Colossal

colossal_28film29Colossal, written and directed by Nacho Vigalondo, is a strange film to have to describe to someone. When you say “it’s a dark black comedy about alcoholism and abusive relationships starring Anne Hathaway, who finds out she’s causing a giant monster to attack Seoul”, you get some puzzled looks, because yes, this is a weird mashup of genres. I wasn’t sure what to expect going in; what little I’d heard suggested it would either be a huge disaster, or that I would love it. And hey, it’s not a disaster.

Anne Hathaway’s character, Gloria, is an unemployed writer with an alcohol problem. After being kicked out by her boyfriend she moves back to her home town, where she runs into her childhood friend Oscar (Jason Sudeikis), who offers her a job at his bar. Gloria quickly settles into a pattern of drinking all night with Oscar and his buddies, often waking the next day with no memory of the night before.

And then the news starts reporting about a giant monster that has been materialising in Seoul, South Korea, causing terror and destruction. Gloria quickly comes to the realisation that she is in fact causing the monster to appear, and it is mimicking her actions.

It’s a pretty blatant metaphor: the monster destroying Seoul as a stand in for the damage Gloria causes to those around her with her self-destructive drunken behaviour. Where things get really interesting is after she shares her discovery with Oscar and his friends; Gloria’s relationship with Oscar begins to take a darker turn, and their influence over the events in Korea become part of an increasingly abusive cycle.

It’s so obvious what the film is doing with this premise that it seems like it shouldn’t work at all, but somehow it does. Despite some jarring swings in tone in the early parts – when the monster attacks are first reported I felt like this would fall apart after all – the film really manages to sell the idea that this is what is happening, and this is what real, flawed people would do with that power. The performance by Sudeikis in particular, with the gradual reveal of his abusive nature, is excellent.

This can be a very dark film, and it is tackling some serious subject matter, but it also manages to have incredibly funny moments, even when what’s happening perhaps isn’t something that should be laughed at.  The tone does clash at times, but for the most part it’s handled well, and I think the portrayal of domestic abuse is something the film does well and treats somewhat respectfully. If there’s one problem on that end it’s that the resolution of their conflict is maybe a little too easy and neat.

One final thing I feel is worth bringing up, and which adds a small caveat to my otherwise strong recommendation, is that this is a film about two white Americans in New England whose personal problems are acted out upon the lives of thousands of South Koreans; the very real death and destruction they cause is far removed from them, existing for the purposes of the film as part of an extended metaphor for the control abusers can hold over their victims. As a white westerner myself I don’t think there’s much I can say about that, but the use of Asian lives like this without providing them a real presence or agency in the film seems like something that deserves addressing.

That said, Colossal is unique, weird, and features some brilliant performances. It might not work for everyone, but I very much enjoyed it and would recommend checking it out. It’s in cinemas in the UK right now (though not in all of them; I had to travel a little out of my way to see it).

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Thoughts on the 2017 Hugo Award Nominees

The shortlist for the 2017 Hugo Awards was announced yesterday, and it’s looking pretty strong this year. Here are some of my brief thoughts on the ballot.

First, I’m going to address the Puppy issue. The Rabid Puppy campaign led by human garbage fire Theodore Beale is still around, but thanks to some changes in the way nominations are tallied, they were only able to place a maximum of one work in each category on this year’s ballot. Combined with the change to six nominees per category, this has meant a much smaller influence on the shortlist and a much more satisfying field to choose from. There are some obvious outliers on the ballot, but gone are the days of No Awarding four out of five works.

This is a very good list, folks.

Best Novel
All the Birds in the Sky, by Charlie Jane Anders
A Closed and Common Orbit, by Becky Chambers
Death’s End, by Cixin Liu, translated by Ken Liu
Ninefox Gambit, by Yoon Ha Lee
The Obelisk Gate, by N. K. Jemisin
Too Like the Lightning, by Ada Palmer

I’ve said before that I didn’t read all that much last year, so I’m a bit behind on this category, having only read The Obelisk Gate and All the Birds in the Sky. The latter was good but didn’t quite work for me, but Jemisin’s novel, the sequel to last year’s winner, was every bit as good as the first. I’ve heard very good things about Ninefox Gambit, and Death’s End is the sequel to 2015’s Best Novel winner, The Three-Body Problem. Honestly, this category is anyone’s guess this year.

Best Novella
The Ballad of Black Tom, by Victor LaValle
The Dream-Quest of Vellitt Boe, by Kij Johnson
Every Heart a Doorway, by Seanan McGuire
Penric and the Shaman, by Lois McMaster Bujold
A Taste of Honey, by Kai Ashante Wilson
This Census-Taker, by China Miéville

I read A Taste of Honey just this week, and I’m glad to see it here. Kai Ashante Wilson missed out on a Hugo nomination last year because his novella Sorcerer of the Wildeeps came in at just over 40,000 words, pushing it into the Novel category. The rest of these are titles I’ve heard plenty of talk about, but haven’t read myself yet. I look forward to them. (This Census-Taker was a Puppy pick, but it’s China Miéville, so we can hardly hold that against it.)

Best Novelette
Alien Stripper Boned From Behind By The T-Rex, by Stix Hiscock
“The Art of Space Travel”, by Nina Allan
“The Jewel and Her Lapidary”, by Fran Wilde
“The Tomato Thief”, by Ursula Vernon
“Touring with the Alien”, by Carolyn Ives Gilman
“You’ll Surely Drown Here If You Stay”, by Alyssa Wong

Obvious troll nomination aside, I look forward to reading the work in this category, of which I’ve only read You’ll Surely Drown Here If You Stay. I suspect I’ll still be rooting for Wong to take the award, though.

Best Short Story
“The City Born Great”, by N. K. Jemisin
“A Fist of Permutations in Lightning and Wildflowers”, by Alyssa Wong
“Our Talons Can Crush Galaxies”, by Brooke Bolander
“Seasons of Glass and Iron”, by Amal El-Mohtar
“That Game We Played During the War”, by Carrie Vaughn
“An Unimaginable Light”, by John C. Wright

On the other hand, I don’t know where my votes will go in this one. Jemisin, Wong, Bolander, and El-Mohtar are all excellent, and I’m not very familiar with Vaughan. John C. Wright can fuck right off, though.

Best Related Work
The Geek Feminist Revolution, by Kameron Hurley
The Princess Diarist, by Carrie Fisher
Traveler of Worlds: Conversations with Robert Silverberg, by Robert Silverberg and Alvaro Zinos-Amaro
The View From the Cheap Seats, by Neil Gaiman
The Women of Harry Potter, by Sarah Gailey
Words Are My Matter: Writings About Life and Books, 2000-2016, by Ursula K. Le Guin

Holy hell this category. Fisher, Silverberg, Gaiman, and Le Guin are all Big Names, and you can’t discount the excellent work by Hurley and Gailey. I suspect this one’s heading Carrie Fisher’s way, given the circumstances, but I think you could be happy with any of these winning.

Best Graphic Story
Black Panther, Volume 1: A Nation Under Our Feet, written by Ta-Nehisi Coates, illustrated by Brian Stelfreeze
Monstress, Volume 1: Awakening, written by Marjorie Liu, illustrated by Sana Takeda
Ms. Marvel, Volume 5: Super Famous, written by G. Willow Wilson, illustrated by Takeshi Miyazawa
Paper Girls, Volume 1, written by Brian K. Vaughan, illustrated by Cliff Chiang, colored by Matthew Wilson, lettered by Jared Fletcher
Saga, Volume 6, illustrated by Fiona Staples, written by Brian K. Vaughan, lettered by Fonografiks
The Vision, Volume 1: Little Worse Than A Man, written by Tom King, illustrated by Gabriel Hernandez Walta

Another truly excellent selection of work. I’m glad to see Paper Girls make the list, but I’m going to have a very hard time ranking my votes this year. Read all of these, if you haven’t.

Best Dramatic Presentation, Long Form
Arrival
Deadpool
Ghostbusters
Hidden Figures
Rogue One
Stranger Things, Season One

This is the one category of the Hugos that tends to be most predictable in terms of nominees, and there aren’t really any surprises here. I’m not sure I agree with Ghostbusters being there – it’s a good film (I saw it twice!) but I wouldn’t say best of the year. I’m also a bit disappointed that 10 Cloverfield Lane didn’t make it. I’ll be rooting for Arrival or Hidden Figures to take the rocket.

Best Dramatic Presentation, Short Form
Black Mirror: “San Junipero”
Doctor Who: “The Return of Doctor Mysterio”
The Expanse: “Leviathan Wakes”
Game of Thrones: “Battle of the Bastards”
Game of Thrones: “The Door”
Splendor & Misery [album], by Clipping

Formerly the Doctor Who category, now overtaken by Game of Thrones (though the Doctor still gets his spot). I’m surprised and disappointed that “The Winds of Winter” came third place of the GoT nominations and lost out – the incredible opening sequence alone deserves the recognition. I’m gunning for “San Junipero” from this list – it ripped my heart out (in a good way. Kinda).

Best Series
The Craft Sequence, by Max Gladstone
The Expanse, by James S.A. Corey
The October Daye Books, by Seanan McGuire
The Peter Grant / Rivers of London series, by Ben Aaronovitch
The Temeraire series, by Naomi Novik
The Vorkosigan Saga, by Lois McMaster Bujold

This is a new category, being trialled this year in advance of members voting on whether to make it a permanent one. And it’s a tricky one. With series you’re looking at a larger body of work, over multiple years, which is going to make it harder to keep up with generally. I can’t help feel that this creates a barrier for people who haven’t started the books but want to vote for the Hugos. (Like myself, having only read one book out of any of the above.) It seems like the kind of category where voting will come down to which property has the largest pre-existing fanbase in the Worldcon membership. (I also wonder what will happen when a popular series publishes a new volume every year.) I suspect McGuire and Bujold have a good shot here, but The Expanse has a TV series so could put up a good fight.
For me, I’m going to eventually read The Expanse and the Craft Sequence, but I don’t know if I’ll get round to it this year. I really have too many books waiting to be read, so this category will miss out on my votes.

I don’t really have much to say in the remaining categories, though Best Fan Writer and the Campbell Award booth look good this year. I’ve never felt familiar enough with the publishing and art categories to comment. Overall this is a strong Hugo ballot, I look forward both to reading everything I’ve missed so far, and to attending the awards ceremony itself in Helsinki.

Congratulations to all the nominees!

Read in 2016

A slow-ish year this time, with my usual rush in January-March (more than half of the list) followed by a big ebb around mid-year. In the last few months all I’ve managed is starting a few chapters of one novel – at least my consistent audiobook progress keeps things moving a little. I blame my starting to play World of Warcraft again in August. I think I’m over it now.

New year’s resolutions: Read regularly, and update this blog more often.

Books

The Fifth Season – N. K. Jemisin
Radiance – Catherynne M. Valente
Binti – Nnedi Okorafor
Persona – Genevieve Valentine
Black Wolves – Kate Elliott
Sorcerer to the Crown – Zen Cho
Archivist Wasp – Nicole Kornher-Stace
Testament – Hal Duncan
Signal to Noise – Silvia Moreno-Garcia
Zoe’s Tale – John Scalzi
Furiously Happy – Jenny Lawson
The Sundial – Shirley Jackson
All the Birds in the Sky – Charlie Jane Anders
City of Blades – Robert Jackson Bennett
The Obelisk Gate – N. K. Jemisin

Audiobooks

Raising Steam – Terry Pratchett
The Shepherd’s Crown – Terry Pratchett
Neverwhere – Neil Gaiman
Stardust – Neil Gaiman
High Rise – J G Ballard
Northern Lights – Philip Pullman
The Subtle Knife – Philip Pullman
The Amber Spyglass – Philip Pullman
The Geek Feminist Revolution – Kameron Hurley
Sabriel – Garth Nix
Lirael: Daughter of the Clayr – Garth Nix
Abhorsen – Garth Nix
Clariel: The Lost Abhorsen – Garth Nix
Assassin’s Apprentice – Robin Hobb

What I’ve Been Reading Lately: Short Fiction Edition

I don’t read a huge amount of short fiction, but I read a lot more than I used to, usually stories I see linked on Twitter and save to the Pocket app. For the last couple of years I’ve taken to sharing each story I read on Twitter myself, but today I felt like collecting some of my recent favourites into a post.

Before I get to the links, though, I had a thought to share. I found myself thinking this morning that most of the really great short fiction I read, while it’s SFF genre, centres not the genre concepts or the plot, but the relationships between characters, romantic and otherwise. And it occurred to me that this is, in part, what the Sad Puppies were reacting against, way back in the early years of that kerfuffle.

Larry Correia’s stated purpose in starting Sad Puppies was to get award nominations for “unabashed pulp action that isn’t heavy handed message fic[tion]”. The second half of that has gotten plenty of attention (there is indeed a large part of this which is a reactionary response to the increase in inclusive and diverse works being recognised for awards, for which see Foz Meadows’ excellent breakdown of where they’re getting it wrong), but it’s more to the first part my thoughts went today. In addition to the diversity backlash, the Puppies often set up a conflict between this “unabashed pulp action” and the supposedly more ‘literary’ work which was appearing on award ballots. And it seems to me that this part of it was about exactly what I observed above: the stories they object to are the ones that do not place action or cool SFnal ideas at their centre, but the interpersonal relationships of characters; where character and relationships are the main throughline and focus.

It does feel like there has been a popular shift toward that kind of fiction in recent years (in novels also – look for example at the popularity of The Goblin Emperor and Ancillary Justice), but it’s hard for me to make a solid claim on that. The short fiction market has changed dramatically with the growth of online publishers, and many people – myself included – just did not read much short fiction before that change. I also can’t say what short fiction the Sad Puppy supporters have been reading now or in the past, but having been exposed to their complaints on and off for the last few years, it certainly seems like part of the trigger for their lashing out was seeing award-nominated stories which had their focus in a different place from what they were used to.

Personally, I’m one of the apparent majority who is very much enjoying these stories. Even the weirdest of weird SF is about people in some sense, and human relationships and emotions are a familiar point for readers to hold on to while experiencing the utterly unfamiliar. In addition, SFF concepts are and always have been a great tool for exploring ordinary human issues, whether large-scale social concepts, or just the way two people relate to one another. The small stuff is just as important as the large, and (IMO) can be a vehicle for more emotionally poignant stories.

I guess I’m just not in it for the action.

Anyway, that (long) tangent aside, let’s get to the story recommendations. I can’t say all of these will fit the type I’ve referred to above, but I can say that I greatly enjoyed every one. These have all been read in the last month or so, mostly while I was on holiday (when I did a lot of reading in airports and on planes). Listed in alphabetical order.

Android Whores Can’t Cry, by Natalia Theodoridou, in which a reporter visits the Massacre Market, where people engage in illicit trading of evidence of the government’s atrocities (and then things get much weirder).
Candidate 45, Pensri Suesat, by Pear Nuallak, in which an agender art student struggles with their place at a demanding school.
Infinite Skeins, by Naru Dames Sundar, in which a parent searches through infinite alternate worlds for their missing child.
Meshed, by Rich Larson, in which a talent scout has to convince a young athlete to have a “nerve mesh” installed, but his father objects.
Morrigan in Shadow, by Seth Dickinson, in which the question is posed of whether achieving victory is worth making monsters of ourselves.
The Light Brigade, by Kameron Hurley, in which a darker and weirder take on Star Trek transporter tech is used for war.
When Your Child Strays From God, by Sam J Miller, in which a mother sets out to find her son, who has taken a strange new drug.
Without Faith, Without Law, Without Joy, by Saladin Ahmed, in which three brothers are trapped in another man’s story, robbed of their own name and nature.

Testament by Hal Duncan

Hal Duncan’s Testament is a reworking of the Gospel story from the New Testament of the Bible; in the book Duncan takes the original text, remixes it and intercuts it with his own additions that put a new spin and interpretation on the story, creating a weird SF narrative that uses the Bible’s own words to criticise the history and teachings of the Christian church, offering up a Testament that is “anarchist, socialist, atheist, revolutionary”.

To aid with this reinterpretation, the author deliberately removes familiar words and terms from the text, eliminating two thousand years of baggage while cleaving to the basic meaning of the original language: the “son of man” becomes the “everyman”; Heaven is “Aeternity”, God is “the Worker”, “the Sublime”. The words Pharisee and Samaritan are avoided; “demons” are often called instead “fouled inspirations”. It’s clear that Duncan doesn’t want you bringing with you all the assumptions and loaded meanings learned from the Church’s teachings of the Bible. Jesus himself is called Joshua – a name much closer to his actual one than the word we use, which has been translated and altered through Greek, and Latin, and English.

The most radical reworking of this otherwise familiar story is in the narrator, unnamed at first, who is referred to variously as “the Judean”, “the student that Joshua loved”, and eventually “Eleazar”, “Eli”. This character, anonymous at first, turns out to be an amalgamation of several – he is Judas, who is also Lazarus, the brother of Mary Magdalene; ultimately he is the Messenger who appears at Joshua’s tomb, and even, perhaps, the risen Joshua himself. It is in this character’s narrative addendums to the Biblical text – addressed to a “lover of the Sublime”, as the Gospel of Luke is addressed to “Theophilus” – where the science fictional elements lie; the story eschews any fixed sense of time and place, offering a Gospel narrative that takes place throughout the two thousand years of church history, in a Roman Empire that never ended, a history where the church became the Empire Joshua opposed. Roman soldiers appear with swords and armour, or with assault rifles and jackboots. Pontius Pilate is a Roman governor, a Nazi officer, a talk show host. Testament provides us with a Joshua who sees Aeternity, sees everything that will be done in his name, and offers the narrator, the student he loves, that same sight, the vision of his work continuing – and continuing to be necessary – across the millennia that separate then from now, existing in all times at once. Or it gives us a madman closed up in a modern flat, cutting up Bible verses and adding his delusions to create his new Testament for a new age.

It’s a work I suspect would take a deeper knowledge of the Bible to fully appreciate; a familiarity with original texts, the history of its translations, and with the Apocrypha (particularly, it seems, the Gospel of Thomas). I’m not familiar enough with the text to see all the places where Hal Duncan has made changes, excisions, and insertions; I’ve read the New Testament perhaps once or twice, idly, without a lot of interest. The writing in the Bible can be rather dry, and that’s a flaw which gets carried over to Testament, relying as it does on many passages from that text. I got rather sick of parables at one point. Where the book becomes interesting is in the places where the narrator’s insertions force significant reinterpretations of the Biblical text, a recontextualising that sometimes entirely transforms the meaning of something Joshua says or does. The novel is perhaps strongest in the final few sections, where the narrative becomes more personal and focused through the story of Eleazar’s resurrection, the last supper, the betrayal, and Joshua’s trial and crucifixion.

I found this a difficult book to read, to be honest, and it took me a lot longer to get through than most novels do. Much of that was due to the aforementioned dryness of the Bible’s text. But despite the difficulty, I found it a very fascinating study of the way the Bible’s source text can be interpreted and reinterpreted to find something between the lines that’s far more radical and interesting than the official narrative.

What I’ve Been Reading – Winter Edition

I started writing this post in March, but I was never quite happy with my summarising of the books. I’ve been in a reading slump and have not finished any reading or writing I’ve done for the last two months. I finally decided to try to finish what I had here and just post it. It took me 10 minutes. /shrug

Since the last time I made one of these posts, I’ve only written about two books on this blog – Seveneves and Radiance – but there are several others I haven’t mentioned. Here are some brief thoughts on all those other books.

Karen Memory – Elizabeth Bear
A steampunk western about the residents of a brothel who become targets of a powerful and ambitious criminal after taking in a rescued trafficking victim. Meanwhile, a serial killer is targeting prostitutes in Rapid City, and Deputy US Marshal Bass Reeves seeks their help with his investigation.
There’s plenty of wild steampunk invention in this alternate history where “Mad Scientist” is a licensed profession, from submarines to mind control to mech-suit sewing machines, and a lot of action. The main strength of the book however is probably the narrative voice of the protagonist, Karen Memery, who aspires to own a ranch and write adventure novels, and finds herself right in the middle of all this trouble.
I can’t say it’s among my favourites of Bear’s work, but it’s certainly a fun read.

The Fifth Season – N. K. Jemisin
In a world where frequent major tectonic activity causes devastating “fifth seasons”, some people, known as “orogenes”, have developed the ability to control and cause tremors. Feared and hated by ordinary people, orogenes, once discovered, are either killed or sent to the Fulcrum in Yumenes, to train in captivity to serve the empire.
The Fifth Season tells the story of Damaya, Syenite, and Essun – a child found and taken to train at the Fulcrum; a young women travelling with a powerful orogene to fulfill one of the Fulcrum’s missions; and a woman whose son has been killed and daughter taken by their father, who she now chases after as the world begins to end around her. There’s more going on than there seems, however, with mysteries surrounding the strange beings called Stone Eaters, the floating Obelisks, and the truth behind the origins and methods of the Fulcrum.
This complex novel fits together these three stories from three times in a way that gradually peels back the surface of this society and begins to show us the mysteries underneath, and something of the truth to come. The story of Syenite is the most complete here, as she travels with Alabaster, the most powerful Fulcrum orogene, and begins to learn the reasons for his bitter cynicism toward the empire. It’s between this and Damaya’s storyline that Jemisin addresses the slavery of the orogenes, and how the empire keeps the worst truths of its treatment of them hidden away. Essun’s story, on the other hand, seems mainly to lay groundwork for the future of the trilogy; if there’s one place the book suffers, it’s in being the opening volume of a series. Overall this is an excellent book, and very much a series to watch.

Binti – Nnedi Okorafor
Published as part of Tor.com’s new novella imprint, Binti tells the story of a young woman who is the first of the Himba people to be accepted into the most prestigious university in the galaxy. Leaving without the approval of her parents, she sets off on a spaceship journey to Oomza University – only for things to go wrong when the ship encounters a hostile alien species.
Binti is about identity, communication, and understanding – in particular, it’s about respecting one’s heritage and culture while forging your own path, and discovering who you are as an individual. It’s a charming story with a strong lead character who solves problems through empathy.

Persona – Genevieve Valentine
The United Nations meets beauty pageants. Persona shows us a future where every country has a Face, an individual who serves as a mix of ambassador, personification, and figurehead. Faces are the public representatives of their governments, their images and lifestyles tightly controlled; celebrities whose reputations are tied closely to those of their countries. When an assassination attempt is made against Suyana, Face of a tiny South American nation caught between competing powers, she ends up having to rely on photographer Daniel – an aspiring member of the illegal paparazzi – to help her uncover who was responsible and find a way to restore her position.
A light and fast-paced political thriller, this didn’t quite match the strength of Valentine’s The Girls at the Kingfisher Club (one of my favourite novels of 2014), but I still enjoyed it. At the ending I was left feeling that a lot more could have been done with the story, so I was happy to hear that a sequel, Icon, is on its way.

Black Wolves – Kate Elliott
The outsider King Anjihosh has conquered the Hundred, killing the Demons who ruled the country and uniting it under his rule. Decades later, under his grandson King Jehosh, it seems like the peace and unity he created is beginning to fall apart as factions within the palace scheme for power.
As the foreign ruling family impose their customs and faith on the country, this fuels discord among the people. King Jehosh himself is no longer sure how much power he really holds. Dannarah, the king’s aunt and formerly Chief Marshal of the giant-eagle-riding Reeves, sees the systems of the Reeve Halls being torn apart and remade in dangerous forms by her great-nephews. Kellas, once the most trusted Captain of King Anjihosh and his son Itani, is brought out of retirement to help Jehosh, but he is part of another, larger agenda. They and others become caught up in the plots that are tearing the Hundred apart.
This is a big, complex epic fantasy, where every character has their own secrets and you’re never really sure who can trust who. It’s hard to summarise, with so many characters and so much going on. What I can say is that it was one of the most engaging and well-crafted epic fantasies I’ve read, full of great characters (the back-cover copy – and the very long prologue – focuses on Kellas, but it tends to be the other characters, mostly female, who carry the story), and written with a clear awareness of issues of prejudice regarding race, gender, religion, and culture.
The Black Wolves trilogy is a follow-up to an earlier series, however you do not need to be familiar with those books to follow the plot of this one – I have not read the Crossroads trilogy, but based on the strength of Black Wolves, I intend to.

Sorcerer to the Crown – Zen Cho
Zacharias Wythe is the new Sorcerer Royal of England, but faces hostility from the magical establishment in his role – Zacharias is black, a former slave freed and adopted by the previous Sorcerer Royal, Sir Stephen Wythe, and trained in magic in an effort to prove to the Royal Society of Unnatural Philosophers that people of his race are just as capable of magic.
On a visit to a school for “gentlewitches” (which specialises in teaching young women how not to use magic, which is considered unladylike) he encounters Prunella Gentleman, an orphan of unusually powerful magical ability, and seizes on the idea of training her in order to demonstrate the capabilities of women – just as she seizes on him as a means of escaping her current life and finding a better station for herself in London society. Together they end up dealing with assassination attempts against Zacharias, the efforts of a Malaysian witch to stop British magicians supporting persecution of her people, and the unexplained closing off of Faerie and dwindling of magical power in England.
The novel is written in a style that mimics the period, but with a willingness to address Britain’s colonialism, and the ugliness of race and gender prejudice. It’s been earning a lot of praise and award consideration, and I can see why.

Archivist Wasp – Nicole Kornher-Stace
In a post-apocalyptic setting where ghosts wander the world, Wasp is the Archivist, whose role is to capture these ghosts and from them try to learn anything she can about the world before. The ghosts, however, do not talk – until she encounters one strange spirit, a soldier who seeks out Wasp’s help in finding his former partner. Their journey together will lead Wasp through many questions and discoveries about who she is and where she came from.
Archivist Wasp is a journey-through-the-underworld tale with a very original spin, and woven within it is the touching science fictional story of the ghost soldier and his partner. Both sides are ultimately about finding your own identity, and escaping the roles that others have shaped you for.

*

In addition to the above, I’ve gone through a number of audiobooks, but I’m having a harder time shaping my thoughts on those. I’ll leave you with these for now. I’m currently reading Testament by Hal Duncan, which is doing some very interesting things with its reinterpretation of the gospels, but has taken me a very long time to get through as the Bible can be somewhat dry.

My Hugo Award Nominations, 2016

Today is the last day for submitting Hugo Award nominations, and I’ve been working on finalising my ballot. Below, you’ll find all the works and people I’ve nominated, plus some other bits where there were close calls. I’m making this post mostly as a record for myself of the stuff from 2015 that I liked enough to nominate.

If you’re interested in checking out any of the works I’ve nominated, I believe everything in the Short Story and Novelette categories is freely available online, as is one of the novellas.

Best Novel
– The Grace of Kings, Ken Liu
– Ancillary Mercy, Ann Leckie
– Uprooted, Naomi Novik
– The Fifth Season, N K Jemisin
– Archivist Wasp, Nicole Kornher-Stace

This was tough to winnow down to 5 nominations. Also in the running were:
– Black Wolves, Kate Elliott
– Radiance, Catherynne M Valente

Best Novella
– Binti, Nnedi Okorafor
– Sorcerer of the Wildeeps, Kai Ashante Wilson
– The New Mother, Eugene Fischer

Technically, Sorcerer of the Wildeeps is above the length requirements for this category at 43k words, but the rules have some allowance for works that are close to the limits and fit the category better.

Best Novelette
– The Oiran’s Song, Isabel Yap
– Ballroom Blitz, Veronica Schanoes

This was a difficult category not because there were a lot of things to choose from, but because I looked at the list of short fiction I’d liked from 2015 and found only one novelette on that list. There’s a surprisingly small amount of fiction published at this length. I managed to catch up and read the Isabel Yap story today, which was recommended on a few other people’s lists, and it immediately went onto my ballot.

Best Short Story
– The Shape of My Name, Nino Cipri
– Madeleine, Amal El-Mohtar
– The Half-Dark Promise, Malon Edwards
– Three Cups of Grief, By Starlight, Aliette de Bodard
– Hungry Daughters of Starving Mothers, Alyssa Wong

There are a bunch of other short stories I wanted to read, but I never made time to catch up on all the links I have saved. These five, however, are all deserving of their spot on the ballot, so I don’t feel bad about not seeing all the other options. Also under consideration were:
– Elephants and Corpses, Kameron Hurley
– The Language of Knives, Haralambi Markov
– Planet Lion, Catherynne M Valente

Best Related Work
SFF in Conversation: Foz Meadows – Thoughts on Fanfiction

I don’t keep up with a lot of stuff that fits this category, but I thought this essay by Foz Meadows on fanfiction was excellent, a very in depth exploration of the subject.

Best Graphic Story
– The Unbeatable Squirrel Girl vol 1
– The Wicked + The Divine vol 2
– Bitch Planet vol 1
– Saga vol 5
– Nimona

There are always lots of good comics. Some that didn’t make my ballot this time:
– Ms. Marvel vols 3-4
– Rat Queens vol 2
– ODY-C vol 1

Best Dramatic Presentation (Long Form)
– Mad Max: Fury Road
– Star Wars: The Force Awakens
– Marvel’s Jessica Jones
– Sense8
– Ex Machina

Fury Road all the way. Please don’t lose this to Star Wars. (The others are also good, though I think I’m less excited about Ex Machina.)

Best Dramatic Presentation (Short Form)
– “Cut Man”, Marvel’s Daredevil
– “AKA Sin Bin”, Marvel’s Jessica Jones
– “What Is Human?”, Sense8
– “4,722 Hours”, Agents of S.H.I.E.L.D.

I’m not all that enthused on this list. They’re decent episodes, but a lot of the TV I’m watching these days works best as single long works.

Best Fan Writer
– Foz Meadows
– Abigail Nussbaum

I don’t keep up with a lot of fan writers, but these two I do are consistently good.

Campbell Award for Best New Writer
– Alyssa Wong
– Sunil Patel
– Isabel Yap

I’ve not read a whole lot of work by these three, but what I have has been strong.

The following categories were left blank, because I don’t really know what to do with them:
Best Editor (Long Form)
Best Editor (Short Form)
Best Semiprozine
Best Fanzine
Best Fancast
Best Fan Artist