It’s like this…
You’re fourteen and you’re reading Larry Niven’s “The Protector” because it’s your father’s favorite book and you like your father and you think he has good taste and the creature on the cover of the book looks interesting and you want to know what it’s about. And in it the female character does something better than the male character - because she’s been doing it her whole life and he’s only just learned - and he gets mad that she’s better at it than him. And you don’t understand why he would be mad about that, because, logically, she’d be better at it than him. She’s done it more. And he’s got a picture of a woman painted on the inside of his spacesuit, like a pinup girl, and it bothers you.
But you’re fourteen and you don’t know how to put this into words.
And then you’re fifteen and you’re reading “Orphans of the Sky” because it’s by a famous sci-fi author and it’s about a lost generation ship and how cool is that?!? but the women on the ship aren’t given a name until they’re married and you spend more time wondering what people call those women up until their marriage than you do focusing on the rest of the story. Even though this tidbit of information has nothing to do with the plot line of the story and is only brought up once in passing.
But it’s a random thing to get worked up about in an otherwise all right book.
Then you’re sixteen and you read “Dune” because your brother gave it to you for Christmas and it’s one of those books you have to read to earn your geek card. You spend an entire afternoon arguing over who is the main character - Paul or Jessica. And the more you contend Jessica, the more he says Paul, and you can’t make him see how the real hero is her. And you love Chani cause she’s tough and good with a knife, but at the end of the day, her killing Paul’s challengers is just a way to degrade them because those weenies lost to a girl.
Then you’re seventeen and you don’t want to read “Stranger in a Strange Land” after the first seventy pages because something about it just leaves a bad taste in your mouth. All of this talk of water-brothers. You can’t even pin it down.
And then you’re eighteen and you’ve given up on classic sci-fi, but that doesn’t stop your brother or your father from trying to get you to read more.
Even when you bring them the books and bring them the passages and show them how the authors didn’t treat women like people.
Your brother says, “Well, that was because of the time it was written in.”
You get all worked up because these men couldn’t imagine a world in which women were equal, in which women were empowered and intelligent and literate and capable.
You tell him - this, this is science fiction. This is all about imagining the world that could be and they couldn’t stand back long enough and dare to imagine how, not only technology would grow in time, but society would grow.
But he blows you off because he can’t understand how it feels to be fourteen, fifteen, sixteen, seventeen and desperately wanting to like the books your father likes, because your father has good taste, and being unable to, because most of those books tell you that you’re not a full person in ways that are too subtle to put into words. It’s all cognitive dissonance: a little like a song played a bit out of tempo - enough that you recognize it’s off, but not enough to pin down what exactly is wrong.
And then one day you’re twenty-two and studying sociology and some kind teacher finally gives you the words to explain all those little feelings that built and penned around inside of you for years.
It’s like the world clicking into place.
And that’s something your brother never had to struggle with.
Never ever ask me if fiction matters.
The 2013 Academy Awards ceremony was last night, February 24th, and critics both amateur and professional are weighing in with various post-ceremony reactions. There weren’t any huge upsets – Argo won Best Picture, as the buzz had predicted – and most commentators agree that Seth McFarlane relied on too much crass humor and approached the ceremony as if it was a roast instead of a celebration. However, the most lingering controversy originated from outside the event, when The Onion’s Twitter account tweeted (and later deleted) a joke that referred to nine-year-old Quvenzhané Wallis as a “c—”.
The Onion quickly posted an out-of-character apology from their CEO first thing this morning, but memories are long on the internet, and there are some people who will never forgive them for this incident. The interesting thing is that The Onion has a long history of posting edgy satire, but as far as I know, this is the only time they’ve ever chosen to publicly apologize for one of their jokes missing the mark. I definitely agree with their decision to remove the tweet and apologize; it was thoroughly tone-deaf and completely unfunny. However, I think it’s interesting to consider why that joke didn’t work when compared to other equally controversial pieces on the site. For example, earlier in the night they used the n-word in a joke about Quentin Tarantino and it seems to have passed unnoticed.
First off, the most obvious problem with the tweet is that it places a nine-year-old girl at the center of harsh satire. Even if it wasn’t the author’s intent, it was far too easy to read the tweet as a genuine attack on a child, which is not something that most people are willing to overlook. However, I also think it’s notable that the tweet’s style didn’t match The Onion’s normal editorial voice. It was written in a casual, off-the-cuff “live-blog” style and was followed by tweets structured more like their signature “Area Man” format.
Part of what makes The Onion work so well is the way they juxtapose a distanced, impersonal editorial style with shocking satire. One of the best pieces I’ve seen on the site recently, Teenage Girl Blossoming Into Beautiful Object, is also one of the most chilling things I’ve ever read because it rings so horribly true. That article is satire on the level of Jonathan Swift, where the correct response is horror, not laughter. The Onion’s comedy works largely on the understanding that they are almost always saying the exact opposite of what they believe; in rare cases, such as their stunning, pitch-perfect response to the Newtown massacre, they put less ironic distance between the article and its true intent, but those pieces are still presented as fake journalism or simulated editorials.
That distance is part of what makes it understood that the target of their satire isn’t necessarily the apparent subject of their posts. Along those lines, I’d imagine that the target of the tasteless joke about Miss Wallis was actually the sort of person who would say horrendous things about a nine-year-old actress excited about being at a massive awards ceremony. (For examples, check out the first few comments on this Jezebel post.) The problem was all about the joke’s presentation and, most crucially, word choice. Instead of working as an anti-exemplary comment on the misogynist nit-picking that dominates award shows, the tweet read as a face-value takedown of a young actress.
However, I’d argue that if the joke was presented in The Onion’s editorial style, the intent would have been clearer and the joke might have received a more measured response. Imagine, for example, if the joke was written as one of their headlines or couched in a fake editorial. Of course, I doubt there’s any way they could have worked in the c-word without coming off as grasping for shock value, and I think better jokes can be made. I do think there’s a valid satirical target found in the occasionally poisonous discussions about Miss Wallis’ nomination (or really, discussions of any actress), but the most important thing to make clear is that she is not that target.
When I was in high school, I watched Out of Sight and Get Shorty and became intrigued by Elmore Leonard, whose books were turned into such crackling crime thrillers. I quickly took it upon myself to familiarize myself with his work. I actually read the first two Raylan Givens novels, Pronto and Riding the Rap, back then, so when my book club suggested we read Raylan, I was curious to see where Leonard would take the character. From what I remembered of the first two books, Raylan wasn’t actually the primary focus; instead, he was a big part of an ensemble cast, and shared equal billing with other characters. Raylan, on the other hand, focuses entirely on the titular marshall’s adventures.
The first thing you should know about Raylan is that it apparently covers a lot of the same ground as the TV show. I haven’t watched it yet, so I don’t know for sure how similar the two versions are. Most of the one-star reviews complain that Leonard must be “riding on the coattails” of the show’s success with this book, when I believe the actual story is that they asked him to write another book as a sort of tie-in to the show, and he gave them pages to use as they pleased.
The second thing you should know is that this is a book made to be read aloud. On the page, Leonard’s writing seems affected at first glance. Words and punctuation are missing, and it’s hard to get a sense for the rhythm without hearing it. When I switched to the audiobook, the book immediately came alive for me and was much easier to follow. In fact, Leonard’s writing began seeping into the way I spoke and wrote, which is one of the surest signs you’re dealing with a true master of the craft.
Unfortunately, despite the fact that Leonard’s spare, crisp writing is in full effect throughout, Raylan is clearly one of his minor works. It doesn’t read like a full novel; instead, the story feels episodic, as if several short stories were stitched together to create a novel-length work. The book comes in three loosely defined parts. First, Raylan tangles with weed dealers who steal body parts and sell them back to the victims. Next, he works as a bodyguard for a coal company woman who works in “disagreements”. Finally, he chases down a young female card shark who may be mixed up in a bank robbery scheme.
The first section has the most tension because it feels like Raylan is in the most danger, but even still, he drawls his way through most encounters, always impeccably cool and quick on the draw. If the book had ended there it would have been an excellent novella. The real problem is that it never really feels like the disparate stories add up to much of anything. I also got the impression that the book was relying on the reader’s likely familiarity with the TV show, and the characterization suffered as a result.
It really is a shame that Raylan doesn’t quite deliver, because I enjoyed the book while I was listening to it, loved the rhythms of Leonard’s writing, and was immediately drawn to get back into reading his stuff as soon as I finished. I read the book with my book club and I don’t think any of them had ever read any of his other works, and I have to wonder if they’ll seek them out now, because most of them came away disappointed.
Ultimately, Raylan is a quick read worth checking out, but not the best place to start with Leonard’s work. If nothing else, it reminded me that Leonard is one of my personal heroes. I’m planning on reading more of his work as soon as possible (I’ve already started Bandits), and I’ll have to be careful that I don’t start writing all my stories to sound like him.
Earlier this week, Terry Deary, author of the popular (in the UK) Horrible Histories series, started quite the shit-storm when he declared that libraries “have been around too long” and are “no longer relevant”, among other things. Apparently Deary just wants people to buy his books instead of getting them for free. Never mind the fact that he also says library use is declining in the UK, which would seem to lessen the impact on his bottom line.
First off, something I wasn’t aware of is the fact that UK authors are paid a small fee every time one of their books is checked out from a UK library, with the total amount capped at £6,600 annually. That sounds like an awesome idea that I wish was feasible to implement in the US. I have a feeling that it wouldn’t fit into library budgets, however. Even still, that payment wasn’t enough for Deary, who feels entitled to the sales he thinks he would have made if those were books bought instead of checked out.
Deary’s rant, focusing as it does on his need to get paid, manages to come off as petulant, greedy and classist to boot. In one gem of a quote, he declares that “this is not the Victorian age, when we wanted to allow the impoverished access to literature” because I guess poverty is no longer a worldwide epidemic, right? Poor people who want to read should just skip a meal and pay for books instead, and when physical books go the way of the buffalo, they should start paying for e-readers and internet access too. (But that’s a whole other issue.)
Never mind the fact that books are more than just commerce. A good book is food for the soul, and libraries make readers. Readers buy books. Just because it’s possible to get books for free from the library doesn’t mean people stop buying books as well, and it never has. I’ve always got a good half-dozen books checked out from the library, but I still spend $50-$100 a month on new and used books.
Also, it’s a fallacy to assume that if libraries went away that people would buy as many books as they borrowed. I buy a lot of books as it is, but I’d probably have to double or triple my budget to buy as many books as I check out from the library. It’s just not going to happen. It’s the same fallacy record labels use to claim that every pirated mp3 equates to a “lost sale”. When people can get things for free – from the library or by piracy – they tend to pick up more than they would ever buy.
Of course, libraries are about more than “free books”. They’re one of the few public spaces where you can sit and work or read and use the wifi without having to buy a cup of coffee. They provide easy access to computers and the internet for people who wouldn’t have access otherwise. They offer community events, meeting places, educational programs and more. Also, librarians do more than shelve books. They’re skilled researchers, talented educators, and passionate evangelists for great books. Every librarian I’ve ever met is a huge book-lover, and you don’t want to get on a book-lover’s bad side.
Ultimately, you have to wonder what exactly Deary was thinking when he decided to air his complaint. I suppose he felt like an iconoclast declaring a subversive opinion, but mostly he just came off like an avaricious, tone-deaf idiot. It’s bad enough that bookstores are closing by the dozens; if libraries started closing down at the same rate, I’d consider us lost as a species.
To paraphrase John Waters: “If you go home with someone, and they don’t like libraries, don’t fuck ‘em!”
In Hold Me Closer, Necromancer, Sam LaCroix is a college drop-out with a dead-end job at a burger joint. He just coasts along, hanging out with his friends/coworkers Ramon, Brooke and Frank, never quite satisfied with his lot in life, but not exactly unhappy, either. That all changes one night when he accidentally smashes the headlight of a sports car while playing potato hockey behind the restaurant.
It turns out the owner of the car, Douglas, is a dangerous man with a chip on his shoulder, and when he comes into the restaurant to complain about the smashed headlight, he sees something in Sam that puts him directly in Douglas’ crosshairs. Apparently Sam has been hiding in plain sight his whole life, but Douglas is suddenly able to sense his powers and demands to know what he is doing in Seattle. Sam blows him off, but finds out very quickly that this is a huge mistake.
First, Sam is attacked by one of Douglas’ henchmen, a man who somehow manages to slice up Sam’s back without using a weapon. Sam makes it out of the encounter alive, but Douglas isn’t done with him. The next morning Sam wakes up to discover his friend Brooke’s decapitated head in a box… and then she talks, and explains that she was sent as a message. Things only get weirder and more dangerous for Sam and his friends after that.
For whatever reason, this book took me a long time to finish. I started it about a month ago, but put it down for weeks before finally plowing my way through most of it in one sitting. I ended up enjoying it overall, but there were definitely a few plot holes and strange choices throughout that didn’t bother me while I was reading but felt a bit more problematic once I finished and let the book sink in.
First off, the book jumps back and forth between first person and third person. The first person scenes are told from Sam’s point of view, and take up most of the book, but the third person scenes are both longer and more common than I was expecting. There are several scenes from Douglas’ perspective as well as some from a girl named Brid whose connection to Sam’s storyline isn’t immediately apparent. These scenes do eventually come together with the main storyline, but in retrospect I think part of what bogged me down for so long was getting stuck in one of those third-person scenes without understanding its purpose.
Also, Douglas’ motivations don’t entirely makes sense. He tells Sam that he needs training and can either die or be his apprentice, but never even tries to gain Sam’s confidence. It’s clear to both Sam and the reader that Douglas only means him harm from the outset, so there’s never really any danger that Sam might be tempted towards the dark side. It’s kind of a shame, really, because if Sam had been presented with more of a moral quandary, it might have ramped up the tension a bit.
That said, I enjoyed the book enough that I immediately bought the sequel when I was done. I like McBride’s writing style, and I enjoyed the setting and characters. I’m curious to know what happens next, even if this book started unravelling a bit after I let it sink in. I think there’s a decent chance this is a series that will actually improve as it goes on despite my criticisms of the first book. Worth a read.
Amazon raised eyebrows in the publishing world last week with news of a patent they received for reselling used ebooks. Several authors I follow on Twitter expressed immediate concern, including Chuck Wendig, who wrote a hilariously foul-mouthed blog post and began tweeting jokes about used ebooks.
Now, it’s possible that the patent is just Amazon covering their bases. Apple is known for patenting technology that never sees the light of day, and I’m sure they aren’t the only one. It’s also possible that the patent isn’t exactly what it sounds like at first blush.
However, it’s hard to imagine how reselling used ebooks would work any better than piracy does for authors. Authors don’t actually receive royalties when you walk into a used book store and buy their book second-hand, so would that still be the case if you buy a digital version of their book “used”?
Also, what exactly does it mean for an ebook to be used? It’s not like the files degrade, after all. It’s generally understood that used books are cheaper than new books in part because of wear and tear. Would it make sense, then, to discount a used ebook? Amazon’s currently system involves selling new and used books side-by-side, sometimes with a fairly prominent one-click button to buy the book used, so would they also start displaying cheaper “used” versions of ebooks?
Along those lines, I can definitely understand why the immediate reaction from authors was disbelief and concern. A form of this business model already exists on a website called ReDigi, which bills itself as a “pre-owned digital marketplace” and lists “used” and “new” prices for MP3 files right next to each other despite the fact that the files are probably identical. The whole thing just feels sketchy, and if Amazon goes down the same route, they’ll do nothing but alienate authors and other content creators.
However, I do think there is a counter-argument to consider. After all, as more of the content we consume starts existing only in “the cloud”, what exactly does it mean to own something digital in the first place? In most cases, companies make a clear distinction between owning the “license” to content and owning the actual content. A license is something that can be revoked, and digital rights management means that you can’t circumvent that license.
If I’ve spent hundreds (or thousands) of dollars on digital books and music, what happens to those licenses when I die? Do they just evaporate into the ether, or should I have the right to hand them down to my heirs? What if I read and enjoyed an ebook and would like to give it to a friend to read at her leisure?
If you start thinking about license transfers on the personal level instead of the corporate level, they start making a bit more sense. The problem to solve is finding a way to allow someone to give an ebook to a friend without also making it possible for a corporation to sell thousands of copies of that book without paying royalties.
It might actually all come down to branding, really; the concept of “used ebooks” is patently absurd because calling something “used” is irrevocably tied to its existence as a physical object. However, if you reframe it in terms of digital content, transferring content licenses starts sounding a bit more reasonable.
Ultimately I think there needs to be a legitimate way for content licenses to be transferred between people, and if Amazon has figured out a way to do it, it might not be such a bad thing.
I’ve never been a huge fan of horror, but over the years I’ve gained an appreciation of scary stories. They aren’t necessarily the same thing, either. As I see it, horror is a genre with a few common tropes, one of which is that the story may or may not be scary. For example, I’ve never really thought that slasher movies were scary. They’re mostly just gratuitous. I’ve read a bunch of Stephen King, but few of his books are truly scary and most feel more like dark fantasy than outright horror. Evil Dead 2 isn’t particularly scary, either, but it’s definitely a horror classic.
Scary stories, on the other hand, can exist in almost any genre. I think a good author can wring a bit of terror out of something entirely realistic and/or mundane. However, it’s pretty rare that I read something that genuinely freaks me out. When it does, it’s the sort of thing that sticks with me forever, which is definitely something to strive towards as a writer. I’m certainly drawn to writing scary stories myself.
When I think of scary stories, one of the first that springs to mind is Chuck Palahniuk’s Lullaby, which tells the story of a man who discovers an African culling song in a children’s book. Unfortunately for him, he only discovers the song’s powers after he’s read it to his wife and child and accidentally killed them both. Then, of course, the song gets stuck in his head, and if he inadvertently thinks it at someone, they die. Needless to say, I found the concept of a deadly thought virus completely and utterly terrifying.
Next in line is Neil Gaiman’s Coraline, which is probably my most favorite of all his books. The funny thing about the book is that I’ve heard it tends to scare adults far more than children. Apparently a young girl exploring a frightening alternate universe full of terrible danger tends to freak out adults but sounds like an adventure to kids. Go figure! Gaiman skillfully uses surrealism and an omnipresent menacing atmosphere to keep the reader constantly off-kilter, and the tension just keeps building. Coraline isn’t the only work of Gaiman’s that I’ve found creepy and/or disturbing. Some of his short stories are particularly chilling as well.
I’d also argue that Megan Abbott’s The End of Everything fits in this category. The narrator, Evie, is a teenage girl in the 1980s whose best friend suddenly disappears one day. Was she abducted? Did she kill herself? Panic in the community builds as the disappearance drags on and on, and Evie takes it upon herself to investigate what happened. Part of what makes the book so terrifying are the uncomfortable parallels between Evie’s crush on an older man and the increasing likelihood that her friend was abducted by a pedophile. Nothing in the book is black and white, and even though it’s one of the best books I’ve read in a long time, I hesitate to recommend it to anyone simply because it filled me with such a palpable feeling of uneasiness throughout.
I hope to someday tell a story that manages to convey the same sense of dread and uneasiness I felt when I read those books and others. Until then, I’ll continue on my quest to read truly frightening books wherever I may find them.
Over the weekend, an argument/discussion broke out on Twitter between Anthony Burch, lead writer for Borderlands 2, and Mike Sacco, a (now former) game designer at Cryptozoic, about Borderlands 2′s Tiny Tina, a character that Sacco felt was “problematic”. Kotaku has the run-down, but, as always, don’t read the comments section unless you feel like bleaching out your brain afterwards. Sacco wasn’t fired for starting the discussion, but when Cryptozoic asked him to disassociate himself from the company online and stop talking about Tiny Tina, he didn’t think the second requirement was appropriate, so he quit.
Sacco’s main concern was that Tiny Tina is white but uses what he considers “urban” slang. When I heard that, I couldn’t quite wrap my head around it, especially because Sacco insists that the character is “actively racist” for using slang terms like “crunk” and “badonkadonk” that have been common in pop culture for decades. Now, it’s obviously true that there are slang terms that are off-limits to white people; for example, one of my favorite songs by A Tribe Called Quest has a chorus I can’t sing along with. However, while it’s completely understandable why a loaded slur would be off-limits, it’s think it’s a bit of a stretch to say that goofy slang terms without negative connotations should also be off-limits.
Read the rest of Borderlands 2: A Tiny Bit Racist? (384 words)
When I was a kid I read and re-read the same handful of books. The complete works of Douglas Adams were in heavy rotation. Hitchhiker’s Guide, sure, but I also read Dirk Gently’s Holistic Detective Agency until the cover fell off. I also picked up Roald Dahl over and over again. I remember reading The Witches most often, despite the fact that when I tried to watch the movie version it terrified the hell out of me. (The girl stuck in the painting? Nightmare fuel.) Those are the books that stand out in my mind, but I’m sure there were others.
This habit didn’t stick with me, though; as I grew older, I got out of the habit of re-reading books. Part of it may have been that as I had more disposable income (and a car), I could pretty much always get my hands on something new to read, so I no longer felt the need to go back to familiar old books. I certainly have plenty of new books to read now, so It’s rare that I’m willing to make the time to re-read something, even if it was years ago.
However, whenever I talk to people who are regular readers, re-reading books seems like a fairly common pastime. Based purely on anecdotal evidence, I get the impression that re-readers are far more common than folks like me who only tend to read books once before moving on. The simple explanation for a lot of the people I’ve talked to is that they like re-reading books because it’s comfortable. Sure, they might know what happens in the story, but reading it again is like visiting old friends or a familiar place. I’ve never been drawn to re-read books out of comfort, but I can understand the appeal.
I can also definitely see the value in re-reading books like Catcher in The Rye at different points in my life. That book meant something different for me when I was in high school than it did when I was in college, and I’m about due for a third reading. I’ve also re-read books for purely practical reasons, such as when I had to read A Game of Thrones and A Clash of Kings for a second time because I was completely lost when I tried to start reading A Storm of Swords.
Lately I’ve been considering going back and picking up books and/or series from my childhood and reading them again just to get a new perspective. Despite reading Hitchhiker’s Guide a dozen times, I don’t remember too much about it, so reading it again now would be a revelation. I am a little hesitant, though. Sometimes the things we love in childhood don’t stand up to scrutiny when we return to them as adults.
I did actually start a Harry Potter re-read last year – this time listening to the audiobooks – but I only made it through the first two books before I got distracted by other things to read. I’ll finish the series eventually, but once I do, I want to take a crack at some other iconic authors from my childhood. I’m also seriously considering picking up some of the books ruined by my high school English classes. The Great Gatsby got it the worst, but I might also take another crack at A Tale of Two Cities. Not sure if The Scarlet Letter is worth a third read, though.
Ultimately, however, I don’t think I’ll ever be a re-reader by nature. I’m always looking forward to the next new book in line. I only pick up books I’ve already read by conscious choice… or if they were so unmemorable that I completely forgot about reading them (which has happened before). That said, I think I will be making a conscious effort to dive back into some past reads over the course of the next year, just to see what I may have missed back then.
The Human Division by John Scalzi, January 15th to April 9th, 2013 – The first two installments of John Scalzi’s episodic novel set in the Old Man’s War universe have already been released, but there are eleven more episodes to look forward to over the next few months. The first episode, The B Team, felt like the opening of a novel, but the second episode, Walk The Plank, was very different stylistically and focused on entirely different characters. I have a feeling that Scalzi plans on playing with our expectations over the course of the series, and I’m very curious to see what he does next.
Homeland by Cory Doctorow, February 5, 2013 – I have mixed feelings about Cory Doctorow. On one hand, I don’t always agree with his politics – or at least the extremity of his views – but I thoroughly enjoyed Little Brother when I read it a few years ago and I am definitely looking forward to this sequel. Much of Doctorow’s work seems closely tied to his personal politics, and Homeland is no different. Here he tackles a Wikileaks-style information dump that young hacker/activist Marcus has to decide how to disseminate, all while he is being chased by mysterious agents and trying to rescue a kidnapped friend.
The Teleportation Accident by Ned Beauman, Feb 26, 2013 – Whoever wrote the blurb for this book is an absolute genius. The book is described alternately as “a romance novel that arrives drunk to dinner” and “a science fiction novel that can’t remember what ‘isotope’ means” among other things. The book sounds hilarious, weird, obsessed with sex and exactly the sort of thing I’d like to read despite the fact that I’m not entirely sure what it’s actually about. Those kinds of books either turn out to be my all-time favorites or complete wrecks that I abandon within fifty pages, but they’re always worth giving a shot.
You by Austin Grossman, March 26, 2013 – Austin Grossman – twin brother of Lev Grossman and author of Soon I Will Be Invincible – draws on his experiences working in the game industry to tell the story of a game designer who joins a legendary developer in an attempt to solve the mystery of his friend’s death. However, once he starts working on their upcoming game, he discovers a “mysterious software glitch” that leads him on a path towards discovering something bigger and far more dangerous. I haven’t read Grossman’s first book, but this one sounds like it’ll scratch the same itch as Ready Player One and Mr. Penumbra’s 24-Hour Bookstore.
Life After Life by Kate Atkinson, April 2, 2013 – Kate Atkinson’s first novel in several years that doesn’t focus on detective Jackson Brodie also has an intriguing time-bending premise. Ursula Todd is first born in in 1910 only to die that same night. Except she also lives, only to die again and again throughout the course of her odd life. This one completely snuck up on me; I haven’t read all of her Jackson Brodie books, but I was starting to get the impression that she was planning on sticking with that series for the foreseeable future.
NOS4A2 by Joe Hill, April 30, 2013 – I still need to read Horns, but Heart-Shaped Box and Locke & Key were more than enough to convince me that Hill is a talent to watch. Here he tells the story of Victoria McQueen, the girl with “a secret gift for finding things”, and Charlie Manx, a very dangerous man in a Rolls-Royce that can travel between worlds. They cross paths one day and Victoria barely escapes with her life. The story picks up again years later when Charlie comes after Victoria’s son. The book sounds intense and ambitious, and I’m definitely looking forward to checking it out.
The Shining Girls by Lauren Beukes, June 4th 2013 – First off, this book gets absolutely ecstatic reviews from everyone that reads it, so that’s definitely a vote in its favor. I read Beukes’ Moxyland a few years ago, and although I did enjoy it, it felt a bit like William Gibson-lite. Here it seems like she might have truly come into her own with a story about a time-travelling serial killer and the girl who survives to hunt him down. Also, it’s being published by Mulholland Books, who seem to have a lot of fascinating crime/sci-fi crossovers on their schedule this year.
Joyland by Stephen King, June 4th 2013 – Joyland is the first of two King books coming out in 2013. What makes this one interesting is that it’s the second book he’s published through Hard Case Crime (the first was The Colorado Kid), which implies that even if there are supernatural elements, the book will fall more on the pulp/thriller side of things. As you might guess from the title, the book focuses on a young man who works at an amusement park and discovers something sinister. King’s last few books have been epics, so it’s nice to see him stepping back and telling a story that isn’t quite so wide in scope.
Claire DeWitt and the Bohemian Highway by Sara Gran, June 18th 2013 – I read the first Claire DeWitt book with my book club, and Gran immediately joined the short list of authors whose every work I want to read. City of the Dead focused on the detective’s return to post-Katrina New Orleans, and the mix of mysticism, surrealist detective manuals and local New Orleans flavor combined to make an incredibly compelling read. Here DeWitt travels to San Francisco to solve the murder of her musician ex-boyfriend. One of the things I loved most about City of the Dead was that New Orleans felt like a character, so the choice of San Francisco as a setting seems like a natural progression.
The Ocean at the End of the Lane by Neil Gaiman, June 18th 2013 – I don’t know what Gaiman’s next novel for adults is about, but I know I’ll be picking it up and reading it as soon as it comes out. It’s actually kind of pleasant not knowing the synopsis of such a big release, so I think I might do what I can to stay relatively unspoiled until June (if at all possible). I will admit that the last few things I’ve read by Gaiman haven’t grabbed me as much as Neverwhere or American Gods, but Coraline is one of the few books I’ve read that actually freaked me out, so I’ll forgive the occasional bit of uneven writing after that terrifying little book.
Neptune’s Brood by Charles Stross, July 2, 2013 – Far-future “mundane” space opera set in the same world as Saturn’s Children with a storyline that apparently involves interstellar finance. Stross is one of few authors I’ve read who manages to make wonky discussions of economics, technology and politics both exciting and palatable. I finished reading his Merchant Princes books last year, and although it was occasionally a bit of a bumpy ride, I was fascinated by all of the economical maneuvering Stross wove into the story.
Skinner by Charlie Huston, July 9th 2013 – Huston is another one of those authors whose books I will buy and read immediately upon release. I absolutely loved Caught Stealing, Sleepless and The Mysterious Art of Erasing All Signs of Death, so it’s hard to contain my excitement for Huston’s debut with Mulholland Books. The blurb describes it as “a combination of Le Carre spycraft with Stephenson techno-philosophy” and that just sounds like it’ll hit all the right buttons for me. Huston is a master of spare, intense crime thrillers that are alternately grim, gruesome and hilarious. Can not wait.
Doctor Sleep by Stephen King, September 24th 2013 – A sequel to The Shining that catches up with Danny Torrance as an adult working in a nursing home. One day he meets a young girl who has “the brightest shining ever seen” and she draws him into a battle both against his personal demons, including the legacy of his father’s alcoholism, and against a murderous tribe of paranormals called The True Knot. I never actually finished The Shining, but I’m still looking forward to this sequel. I plan on reading a lot of Stephen King this year, and have made a pile of King books next to my bed in preparation.
Steelheart by Brandon Sanderson, September 24th 2013 – The synopses for Sanderson’s books don’t generally grab me, but that’s probably because I’m really not much of an epic fantasy reader. However, I was pleasantly surprised by the description of Steelheart, which tells the story of a world where people called “epics” were granted superpowers by a burst in the sky. Instead of being a force for good, epics used their powers to become despotic tyrants. The only people willing to fight against the epics are a group of normal humans called “reckoners”, who spend their time working on finding ways to assassinate the epics. I love the idea of normal human beings fighting against super-powered tyrants, so I’ll definitely be giving this one a chance.