has to be said, the most exciting of stories – Banks followed a similar philosophy with his mainstream novels, albeit without the modernism, but he usually made his central secrets a little too “exciting” and a little too implausible. The Sound and the Fury is pure modernist literature, and the prose is really very very good. Though the milieu doesn’t attract me, the approach to writing strikes me as every bit as interesting as that of Lowry. Albeit in a different way. A third of the way into The Sound and the Fury I decided I needed to read more, if not all, of Faulkner’s fiction. So I’ve ordered another of his novels. From eBay. Because, of course, I want editions that match the ones I have – ie, mid-sixties Penguin paperbacks. Sigh. But Faulkner: excellent. Possibly even a new favourite writer.

1001 Books You Must Read Before You Die count: 131


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Festive activities

Christmas is over for another year, and life can now return to what passes for normal. Once again, I was in Denmark for the festivities, but this year it was wet and windy rather than the usual deep snow. There was a lot of eating involved, and a lot of walking. The day after Boxing Day, we went to see David Fincher’s The Girl with the Dragon Tattoo at the cinema (English with Danish subtitles, fortunately). Though I’ve not read the book, I have seen the Swedish version of the film. To be honest, I’m not sure which of the two versions is the better.

The flight back from Denmark was… interesting. On the approach to Manchester Airport, the plane was thrown around by turbulence and we almost touched down… before the captain decided to abort and up we went for another go around. Fortunately, the second attempt was much smoother and we landed in one piece. I first flew in 1968 and I’ve flown at least once a year since, and that was the first time I’ve ever been in an aircraft that took more than one attempt to land. Having said that, I’ve never been a big fan of air travel – and less so these days than I used to be. All that “security theatre” is just unnecessary palaver – how many terrorists has it actually caught? We certainly know it failed to catch two bombers… And while airlines seem to want us to believe that air travel has become easier and more convenient, the reverse is actually true. Also, budget airlines appear to hold their customers in complete contempt. They ask you to queue at the boarding-gate for an hour but don’t provide anywhere to sit. Aircraft are not buses – and given all the hoops passengers are forced to jump through before boarding at present, they never will be. The entire industry needs over-hauling.

Santa brought me some books and some DVDs: William Tenn’s Of Men and Monsters and Tariq Ali’s Shadows Of The Pomegranate Tree, the first book of the Islam Quintet; and Twin Peaks: Definitive Gold Box Edition, Fringe Season 3 and Caprica Season 1 Volume 2. I read the two books before returning to the UK. Of Men and Monsters was better than I expected, though I’m in two minds whether it belongs in the SF Masterwork series. Shadows Of The Pomegranate Tree is set in Moorish Spain in 1500 CE, and chronicles the Spanish Catholics’ campaign to wipe out Islam and its practitioners on the peninsula. It’s strong stuff, though Ali’s frequently inelegant prose didn’t do the book any favours. I’ll probably read the rest of the Quintet at some point, but I’m not going to dash out and buy them immediately.

I’ll also read a number of books during the holiday – in fact, I was averaging one a day. The books were Engleby, Sebastian Faulks (2007), which was a definite improvement on the longeur-packed On Green Dolphin Street. A working-class scholar at Oxford University fancies a female student from afar, but one day she disappears and is never found. It’s not difficult to work out what happened to her, though it’s hard to tell if Faulks thought the reveal was an actual plot twist. The final third of the book is a character-study of the narrator, which not only means Engleby is not a murder-mystery novel but also means it’s unsatisfactory as either murder-mystery or literary fiction.

The Manual of Detection, Jedediah Berry (2009), I remember seeing an approving review of in the Guardian by Michael Moorcock when the book was published. As a result, I’ve kept an eye open for a copy in charity shops ever since. It is… an odd beast. The story seems better-suited to a comic or graphic novel and, as a result, doesn’t work all that well as prose. A clerk for the Agency, a huge detective agency which seems to be the most important company in a 1950s-style city, is promoted to detective when the detective whose reports he files disappears. He soon ends up out of his depth in some weird conspiracy between the Agency and a villain based in a carnival, and it’s all to do with the way the Agency actually operates. The missing detective is called Travis S Sivart, but nothing is actually made of the fact that the name is a palindrome. It makes you wonder why the author bothered.

Black Swan Green, David Mitchell (2006), is Mitchell’s fourth novel, and is told entirely in the voice of a thirteen-year-old boy living in the eponymous Worcestershire village in 1982. He’s being bullied at school, his parents’ marriage is on the rocks, and an act of petty revenge leads to a tragedy. Everything in the book struck me as a little clichéd, but perhaps that’s because I remember the early eighties quite well. Mitchell handles his narrator’s voice with skill and it’s a very readable story, but it all felt a bit soap-opera-ish in places. It’s not as successful as Cloud Atlas, though it is better than his first two novels, Ghostwritten and number9dream.

Of course, in the weeks leading up to Christmas the postie was also busy. Since my last book haul post, the following books have landed on the mat:

These are the aforementioned Christmas goodies.

Some first editions: White Eagle Over Serbia is for the Lawrence Durrell collection. The Dragons of Springplace and Impact Parameter I bought in the recent Golden Gryphon 50% off sale.

A few sf paperbacks. I used to correspond with Mike Shupp, and I’ve always wanted to read his Destiny Makers quintet, but it’s taken me a while to find decent copies. Now that I have the first book in the series, With Fate Conspire, I can make a start, although I still need to find a copy of the third book, Soldier of Another Fortune. Eye of Terror is Barrington Bayley’s only Warhammer 40K novel, and by all accounts is especially mad – even for him. The Chessmen of Mars almost completes my set of 1970s NEL editions of the John Carter books – because, of course, I have to have a set that all looks the same, and the ones I already had were NEL paperbacks from the 1970s. City of Pearl is November’s belated read for the reading challenge. I doubt I’ll read it before the end of the year, but never mind.

My father owned quite a large collection of Penguin paperbacks. I found an invoice in one, and discovered that he’d actually ordered them direct from the publisher. This was back in the mid-1960s. Though he read and admired all the Penguin books he bought, for the past few decades his reading had mostly been thrillers. Some of his books I want to read myself so I’ve started bringing them home a few at a time, and so… Le Grand Meaulnes, Alain-Fournier; Hear Us O Lord from Heaven Thy Dwelling Place, a short story collection by Malcolm Lowry; Clock Without Hands, The Member of the Wedding and The Heart is a Lonely Hunter, all by Carson McCullers; Albert Camus’ The Plague; Raymond Chandler’s The Little Sister; and The Sound And The Fury by William Faulkner.

The Revenge for Love and Radon Daughters I found in charity shops. Journey to the Centre of the Earth was a swap from readitswapit.co.uk. With Luck Lasting is Bernard Spencer’s second poetry collection, and while it’s an ex-library book it’s in excellent condition and doesn’t appear to have ever been booked out.

Finally, two books for the space books collection. Falling to Earth is the autobiography of Apollo 15 astronaut Al Worden. It’s signed. The Story of Manned Space Stations was ridiculously cheap on eBay – about £3.50 compared to £18.99 on Amazon.


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Too many words, too little time

I promised yesterday I’d put up a post showing the books I bought at Novacon, and so here it is. Also included are those books purchased since the last book haul post. Embarrassingly, it’s more than I thought it was. Oh well. Time to learn to speed-read…


Three Women’s Press sf titles from Novacon – as mentioned in my previous post: Memoirs of a Spacewoman, Naomi Mitchison; The Book of the Night, Rhoda Lerman; and The Two of Them, Joanna Russ. Expect reviews to appear at some point on SF Mistressworks.


More from Novacon – and, er, a Moore from Novacon: Judgment Night by CL Moore. Also for SF Mistressworks. Critical Threshold and The City of the Sun are the second and fourth books of Brian Stableford’s Daedalus Mission sextet. Now I need to find copies of the other four…


More recent books from Novacon. And you can’t get more recenter than the brand new Solaris Rising collection. The Matthew Farrell of Thunder Rift is actually sf author Stephen Leigh, and the Adam Roberts of The Snow is actually top parodist A.R.R.R Roberts.


Some charity shop finds. Marilynne Robinson’s Home I’ve been keen to read after being impressed by her Gilead. Not sure why I picked up Touching The Void – possibly because it’s on the World Book Night list. Adam Thorpe is an excellent writer and his Hodd is a retelling of the Robin Hood legend. John Banville I’m not especially keen on, but I thought I’d give his Eclipse a go.


Some sf (-ish) novels from Harewood House’s second-hand book shop. Jayge Carr’s Leviathan’s Deep I’ve been after ever since I read her story in Women of Wonder: the Contemporary Years (see here). It will be reviewed for SF Mistressworks. The Raw Shark Texts was a Clarke Award finalist in 2008, but lost out to Richard Morgan’s Black Man. The Manual of Detection by Jebediah Berry I’ve been on the look-out for ever since seeing an approving review of it by Michael Moorcock.


A pair of paperbacks from my father’s Penguin collection. Never read any Faulkner, so Intruder In The Dust should be interesting. And the only Orwells I’ve read are Animal Farm and Nineteen Eighty-four, so Down and Out in Paris and London should also be interesting.


Some new books. Songs of the Dying Earth I have to review for Interzone. I’m about a third of the way through it. The Ascendant Stars is the third and final part of Mike Cobley’s jam-packed space opera trilogy. Prague Fatale is the eight novel featuring German detective Bernie Gunther. I’m guessing it’s set in the Czech Republic…


The Electric Crocodile first edition is for the collection. Anthony Burgess: A Bibliography is to assist with the collection.


Some sf graphic novels. I finally got round to buying a copy of Dead Girls, the first part of the graphic novel adaptation of the novel of the same title. It’s very good. Dejah Thoris: Colossus of Mars is an original story set in Edgar Rice Burrough’s Barsoom, featuring John Carter’s improbably bosomed wife and set long before he appeared stark naked on the Red Planet. It’s actually quite good – keeps to the spirit of the books, gives Dejah Thoris very much a starring role with agency, and has some lovely artwork. Warlord of Mars, an adaptation of ERB’s A Princess of Mars, is less successful. The art is a little variable, and ERB’s prose was never very good. But then the idea of ERB’s Barsoom novels was always better than their implementations.


Finally, a book about Ridley Scott’s Alien. It’s full of lots of fanboi goodies, like behind-the-scenes photographs, production design sketches, fold-out plans of the Nostromo, and all that sort of stuff. Cool.