Tag Archives: Fantasy

THE CHANGELING SEA – Patricia A. McKillip (1988)

The Changeling Sea McKillip

A few days ago, I read that Patricia A. McKillip died on the 6th of May, at the age of 74. I basically dropped what I was reading, and decided to read The Changeling Sea, so I could quickly post a review here as a small hommage.

I felt the need to do so because McKillip’s debut, The Forgotten Beasts of Eld, made such an impression on me that I wanted to contribute my bit to keep McKillip’s flame burning.

The Changeling Sea is a short work, only 137 pages, but still a full novel – I wouldn’t call this a novelette as I’ve read here and there.

It’s also classified as young adult, but while some 14-year-olds will probably like this too, it is a very mature work. Rather straightforward and simple on the surface, and as such fairly easy to read, but I would not say this is juvenile, not at all. In that respect, it is not dissimilar to Le Guin’s A Wizard of Earthsea. There are other similarities to Le Guin’s masterpiece as well: there’s some magic, and an island setting.

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THE LIONS OF AL-RASSAN – Guy Gavriel Kay (1995)

The Lions of Al-Rassan

When I read The Fionavar Tapestry six years ago, I was totally enamored by it. Kay’s debut series is a high fantasy classic with overtones of Frazer’s Golden Bough. At the time I wrote – rather pompously – that “Kay manages to convey one of the key aspects of a Romantic worldview so, so well: we, mortal humans, are part of a vast Whole that is mysterious, ancient, uncaring and unforgiving. This Whole determines us, but at the same time we determine parts of the Whole too. We cannot expect the Whole to do our bidding, that we have to do ourselves. In acknowledging this, and in doing this bidding, living our lives, there is heroism and honor to be found.”

I still stand by these words, but nevertheless I find myself puzzled by certain aspects of The Lions of Al-Rassan that tie into said Romanticism: the ethics of violent heroism and honor as it is portrayed in Kay’s sixth novel – considered by many to be his best, in tandem with 1990’s Tigana.

I didn’t finish Tigana, abandoning it quickly because I couldn’t get over its obvious artificial nature, and because something in the prose didn’t ring true. Maybe I should have persisted, but either way I’m glad I didn’t give up on Kay because of it: The Lions Of Al-Rassan made my cry three times – once even for the duration of a couple of pages. No mean feat, no mean feat at all. So while I will raise some critical questions in this review, make no mistake about it: I enjoyed this book very, very much, and if historical fantasy is something you enjoy, do not hesitate to try Al-Rassan yourself.

The novel leans heavily on the Reconquista of Spain, which took about 4 centuries, but Kay compresses it into a single lifetime. Its setting resembles the Iberian peninsula, but the Muslims, Christians and Jews go by other names. Kay himself has talked about the benefits of historical fantasy as a genre:

First of all the genre allows the universalizing of a story. It takes incidents out of a very specific time and place and opens up possibilities for the writer – and the reader – to consider the themes, the elements of a story, as applying to a wide range of times and places. It detaches the tale from a narrow context, permits a stripping away, or at least an eroding of prejudices and assumptions. And, paradoxically, because the story is done as a fantasy it might actually be seen to apply more to a reader’s own life and world, not less. It cannot be read as being only about something that happened, say, seven hundred years ago in Spain.

I’m not sure I agree, at least, not in the case of Al-Rassan, because it is all so instantly recognizable as Spain somewhere in the 11 to 15th century, and if you’re a wee bit familiar with European history, the Kindath clearly are Jews, the Asharites clearly Muslims and the Jaddites clearly Christians.

That does not mean Kay didn’t manage to write a story about universal themes: the “interplay between bigotry and tolerance”, the “uses and misuses of religion for political ends” and “the real price of war paid in bloodshed, loss and grief.”

He did write something universal, but not because the story was fictionalized in a world with two moons, and names and some other stuff was changed. I think the story is universal simply because these themes are universal in and by themselves. The fact that Kay turned it into a successful story doesn’t have that much to do with the chosen genre but simply with his narrative craft, authorial decisions and excellent prose.

As for genre: I should warn potential readers with a narrow taste that this book hardly features magic or other tropes specific to (high) fantasy. There’s the two moons that just serve as a backdrop, and one sole instance of precognition that drives a crucial part of the story. That’s it. But there are assassins, horses, palaces, and sword-fighting. And because Kay does all that extremely well, most fans should get their kicks even without dragons, demons or fire-bolts.

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2021 FAVORITES

The continuing pandemic freed up time this year as well, so I read 38 titles in 2021. As always, I won’t make too many promises about what I’ll read in the coming months, but I’ll finish my reread of the Dune series – Chapterhouse: Dune should be one of the next reviews I post. Greg Egan, Kim Stanley Robinson, M. John Harrison and Antwerp author J.M.H. Berckmans have become regulars on this blog, and they will remain so.

I’ll continue to read non-fiction too, I’ve amassed a bit more science books than I usually have on my pile – yearly picture below. New additions are books on vision and the brain, oceans and economy. I also hope to finally read Feynman’s QED on light. As for art books, I’m still reading on Picasso, and I’ll try to finally start with Becher or Twombly, long overdue.


Before I’ll get to this year’s favorites, a bit of blog stats for those of you who are interested in such a thing. I’ve again had a significant increase of traffic: 38,763 views and 21,108 visitors – about 16,000 and 8,000 more than in 2020. Lots of that traffic seems to be driven by my writings on Frank Herbert – I guess the Villeneuve movie increased the interest in analysis of his work.

Of the posts I wrote in 2021 Dune: Part One, God Emperor of Dune and The Book of the New Sun were most read: 1567, 1210 and 1106 views. To offer a bit of perspective: last year that top 3 was Dune Messiah, Children of Dune and The Ministry for the Future, and they only got 675, 501 and 363 views.

As for all-time stats, most read reviews so far are those for Dune Messiah (2742 views since published), Recursion (2631) and Piranesi (2255). There’s 14 posts with over 1000 views now, and an additional 23 with over 500 views in total. I’ve been blogging for 6 years, and so far I’ve published 266 posts.


As always, a big thank you to everyone who has read what I write, and an extra special thanks to those that have commented, linked or pressed the like button: much appreciated, it doesn’t go unnoticed. My best wishes to you and yours for 2022 and beyond.



FAVORITE READS

As for the actual favorite book list: below are the titles I’ve given a 5-star rating on Goodreads in 2021, six books in total – the older I get, the harder it seems to become to rate something the full 5 stars. If I had to pick one, I’d go for The Book of the New Sun, an old favorite that held up well to rereading, or maybe Contingency And Convergence – I learned so much from that book.

Honorable mentions for Eschbach’s The Hair-Carpet Weavers, Harrison’s Nova Swing, Robinson’s The Gold Coast, Cook’s The Black Company, Buchanan & Powell’s The Evolution of Moral Progress: A Biocultural Theory, Stephenson’s Termination Shock and, in Dutch, Boon’s De Voorstad Groeit. All more than excellent reads, well worth your time.

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THE FORGOTTEN BEASTS OF ELD – Patricia A. McKillip (1974)

The Forgotten Beasts of Eld McKillip (Canty)Some authors have managed to break through the wall between genre fiction and the literary establishment. Le Guin springs to mind, and Atwood as well.

Patricia Anne McKillip will never be able to do so with a cover like the one on the left – of the 2017 edition. Beautiful as it may be, you cannot market this like Orsinian Tales, The Handmaid’s Tale, or even Piranesi.

Also the plot is harder to sell to a regular crowd: Sybel is a reclusive female wizard, surrounded by mythical beasts that are centuries old – a talking pig, a dragon, a lion, a big falcon, a black swan. Hardly experienced with emotions, Sybel is asked to raise a baby, the alleged son of some king. Gradually she becomes “entangled in the human world of love, war and revenge.”

On top of that, I’ve seen this categorized as YA – even by McKillip herself – and while a 14-year-old might enjoy this, a teenager will miss what this book is actually about – just like most people will miss the thing entirely if they can’t get past that cover and the blurb.

So can we fault people for thinking: fantasy from the 70ies for teenagers, nothing to see here, walk on, next shelf? You could say the same of A Wizard of Earthsea, but somehow Le Guin managed to get respect and four Library Of America volumes. It would be interesting to read an academic study of how that came about, but my guess is being the daughter of an anthropologist helped, as did writing about socialism, Vietnam, gender and the likes – Serious Things. McKillip, on the other hand, as far as I can tell, doesn’t seem to write about politics in her later work. She also kept on writing YA titles, not exclusively so, but maybe too many to make a blip on the radar of Literary respect.

Not that I want to make the issue a contest. It is just interesting to ponder the reception of speculative fiction, and what factors contribute to mainstream success: how would Earthsea be looked upon today without Le Guin’s later work?

Because just as Earthsea, The Forgotten Beasts of Eld is about human emotions first. Pat Cadigan tries to frame the story as one about power in her introduction to the Masterworks edition I read, but that reduction doesn’t do the story justice.

So, what is this very first winner of the World Fantasy Award about? I’ll keep it spoiler free: I want nobody deterred from reading the rest of review, because The Forgotten Beasts of Eld is a masterwork indeed.

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THE BLACK COMPANY – Glen Cook (1984)

While the goofy 80ies cover by Keith Berdak to the left suggests otherwise, The Black Company hardly feels dated.

Or maybe scrap that, as it is the first book in a long standing dark fantasy series – 10 novels, some short stories, a spin-off – that has only 217 pages. Only two hundred seventeen, indeed.

It features none of the things most publishers demand of fantasy in the 21st century: no impressionistic descriptions of exotic fragrances of herbs & spices on the local market, no 400 pages of set-up for the next book to sell. In short: this is the real deal, not some streamlined version of what generic fantasy has become.

More so, The Black Company is seminal, if we have to believe Steven ‘Mazalan’ Erikson: “With the Black Company series Glen Cook single-handedly changed the face of fantasy – something a lot of people didn’t notice and maybe still don’t. He brought the story down to a human level, dispensing with the cliché archetypes of princes, kings, and evil sorcerers. Reading his stuff was like reading Vietnam War fiction on peyote.”

Cook’s series is also often described as a precursor to grimdark – even if violence doesn’t take center stage in this first book. What takes center stage is plot: Cook wrote a fast paced story about a group of mercenaries involved in a continent-wide battle.

But characters aren’t unimportant either – this indeed is the story of a band of brothers, and while there isn’t that much psychological depth at display in this first book, I suspect that I will end up caring a lot about these men by the time the series is finished – even if most of them probably will be dead by then.

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2020 FAVORITES

The pandemic freed up time, so I read 40 titles in 2020, 14 more than last year. I won’t make too much promises about what I’ll read in the coming months, but I will continue my reread of the Dune series – God Emperor should be the next review I post. I’ll also continue to explore Greg Egan’s work, and the work of Antwerp author J.M.H. Berckmans.

As for art books, I’m still reading on Picasso & Rembrandt – we’ll see if that gets translated into posts. I’ll try to squeeze in some of the Becher, Turrell and Twombly I promised last year, but I also want to read books on Jean Fouquet and Hockney. I’ll continue to read other non-fiction too, I’m currently tackling Contingency and Convergence – Toward a Cosmic Biology of Body and Mind by Russel Powell, a joy so far. Should be of interest to any hard SF authors imagining alien life.


A bit of blog stats for those of you who might be interested in such a thing. I’ve had a significant increase of traffic, with 22.971 views in 2020, and 13.032 visitors – about 8.000 and 4.300 more than in 2019.

The most successful post of 2020 was about Dune Messiah, garnering 675 views. Children of Dune comes in second with 501 views. The Ministry for the Future – posted only 2 months ago – closes the top 3 with 363 views.

Most read reviews so far are those for Recursion (2.124 views since published), The Dosadi Experiment (1.212 views) and New York 2140 (1.097 views). Also still going strong (+800 views) are posts on The Wandering Earth, Green Earth, The Algebraist and Uprooted. There are 23 posts with over 500 views in total now, 6 of which are about Frank Herbert books.

A big thank you to everyone who has read, liked, commented or linked. All the best to you and yours for 2021.


As for the actual favorite book list: below are the titles I’ve given a 5-star rating on Goodreads in 2020, 6 in total. If I had to pick one, I’d go for Radiance by Carter Scholz.

Honorable mentions for The Day of the Triffids, Solaris, The Sunken Land Begins to Rise Again and How History Gets Things Wrong: The Neuroscience of Our Addiction to Stories, all more than excellent reads, well worth your time.

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PIRANESI – Susanna Clarke (2020)

PiranesiMy expectations for Piranesi were lukewarm. Clarke’s short story collection wasn’t fully successful, and the early descriptions of this new novel hinted at a dreamlike, labyrinthine, magic-realist puzzle – not really my cup of tea.

So I entered The House with a certain reservation, but Clarke’s narrative powers quickly swept me away.

Not that this book is a 100% triumph, but it would be foolish to dwell on its few, minor flaws too long. Taken as a whole, Piranesi succeeds brilliantly, and easily stands among the very best I’ve read this year.

I do think this review is safe for those who haven’t read it yet, but as I will try to unravel some of the book’s philosophical underpinnings, there will be mild spoilers – even so, nothing you can’t guess after about 30 pages in. I will not say anything about its relationship with Jonathan Strange & Mr. Norrell. There are links aplenty – disenchantment for one – but Piranesi deserves to be treated & read as its own thing first.

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THE KNIGHT – Gene Wolfe (2004)

The Knight gene wolfeSomeday I will reread and review the four parts of The Book of the New Sun – one of the most imaginative books I have ever read. The consensus seems to be that Wolfe never topped that, but the appraisal for his other work is less unisono.

My own experience is similar. The Fifth Head of Cerberus went down relatively well, as did Urth of the New Sun, and I liked the first two parts of The Book of the Long Sun – a lot, at times – but dropped out of the third.

Enter The Wizard Knight – a later work, published when Wolfe was 73. The nature of this work is a bit unclear: is this a duology or one novel in two parts? The Knight was published a few months before The Wizard, some say for commercial reasons – Kill Bill: Vol. 1 came out in october 2003 and might have set a trend. The omnibus The Wizard Knight was published fairly quickly, in 2005.

Lots of reviewers seem to treat this as one novel – it sure is one story. However, the back of my Tor paperback of The Wizard starts with this quote from Publishers Weekly: “The Wizard stands alone and might even be best if read before The Knight, but will surely drive readers to the first as well….”

So I think it is fair to review The Knight separately, as the first part of a series, but I’ll reserve my judgement about the full story for when I’ve read the final volume too.

After the review, I’ll make some remarks about Wolfe’s politics as a reaction on an essay of his about The Lord of the Rings that might be of interest to some readers, even if they aren’t interested in The Knight.

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TEHANU – Ursula Le Guin (1990)

TehanuSome 17 years after Le Guin completed the original Earthsea trilogy, she returns to the isle of Gont. This time she focuses on Tenar from The Tombs of Atuan, but also Sparrowhawk remains an important character, and Arren from The Farthest Shore plays a part as well.

It’s commonly known Le Guin wrote this book partly to rectify the gender imbalance in the initial trilogy, and in the fantasy genre in general. Indeed: wizards and mages are Men, and females with magical powers generally are foul witches or servile priestesses. The medieval setting of most fantasy stories is filled with patriarchy and Kings – nobody needs to be convinced of that. So yes, in today’s parlance, Tehanu is woke – but not fully woke, as I’ll try to explain.

Before I write a bit on the book’s political issues, let me try to give an overall appraisal of Tehanu, without spoiling the first three books.

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SAGA: Book One – Vaughan & Staples // HERE – McGuire (2014)

Two reviews of comics / graphic novels this time – very different in content, tone and style. Both editions were published in 2014, and both have speculative elements – Saga has nothing but, Here only very sporadically dips into the future.

The McGuire goes back to his groundbreaking 6-page 1989 comic strip of the same name. The Saga series was started in 2012, and is on hiatus for the moment. Its first trade paperback collection won the 2013 Hugo Award for Best Graphic Story – it is a blend of space opera & fantasy.

Saga nahhh

Here dancing

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THE LORD OF THE RINGS – J.R.R. Tolkien (1955)

The Lord Of The RingsBefore I get to the main course of this massive 7261 words review after the jump, some introductory remarks on my relationship to Tolkien first.

There will be one big problem with this review: I truly cannot assess this book on its own merits. I was 22 when the first Peter Jackson adaptation came out, and over the years I’ve seen all three movies multiple times, as well as the extended versions. Not that I consider myself a The Lord Of The Rings geek – not at all – but the movies were such a dominant cultural force back in the days, with CGI and other special effects on a scale unseen before. In an age before streaming, popping in a LOTR DVD simply was easy escapism, even if you’d seen it twice already.

I had read The Hobbit in translation when I was 14 or so, but wasn’t that impressed, and subsequently got bogged down in a Dutch translation of The Fellowship of the Ring a few months later. When the movies came out a few years later, I didn’t feel like I needed to read the books – as my friends who had read them assured me there wasn’t a whole lot more to the story, so I wasn’t curious – I mean, why read 1000 pages just to get a few scenes with Tom Bombadil or Radagast The Brown? And yes, the Scouring of the Shire is a significant coda, but it wasn’t crucial to satisfy my escapist urges.

Today, I have read the books. I even read the 894-page A Reader’s Companion by Wayne Hammond and Christina Scull – well, I skimmed certain parts of that, to be honest. As I said, I’m not a LOTR geek, but the 2014 version of 2005’s Companion was included in the edition I ended up buying. I wanted to have a hardcover edition (with the appendixes) in 3 separate bands – as I’d found that the single tome I bought first was simply not practical to read, so I send that back, and an edition with the Companion turned out to be the cheapest. As I knew I wanted to write this review, I thought it would be interesting to read up a bit on LOTR now that I had that Companion anyway. For those of you interested, I’ve included a short review of Hammond & Scull’s volume at the very end.

All the prefaces and introductions and histories of the work’s origin and quotes from letters and notes and notes and notes did enhance my reading experience. It showed that Tolkien had too much time on his hands, and invested so much in backstories of details that the entire Middle-earth mythos is a work of art so far out there it borders on the insane – the fact that A Reader’s Companion makes crystal clear again and again Tolkien was foremost preoccupied with the linguistic aspects of his creation only amplifies that.

But I shouldn’t get ahead of myself: I was talking about the one big problem of this review. I will do two things in the remainder of this text:

First, I’ll talk about my reading experience in relation to having seen the movies first, and try to compare the two. That might be of interest to a whole lot of new LOTR readers, as I take it most newbies will have seen the movies first, but it might also be of interest to people who read the books first, as, paradoxically, having seen the movies first also allows me to reflect on the bare bones of the story as story, regardless of medium.

After that, I’ll write a fair bit on what I wrote in my 5500 words analysis of that other monument of speculative fiction, Frank Herbert’s Dune:

I have long held the suspicion that what underlies big parts of literature is the way we relate to us being determined. At a basic level, everybody understands that reality is deterministic: if an egg falls, it breaks. If you drink alcohol, your behavior changes. If our heads are chopped off, we die. Physical and chemical laws – via evolution – give rise to biology, behavior and society. That knowledge is a problem for our consciousness, for we feel in control. As freedom is inherent in so many human claims, our basic understanding of reality short circuits with our basic perception of ourselves. It is humanity’s most basic problem (…).

It is my firm conviction such is also The Lord Of The Rings most basic problem, and it turns out again that authors are not always the best theoreticians about their own work: Tolkien’s writing on his own writing is a mess.

For those who might be confused by what I already wrote so far: I’m generally positive on this Monument of Fantasy. If pressed, I would give it 4 out of 5 stars as a literary accomplishment – which is excellent: 5-star reads are rare. As a work of outsider art, it’s way off the charts: 5+++ it is!

This text is the longest review I have yet written and especially the part on choice and “acts of will” is heavy with quotes from LOTR itself, but you can skip those if you want. Throughout this review, I will also quote extensively from letters Tolkien wrote, and I’d say those are crucial either way.

If you’re a seasoned Tolkien fan, I’m very curious about your view on what this LOTR newbee wrote about the matter, so don’t hesitate to disagree in the comments.

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DESDEMONA AND THE DEEP – C.S.E. Cooney (2019)

Desdemona and the deep

C.S.E. Cooney’s collection Bone Clocks was fantastic – one of my favorite fantasy reads ever. It won a World Fantasy Award, and the titular novella The Bone Swans Of Amandale was nominated for a Nebula. So I was pleased to see Desdemona And The Deep published by Tor: her first longer form publication. I wrote ‘longer form’, and not ‘long form’, as generally I’ve seen Desdemona And The Deep referred to as a ‘novella’ – I guess it says something about the inflation of the fantasy market that a 220-page story can’t just be called a novel.

Anyhow, it’s the third book in the Dark Breakers series. The previous installments The Breaker Queen and The Two Paupers – both about 88 pages – were only published in magazines and as Kindle editions by Fairchild Books, and there’s talk of Tor reissuing them. The stories are set in the same world, but each can be read as stand alone.

That world is a world in three parts: Athe (more or less like regular Earth in a 1920ish setting), Valwode, a magic country in between where Gentry lives, and beneath that, Bana The Bonekingdom, where goblins dwell.

As for the story, this is what the back cover promises: the spoiled daughter of a rich mining family must retrieve the tithe of men her father promised to the world below. On the surface, her world is rife with industrial pollution that ruins the health of poor factory workers while the idle rich indulge themselves in unheard-of luxury. Below are goblins, mysterious kingdoms, and an entirely different hierarchy.

As you instantly see, it ticks a couple of 2019’s boxes: pollution, social justice, inequality. It’s not overtly on the cover, but you can add an explicit transgender story line to that list. I have to say Bone Swans was much more amoral, much less grounded in today’s political debates.

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FALL OR, DODGE IN HELL – Neal Stephenson (2019)

Fall Or Dodge In Hell

Stephenson’s first new single author book since 2015 is yet again a whopper: 883 pages. Seveneves was a love it or hate it affair: page after page crammed with technical details about what would happen if the moon would “blow up without warning and for no apparent reason.” 2017’s The Rise And Fall of D.O.D.O., co-written with Nicole Galland, was a much lighter affair about time travel and witches – a breezy beach read I enjoyed, yet it lacked the single-minded urgency of Seveneves or the original brilliance of Anathem.

Fall or, Dodge in Hell falls somewhere in between: Stephenson caters to a larger audience again, without an overdose of scientific stuff, and hardly any difficult vocabulary – he (or his editor) even felt the need to explain references like one to M.C. Escher – but at the same time this is not mere entertainment.

Like Seveneves, Fall is actually 2 books in one. The second storyline appears after about 300 pages, and alternates more or less evenly with the first one for a couple of hundred pages, after which it dominates practically all of the final 200. In Seveneves the final part was far-future scifi, while Fall‘s second book is marketed as high fantasy – something it is not, as I’ll get back to in a few seconds.

It’s of note that this book isn’t really about Richard ‘Dodge’ Forthrast, even though he is the titular character. Dodge was the main character in REAMDE and Stephenson says he picked Dodge to recur because he liked writing him. Much to my surprise, he hardly figures in the book, at least as his biological self. (I haven’t read REAMDE, and Fall is a standalone book for sure.)

Shouldn’t you know already: Fall is about mind uploading after death, and a big chunk of the book is about executing Dodge’s last will and testament, after he suddenly dies at the very beginning. He wants his brain frozen, so it can be uploaded to a digital world when the technology comes into existence. As such, Fall starts in a very near-future setting, and we spend quite some time in the next 20 years or so. At the end of the book, we’re about a century from 2019.

The Dodge that manifests in the digital realm is simply a different character. A flat character. Which takes us straight to this novel weakness: the final 200 pages. If you allow me to pan those first, I’ll end with what makes this book worth a read.

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SENLIN ASCENDS – Josiah Bancroft (2013, 2017)

Senlin Ascends

On the fence about this one. Praised/hyped widely, this debut was first self-published in 2013, and picked up by Orbit in 2017. You’ve probably read it elsewhere, but Senlin Ascends is the first in a four book series – The Books Of Babel – about a headmaster on a quest to find his wife, which he lost while on their honeymoon in the Tower of Babel. Not the biblical one, but a mammoth with an unknown number of ‘ringdoms’, in a steampunkish setting. Thomas Senlin transforms from a quiet armchair bibliophile to an air-balloon pirate in the process.

While lots of reviewers rave about the prose, to me, it felt different. It’s generally okay for sure – it does the job telling an escapist story which main goal is entertainment – but it didn’t ring truthful to me. I guess I should not expect natural speech in a fantasy story like this, but there’s an artificiality to Bancroft’s wordiness that made me aware of the fact I was reading a 21st century book trying to masquerade as something set in a secondary world at the dawn of electricity.

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THE FARTHEST SHORE – Le Guin & THE OLD MAN AND THE SEA – Hemingway

These books are related somewhat, I realized when I finished The Farthest Shore. Both deal with old men in boats, old men trying to overcome negativity through perseverance. Both books explicitly offer supposedly deep insights on human nature, and humanity’s place in Nature. One could easily write a 50-page essay on similarities and differences, but the farther I’m removed from the literary sciences that dominated my early twenties, all I can think is: why would I?

Assuming Hemingway and Le Guin are authors positioned differently on the ideological spectrum, it could be a fun exercise to point out they share a lot of common ground, but in the end, doing that would also point out the relativity of such verbal heuristics – which ultimately most theorizing about culture is.

In this case, my heart goes out to Hemingway: his old man returns home, accepting the futility of his efforts, to a world that keeps spinning just as it did before. Interestingly, for a leftist author as Le Guin, her old man also returns home, accepting his mortality, to a world that is fundamentally changed for the better because it needed a Young New Leader. Peace, in Le Guin’s fictional world, is not reached by painstaking processes, but simply by the prophetic arrival of a King.

But I digress – I’m not going to write that essay. Instead, two reviews after the jump.

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