2016 Science Fiction & Fantasy Reading Round-up

The Books that I Loved

Emily St John Mandel, Station Eleven (2014)

Twenty years after a devastating flu epidemic wipes out most of Earth’s population, a band of actors and musicians, known as ‘The Symphony’, travel the wastelands of a post-apocalyptic North America, performing Shakespeare and classical music for the surviving communities they encounter. The novel’s title refers to a mysterious graphic novel treasured by Kerstin, one of the young actors in The Symphony.  As the story moves back and forth between ‘Year 20’ and the time before the plague, and the characters’ stories slowly unfold, Station Eleven becomes the lynch pin holding it all together.  I loved this evocative, powerful story about the ways in which our lives are shaped by history and circumstances. Station Eleven is a speculative novel about science fiction in which a line taken from an episode of Star Trek, Voyager (“Survival is insufficient”) becomes profoundly meaningful.

Becky Chambers, The Long Way to a Small Angry Planet (2014) `

A young woman called Rosemary takes a job as a clerk aboard The Wayfarer just as Captain Ashby and his dedicated crew of wormhole builders receive the offer of a lifetime. A lucrative but risky job. There is an adventure and peril ahead, but really this is all about the characters and their relationships with each other. If you’re sick of grim dark, look no further. The Long Way to A Small Angry Planet is a lovely space opera with good people doing their best in difficult circumstances.   Plus it has bisexual aliens and that queer family of choice dynamic that so many of us find irresistible.  The aliens in particular are wonderful. I think my favourite is the Grum, Dr Chef. It does have a first novel feel and there were places where I thought things could be more developed, but overall I loved it and have already bought the next in the series, A Closed and Common Orbit.

Emma Newman, Planetfall (2015)

Renata Ghali is an engineer in charge of maintaining the 3D printers that supply her colony with all its material goods. She has a severe anxiety disorder and still grieves the loss of her beloved Lee Suh-Mi, the woman who led them to this distant world over twenty years previously. The community believes that Suh Mi has disappeared into the strange alien structure that looms over their town and that one day she will return. But then a stranger appears at the borders of their world, a young man who claims to be Suh Mi’s grandson and the sole survivor of a group of colonists who were lost in a terrible accident during Planetfall.  This young man comes with the power to destroy everything and reveal the lie upon which the life of the colony has been built. Planetfall is a compelling and desperately sad book about secrets, grief, loss and the inability to change and let go. It is also a book about materialism and the way that things can come to own us and prevent us from seeing the truth of our situation.

Nnedi Okerforar, The Book of Pheonix (2015)

Pheonix Okore is a ‘Speciman’ created in the laboratories of a corporation known as the “Big Eye”. Pheonix is intended to be a terrible weapon, a creature with the power to burn up and consume everything in her path, only to regenerate and return to life again within a few days. With the help of her fellow specimen, Pheonix escapes from her creators, and sets out for Africa where she finds community and love. But Pheonix is not left in peace for long. Like Mary Shelley’s monster years before, what Pheonix learns about the world soon sets her on a destructive course.  The Book of Pheonix is an allegory for our times. It is a highly literate and richly intertextual, post-colonial SF fantasy full of references to history (slavery, medical experimentation on women of colour), pop culture, religious texts, science fiction (Frankenstein, The Island of Dr Moreau), mythology, and theory (Roland Barthes makes an appearance at the end).  It left me wanting to read all of Nnedi Okerforar’s books. This novel is a prequel to Who Fears Death?, so I’m looking forward to that.

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What lady Ghostbusters have in common with 17th-century nuns

I saw the new Ghostbusters with my 11-year-old daughter. It was the first movie she’d ever seen in which a team of female heroes are never subjected to the male gaze—in which they are always the agent, never the possessed. It was the first movie like that I’d ever seen, too.

There is spirit possession in the new Ghostbusters: you’ve seen one scene in the trailers, where one of the Ghostbusters is briefly possessed an evil ghost but quickly saved by one of her colleagues. Female friendship, female cooperation, is enough here to drive out evil. When women’s bodies are the battleground, women just as quickly become the warriors. Nor are women uniquely susceptible to possession: the hunky male receptionist is possessed, too, and must be saved.

The first Ghostbusters movie suggested to boys that if they just hung around long enough, women would see that their other options for possession were far worse than just giving in. The newGhostbusters movie tells girls that there’s another option. They can possess themselves.

What Lady Ghostbusters have in common with 17th-Century nuns

There’s always room for another story

And there’s lots of room for just—I hate to say hack writing—I guess ordinary storytelling is really what I mean. There’s always room for another story. There’s always room for another tune, right? Nobody can write too many tunes. So if you have stories to tell and can tell them competently, then somebody will want to hear it if you tell it well at all. To believe that there is somebody who wants to hear that story is the kind of confidence a writer has to have when they’re in the period of learning their craft and not selling stuff and not really knowing what they’re doing.

Ursula K le Guin, Interview Magazine

Read the the whole thing. It’s great.

Elizabeth A. Lynn, ‘A Different Light’ (1978)

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In a future in which most hereditary diseases have been cured, Jimson Allecca is one of the unlucky ones. His rare form of cancer is treatable only as long as he stays on the colony world of New Terrain. To leave the planet, he’d have to get on a star ship and go for a ride through The Hype. Doing this would quickly and fatally accelerate his condition.

Jimson is a celebrated artist with a privileged life, but he decides that his desire to experience “a different light” is more important than reaching old age. He undergoes a sinister telepathic examination and receives permission to leave New Terrain.  While hanging around in Port City, looking for a ship to take him off-world, he meets Leiko Tamura, an-out-of-work pilot who becomes his lover. Leiko introduces him to the Port Bar, Rin’s, where he meets Ysao, an engineer and a giant of a man.

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Nicola Griffith, Slow River (1995)

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In a final, desperate bid for survival, Frances Lorien Van de Oest, heiress to a vast fortune, escapes from her kidnappers and finds herself thrust, naked and bleeding, onto the cold dark streets of an unknown city. There, she is picked up by a charismatic thief named Spanner and reborn as Lore, someone for whom identity has become a fractured, shifting, untrustworthy thing.

Slow River unfolds gradually. The opening narrative, told by Lore in the first person, is set three years after the kidnap, and a few months after her breakup with Spanner. The second narrative tells the story of life with Spanner, beginning immediately after Lore escapes from the kidnappers. The third follows her upbringing, at two year intervals, from the age of five until she is abducted. This triple narrative structure creates a powerful sense of momentum. Lore’s stories move forward in parallel towards a point of convergence, both in terms of time and self.

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