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19 Mar 10:14

Star Wars: End of Empire: Ord Mantell.


(Starwars: Battlefront: Renegade Squadron.)

Ord Mantell: A junkyard planet dotted with rusted mining colonies & mothballed or abandoned war factories, orbited by malfunctioning shipyards. Ord Mantell is part of a binary star system within the Bright Jewel System, a nebula that prevents direct hyperspace jumps in & out. This hyperspace blockade has led to Ord Mantell being used as an ordinance depot by successive regimes, from the Empire to the Mandelorians to the Republic to the Sith & beyond.

Habitat: The "night" of Ord Mantell is when life happens: Twilight, when the sky is a riot of colour backlit by the nebula & nascent stars inside of it. When the suns of Ord Mantell rise, even the colours change. The toxic blue light of one sun fries unshielded electronics, while being under the harsh red light of the other cooks the living with radiation...with the co-mingled purple hour being the most dangerous of all.

Lifeforms: Droids outnumber humans & aliens on Ord Mantell. Savrips, giant semi-sentient beasts, are featured as one of the pieces in the popular hologame dejarik, & are both a terrifying wasteland menace & a quasi-domesticated heavy workforce. Flutterplumes are brightly coloured carrion eaters whose brilliant plumage & distinctive insectoid legs provide an eerie beauty to the occasional trash heap. Dianogas & mynocks are present both on the planet & in the orbital debris.

History: Ord Mantell was represented in the Senate by the hereditary nobility, & the young Countessa Misaani notionally rules the planet, at least on paper. Practically, the Imperial Garrison has been the de facto government of Ord Mantell, & Vice Moff Solt's only concern has been to eke every last iota of manufacturing capability out of the antiquated facilities. This lack of oversight has allowed a flourishing of scum & villainy, particularly the Black Sun gangsters, & a corresponding boom industry for bounty hunters & smugglers.

Current Events: In the failed state of the Empire following the destruction of the Death Star, Ord Mantell is ready to tumble into anarchy. Seizing on the moment, the droids of Ord Mantell have revolted. Household droids go on strike & protocol droids start keeping secrets. A medical droid euthanizes her patients & an astromech droid feeds false coordinates to the navcomputer & hyperspace jumps a frigate into a sun. Someone is shorting out control bolts, & in response memory wipes & paranoia are becoming the order of the day among the organics of Ord Mantell, as the various factions begin to take the droid guerrilla threat seriously.
09 Mar 11:01

Grow up to Dream Again: Reading Every Heart a Doorway as a Parent

by Alex Bledsoe

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In Seanan McGuire’s brilliant (and now award-winning) short novel Every Heart a Doorway, teens who’d once escaped reality to various fairytale realms find themselves back in our world, attending a special boarding school to help them re-acclimate to “reality.” They’re all desperate to return to those places where they felt accepted for who and what they were, and one of them wants this badly enough to kill.

In structure the story is a murder mystery, but in intent it’s about the way many of us simply don’t feel like we belong in this world. We wish for a doorway, or a portal, or a wardrobe, to take us to another place, where all the things that make us different are normal. McGuire, who can pretty much write anything she puts her cursor to, does a great job conveying the kids’ pain, which of course speaks to the inner teen in all of us. No teenager feels like they belong, and most feel like freaks of some kind. It’s the same universal truth that gives Harry Potter and the X-Men their dramatic power.

But I experienced an interesting dichotomy while reading it, one that ultimately has nothing to do with the author’s intentions. I certainly identified with the characters: I was as freakish as any teen, a nerdy bookworm with thick glasses, braces and bad skin, trapped in a redneck town long before social media. My parents, who grew up during the Depression, fell into that generation’s classic conundrum: they wanted their kids to have more than they ever did, but then they resented us for not properly “appreciating” it. They certainly had no time or sympathy for kids having trouble “fitting in.”

And yet I was also struck with powerful sympathy for the parents of these desperate children. Although none appear as characters, many are described: the parents of the protagonist, Nancy, believe she was traumatized by a kidnapping, rather than escaping to the Underworld to willingly serve the Lord of the Dead. Their clueless attempts to reintegrate her into society are presented as well-meaning but disastrous, and the failure of all the parents to believe what had really happened to their children is shown as a great tragedy.

(I should clarify that this has nothing to do with the sexuality or gender identity aspects of the story. That’s an issue whose reality is beyond dispute. People are who they feel they are, no matter what anyone else, parents included, tries to make them.)

The symbolism is plain: the real world wants us to give up our childhood belief in “magic,” and that’s a terrible thing. But is it?

I’m a parent now, of three children blessed/cursed with intelligence and vivid imaginations. One in particular is likely to never “fit in.” And yet I can’t really believe that the best course for him is to totally indulge his fantasies; isn’t part of my job description to prepare him for the world as best I can? And isn’t part of that giving up belief in the childish forms of “magic”?

Or, as Bruce Springsteen says in the song, “Two Hearts”:

Once I spent my time playing tough-guy scenes
But I was living in a world of childish dreams
Some day these childish dreams must end
To become a man and grow up to dream again

That’s a paraphrase of 1 Corinthians 13:11:

When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.

But the Boss goes the Bible one better (you have no idea how much it delighted me to write this phrase) by insisting that you grow up to dream again.

To me, that’s the job of a parent: to guide your children to the point that they willingly give up their childhood magic, and embrace the magic to be found in adulthood. And there is magic in it: when you see your newborn child for the first time, it casts a greater spell than any storybook realm. And when you take your love for childish scribbling and develop it into the adult skill of writing stories and novels (such as Every Heart a Doorway), that’s a charm that can affect millions.

And yet.

The memory of my parents telling me that people bullying me was my own fault for being “weird” is, to this day, never far from the surface. I vividly recall their insistence that my cousin Rob, who picked on me mercilessly for reading science fiction, was just being “normal.” I often wonder what kind of person I’d be today if they’d had the least bit of empathy, or stood up for me against the extended family instead of shaking their heads along with them, just like the unseen parents in Every Heart a Doorway. Or if, like the kids in the book, I’d found another realm where I was accepted as I was, where “weird” was the norm.

It’s the brilliance of this book that it allows the reader to embrace these contradictory feelings without giving any easy or facile answers. Ultimately, if there is an answer, I suppose it’s this: children need guidance, and parents need sensitivity. The ratio is different for every family, but when they’re out of balance, you get real, lasting and permanent damage.

This article was originally published January 31, 2017 on Alex Bledsoe’s blog.
Every Heart a Doorway is available from Tor.com Publishing. Down Among the Sticks and Bones, book two in the Wayward Children series, publishes this June.

chapel-thumbnailAlex Bledsoe grew up in west Tennessee an hour north of Graceland (home of Elvis) and twenty minutes from Nutbush (birthplace of Tina Turner). He’s been a reporter, editor, photographer and door-to-door vacuum cleaner salesman. His latest novel is Chapel of Ease, available from Tor Books.

 

05 Mar 11:54

Matt Wallace’s Sin du Jour Series: Delectable, Delightfully Deranged Urban Fantasy

by Alasdair Stuart

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Here’s the thing; every monster story is true. Vampires? Goblins? Werewolves? The weird gnarly stuff made entirely out of teeth that no one’s survived meeting long enough to write a TV series about? ALL OF THEM. All here, all right under our noses. Next to us on the subway. Ordering coffee ahead of us in Starbucks. Laughing too loudly at the new Resident Evil movie.

The obvious choice to take in a situation like this is to tell the story of the department that deals with all of these monsters. There’s a reason the Men in Black keep coming back after all, even if they won’t let you remember. There are a million stories in the urban fantasy city, and almost all of them involve how difficult it is being a monster, or a cop who investigates monsters, or a monster cop.

Enter Matt Wallace, stage left, with the world’s most badass collection of culinary professionals behind him.

Matt, like his Ditch Diggers co-host Mur Lafferty, has a unique perspective on Urban Fantasy. Where Mur’s Shambling Guide books focus on the difficulties of writing the official Travel Guide for the underworld, Matt’s Sin Du Jour novellas focus on how difficult it is to cater for New York City’s supernatural community (and the answer is very, VERY difficult, not to mention dangerous).

That’s where the Stocking and Receiving Team come in. One of the two divisions within the company, their job is to acquire the best produce for Sin Du Jour events. In the realm of normal catering this involves a lot of research, a lot of travel, and a lot of tasting. In the world of Sin Du Jour? It tends to involve explosives, knock-down, drag-out fights with a combat-ready Easter Bunny, and the horrific truth about just where chicken nuggets come from. The team, led by former Special Forces Operator Ritter, includes former naval officer and demolitions specialist Cindy, unkillable human gullet Moon, and Hara. Hara is very, very, very large. Hara doesn’t talk much. He doesn’t need to. Over the course of the first three novellas, the S&R team go to a version of Hell, fight popular icons of national holidays, and almost, but not quite, die. More than once. They’re the tip of the boning knife, the edge of the cleaver. They’re the invisible element of Sin Du Jour, without whom the entire catering enterprise collapses. They’re also massive, foul-mouthed fun and some of the best characters Matt Wallace has ever created. He excels at writing complicated, highly competent characters, and S&R’s members are no exception. All of them, especially Moon and Cindy, would be one-note pieces of talking scenery in the hands of a lesser writer, but here, they’re real, complicated, likeable people. Even Moon.

Oh, and while you’re reading these novellas, go ahead and try not to picture Christian Kane (from Leverage and The Librarians) as Ritter. I dare you. I DOUBLE DOG DARE YOU.

Sin Du Jour’s catering staff are no less fun, either. The series’ leads, Lena and Darren, are a pair of blacklisted chefs who see an opening at the company and jump in with both feet. Lena is ex-military, endlessly competent, fundamentally grounded, and just a little unsettled. She’s angry that she isn’t further along in her career, uncomfortable with her position, and looking for a fight. Sin Du Jour hands her that very thing on her first day and Lena, being Lena, responds with laconically belligerent disgust—and then signs up, all the way.

Darren is the more placid of the two and, certainly in Envy of Angels, he comes dangerously close to being the designated victim but never crosses that line. Darren’s the book’s control—a good chef, but rattled by the bizarre world he’s thrown into. His arc across the series is very much about getting his feet under him, and as a result he’s the character you’ll find yourself identifying with and standing next to (and, on occasion, hiding behind).

The line crew that Lena and Darren join are just as varied, fun, and gloriously skewed as the organisation itself: Nikki, the pastry chef, is a joyously badass pastry artiste who gets the single most deliriously fun moment in the series to date in Lustlocked. Roland, the team alchemist, is a Matt Ryan-esque pile of mostly clean clothes and bottomless alcohol. White Horse is the company’s heavy magic user, who’s there in case any ingredients act up. His granddaughter, Little Moon, is there in case White Horse acts up. Boosha is the company’s knowledge base; impossibly old, clearly not fully human, and staggeringly grumpy. Dorsky is the executive chef’s number two and a colossal asshole, and Jett, the events manager for the company is precise, immaculate, and absolutely the last person on the face of God’s Earth you want to mess with. And then there’s Bronko: clever, enthusiastic, kind, and with something missing behind his eyes. Chef Bronko Luck has seen some very, very bad things. Now he caters for them.

I mention all these characters—and this isn’t the full cast—because Matt Wallace is a character-centric author. This group of people, how they interact, and how they deal with their profoundly strange jobs, forms the core of the series. We see the world through their eyes, observe how it changes them, and discover the very human cost of this inhuman and amazing job. There are few authors who can make you care about people as quickly as Matt Wallace can, and this group is his absolute best yet.

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And they need to be, given the challenges the author throws at them. Envy of Angels deals with Lena and Darren’s first job, helping Sin Du Jour cater a demon event. An event where the main course needs to be angel meat. Straight away the ethical concerns of the job are front and centre; how do you do it? Can you do it? What does angel meat even taste like? As the S&R team head off to the most ludicrous and horrifying heist you’ll encounter this year, Lena and Darren prep for their new job and the rest of the team try and work out how to pass it off as “real” food. This is the best pilot episode the series could hope for, diving into the workplace dynamics and the challenges of the job with both feet. It’s basically a supernatural-themed culinary heist movie in book form, one which culminates in a terrifying banquet and a moment of absolute glory for Pacific the busboy.

Lustlocked sees the team given what should be a much easier assignment: catering a Goblin wedding. But the thing is…goblins aren’t ugly. At all. Goblins are the beautiful people, and there are a lot of them in then public eye.

A LOT.

That Goblin King you’re thinking of? YES. Him too. That happens.

The lighter-hearted event is neatly balanced with both a major security breach back at Sin Du Jour itself and some serious escalation in the various relationships between the team members. It also steadily raises the tempo until the ending, which offsets an actual, honest to goodness food fight of the very best sort with not one but two separate emotional gut punches. Envy of Angels is the series getting its feet under it; Lustlocked is the series hitting its stride.

And Pride’s Spell is Sin du Jour hitting a dead run: a newly reinvigorated Bronko takes the team to L.A. to cater a studio event and things go very south, very fast. The S&R team get jumped by an increasingly ridiculous stream of popular holiday-related icons, giving Matt and Ritter alike a chance to cut loose with some serious, and very funny, violence. Meanwhile, the line crew prepares the greatest food of their careers only to find out that they might be next on the menu. The previous two novellas fold back in with ridiculously impressive narrative tidiness to create a situation that puts the team at a complete disadvantage and in the worst trouble they’ve ever been in. Even then, Wallace works in some wonderful character grace notes, especially for the S&R members, as the trap closes tighter and tighter around them.

The mark of genuinely great action writing is the moment where it stops and you realise just how much the vice has been tightened while you were engrossed and unaware. The end of Pride’s Spell contains one of the best, most heart-rending moments of post-action silence you’ll ever read. It’s unflinching, clear-eyed, and one of the high spots of Matt Wallace’s career to date…

And there are four novellas still to come.

Sin Du Jour is unlike any other urban fantasy on the market. It’s as precise and immaculately designed as the company’s gourmet offerings and has the same calluses on its knuckles as many of its characters. It’s endlessly, effortlessly funny, fiercely horrific, and crammed full of your new favourite characters. Check out the series, and savour these books—you’ll find that Matt Wallace, like Sin Du Jour, has excellent taste.

Sin du Jour: The First Course is an ebook omnibus collecting books 1-3.
Book 4, Idle Ingredients, is available now and Book 5, Greedy Pigs, is forthcoming from Tor.com Publishing this May.

Alasdair Stuart is a freelancer writer, RPG writer and podcaster. He owns Escape Artists, who publish the short fiction podcasts Escape PodPseudopodPodcastleCast of Wonders, and the magazine Mothership Zeta. He blogs enthusiastically about pop culture, cooking and exercise at Alasdairstuart.com, and tweets @AlasdairStuart.

03 Mar 10:18

Congratulations to Our 2016 Nebula Award Nominees!

by Katharine Duckett

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The 2016 Nebula Awards were announced yesterday by the Science Fiction & Fantasy Writers of America, and we’re incredibly proud to have so many great books on the ballot from our first full year of publishing. Tor.com Publishing earned seven nominations for our novellas, novelettes, and short stories, and we want to congratulate all of our nominated authors for this recognition of their excellent work!

Two of our Lovecraftian reads, The Ballad of Black Tom by Victor LaValle and The Dream-Quest of Vellitt Boe by Kij Johnson, made the list for Best Novella, as did Kai Ashante Wilson’s epic fantasy romance A Taste of Honey, S.B. Divya’s near-future cyberpunk thriller Runtime, and Seanan McGuire’s widely beloved Every Heart a Doorway—the first in her Wayward Children series, which continues with Down Among the Sticks and Bones this June. Fran Wilde’s The Jewel and Her Lapidary, a lush, poetic tale of singing gemstones, also earned a nomination for Best Novelette, and Alyssa Wong’s “A Fist of Permutations in Lightning and Wildflowers,” which you can read for free right now on Tor.com, is nominated for Best Short Story.

Congratulations to all of our Nebula Award-nominated authors, and to everyone who made this year’s Nebula Awards ballot!

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03 Mar 10:18

Explore Lovecraft’s Dreamlands Through New Eyes in The Dream-Quest of Vellitt Boe

by Paul Weimer

Some book titles seem designed to befuddle the reader. Others are only tangentially related to the contents of the novel. But sometimes, the title is so essential, so perfectly crafted, it tells you everything you need to know, laying out like a roadmap everything the book is trying to do. So it is with The Dream-Quest of Vellitt Boe, by Kij Johnson, which was just nominated for the Nebula Award for Best Novella, an honor it richly deserves.

Even casual readers of H.P. Lovecraft’s mythos may recognize the phrase “Dream-Quest” from the title of his story “The Dream-Quest of Unknown Kadath.” It’s the Randolph Carter, an oneironaut (literally, an explorer of dreams) who plumbs the sleeping realm in search of a fantastic sunset city briefly glimpsed in a dream. His story leads him across a large portion of the Dreamworld, where he encounters wonders, and horrors. Kij Johnson’s story is takes us on another trip across the Dreamlands. But who is Vellitt Boe?

In much of Lovecraft, female characters exist, at best, at the periphery, if they are not entirely absent. His interest in writing female characters is minimal, and his work suffers from the lack of believable representation of half of humanity. Thusly, putting a female character’s name right in the title is the first indication that this book is responding and reacting this Lovecraftian tendancy, perhaps to the point of commentary. The Dream-Quest of Vellitt Boe is about a female character exploring the Dreamlands, providing a chance for readers to get a glimpse into Lovecraft’s world from a perspective and vantage point that Lovecraft himself has neglected.

So how does Vellitt’s Dream-Quest play out?

The titular character is a teacher at the Women’s College in Ulthar, the dream city of cats. She’s a full-time denizen of the Dreamlands, as are her students. One of those students, however, the gifted grandchild of an elder god, runs off with a dreamer from the waking world. Jurat’s father and grandfather will most certainly be angry, perhaps to the point of annihilating the college, if not the city. At the very least, as part of the board of the college, her father will shut it down to female students. Vellitt’s Dream-Quest is to retrieve her wayward student before disaster strikes the college she calls home.

Along the way, Vellitt’s visits the same sorts of locations as Lovecraft’s protagonist, and meets with the same sorts of denizens. But Johnson introduces her own new wrinkles. One of the best, and crucial to the plot, is the revelation that Vellitt, once called Veline, had a relationship with Randolph Carter; he cameos in Johnson’s story. Given the complex and skilled nature of the protagonist, it’s entirely believable, in Johnson’s formulation, that Carter would have once taken up with Boe. He does not dominate the story, but it is richer for Boe meeting him. Retroactively, her existence enriches Carter’s character in the original story.

The focus, though, is Boe’s journey. Beyond Carter, the story is replete with allusions and references to Lovecraft’s Dreamlands fiction. Understanding these hat-tips is not necessary to your enjoyment of the novella, but their presence enriches the experience immeasurably. It is clear Johnson knows her Lovecraft, and does not waste the opportunity to build her own sand castle on the shores of his Dreamlands.

The novella does threaten to get a bit too clever when Boe’s journey takes her into the waking world, but after a rocky switchover, the story runs toward a conclusion that, in the context of the growth and change in Vellitt throughout the story, is the only one it could have. I was most pleased to have read it.

The Dream-Quest of Vellitt Boe is available now.

The post Explore Lovecraft’s Dreamlands Through New Eyes in The Dream-Quest of Vellitt Boe appeared first on The B&N Sci-Fi and Fantasy Blog.

03 Mar 09:57

Five Books About Trolls

by Chris Sharp

Art by David Palumbo

As a youngster in the late seventies, I never would have guessed that 2017 would be a big year for trolls. Some of my earliest memories involve obsessing over the Moomins, cute trollish creatures from Scandinavia that looked like bipedal hippos. A couple years later my focus shifted to the book Gnomes, by Will Huygen, which depicts gnomes’ hidden struggles against monstrous trolls bent on capturing and eating them. These hirsute, grisly depictions of the enemy affected my dreams. Then, the Rankin & Bass illustrated edition of The Hobbit carried me deeper into fantasy; I wanted to be the characters in that world, fight against the same foes, or better yet, make friends with the trolls, goblins, and elves. I couldn’t get enough of Norse and Greek mythology, fascinated not as much by the famous exploits of the gods, but with the less defined stories of the giants, titans, and lesser monsters that had existed before the gods were even born.

What were these ancient elemental beings that were bound to the land only to fight and fall against the civilizing press of humanity? Why have they fascinated me, and so many others, since childhood and into adulthood? The world “troll” comes from Old Norse, and refers to an ill-defined class of supernatural beings from Norse and Scandinavian folklore. Some saw them as cognates of “giants” and “elves,” but over the centuries “trolls” have taken on an identity unto themselves—at times similar and/or related to both giants and elves, or perhaps even the result of shared blood between the two species.

Today, we have seen a resurgence of “trolls” in popular consciousness: as petty people that revel in sowing discord on the Internet; an animated movie voiced by some of our most adorable celebrities; Trollhunters is a hit Netflix show by one of our era’s fantasy masters, Guillermo del Toro; and Neil Gaiman has produced a fresh bestseller by returning to the Old Norse tales from whence the trolls first came.

I wonder if trolls don’t represent an important function in the subconscious of the present zeitgeist. The elemental powers of the giants that fought against the structured paradigm of civilization have died out and been forgotten. But as the climate changes due to humanity’s unchecked influence, and the natural world slips back toward a state of chaos, the old blood of the giants stirs again in the trolls—not passive and willing to fade quietly, like the elves and faeries, but angry, monstrous, and ready to fight back…

Here are five books about these mercurial creatures that have influenced me over the years, as relevant today as they ever were, and perhaps more so:

 

The Three Billy Goats Gruff by Peter Christen Asbjornsen & Jorgen Moe

billygoatsFirst collected and published in the 1840s, this Norwegian folk tale is likely the origin of the relationship between trolls and bridges. The troll does not come across as particularly clever, and the moral boils down to eat the first goat you find and save room for seconds. (I want more from my trolls. The myths spoke of them as being great magicians and brilliant tacticians as often as they were represented for their brute strength and savage nature. Trolls can be complex.)

 

The Moomins by Tove Jansson

moominvalleyThough I do not have a solid recollection of these books and shows, I remember loving them at the time. These complicated hippo-like trolls were capable of emotional depth as they embarked on episodic adventures throughout a fairy and animal bedecked wilderness. The insightful tone of the loosely strung vignettes, both comforting and a little sinister, speaks effortlessly to childhood learning. The Moomin family displays nothing of the monstrous nature so often ascribed to troll kind, more concerned with philosophical thinking and self-assured action. (I love their thoughtfulness and belonging to the natural world, but I want my trolls to have earned a bit of their nightmarish reputation.)

 

Gnomes by Wil Huygen

gnomesThis one filled some of my earliest fantasy needs. The hidden world of the gnomes, and the trolls that hunted them, seemed oddly plausible to me. There was at least a full year when I must have flipped through those pages every day. (Again, these trolls were fairly one-sided and dim-witted, but their base, earthen savagery stayed with me and felt right.)

 

The Hobbit by J.R.R. Tolkien

Hobbit_coverI almost skipped this one as it seemed too obvious—to be honest, it was the Rankin Bass cartoon version more than the book itself that so profoundly spoke to early me—but to omit it would be inauthentic to my trollish thinking. Three Stone trolls, Tom, Bert, and William Huggins, capture and discuss the eating of our fourteen heroes after a botched burglary attempt. These trolls are once again pretty dumb, but they make quick work of what are supposed to be an elite collection of dwarves who are only saved by the last minute cleverness of the Wandering Wizard. (The aforementioned savagery and greater fantasy world context for the trolls in this one showed me, and us all, the scope of what trolls, at their brutish best, could be. They had names, clothes, personalities, and a cave full of ancient booty. There was a treasure trove of unexplored myth there as well.)

 

Beowulf

tolkien-beowulfMy friends and I turned this one into a comedic movie for a ninth grade school project. Making it was some of the most fun I’ve ever had—we all got A’s. Though it’s a topic of much debate among those who debate such things, Grendel, Grendel’s Mother, and even the dragon can be viewed as trolls. Grendel coming to Heorot to destroy the hall because of the din made there is akin to the Scandinavian belief that early church construction and bell ringing was often met by troll attack. Grendel is the consummate troll in appearance and action, but his mother is just as iconic in her representation as a powerful shape-shifting trollhag capable of birthing monsters—just as Angrboda birthed Jormungand, Fenris Wolf, and Hel in Norse myths. (These vengeful and powerful beings laid further foundation for the trolls I sought to emulate.)

 

My trolls in Cold Counsel, SLUD and Agnes, are amalgams of the depictions in all these books, and many others. They are calculating and powerful, possessing of ancient wisdom and still hungry to learn, flawed and complex, yet sometimes base and simplistic at the same time. Equal parts dangerous and inviting, they are the watchers over dark dreams and bright nightmares. I wanted to uncover their histories and secrets; I hope you do too.

cold-counsel-thumbnailChris Sharp grew up in the suburban wonderland of Alexandria, VA, where he cut his nerd teeth playing role-playing games and making gore movies with his friends. He studied English Literature and Anthropology at Brown University, and Mayan Archaeology at the Harvard Field School in Honduras. He then spent sixteen years in Brooklyn, NY, where he worked in film and commercial production by day, and was yet another wannabe novelist by night. His epic fantasy novel, Cold Counsel, is available from Tor.com Publishing. Chris now lives in Concord, MA, with his wife, daughter and an insufferable cat named Goblin.

27 Feb 12:29

Out of the Abyss: Derendils & Dragons.

Player Characters are truly rara avis. I thought I was still in the part of my Out of the Abyss story arc where I was leaving breadcrumbs, dangling hooks & putting Chekhov's guns up everywhere for some long-term plot lines, but I've had to escalate matters on one of my PC's threads, after advancing an Non-Player Character's backstory & causing a domino effect. It's funny; if you build a puzzlebox world & set up enough internally consistent rules...your players will eventually exploit the clockwork in ways you didn't expect but absolutely make sense. They'll also inevitably throw a monkeywrench in the gears at some point but I'm getting ahead of my story. It became the story of The Derendils & Norin, but it started quite differently, & with plenty of drama, besides.



The last session we played, separated in history by the holiday season & a wedding, ended with the players in Gracklstugh, non-lethally defeating a seemingly random two-headed giant with the help of some local duergar & a mixture of distraction & heavy blows to the head(s)...one mutated, incoherent with rage, the other seeming to silently be pleading for help. After taking him down, they were converged upon by a host of now-visible grey dwarves-- here, in the dark hollow center of the world, they are the Underdark's police state, with slave-stoked forges always clanking-- & another stone giant, like Easter Island's moai climbed out of the ground & clad in regalia made from scales of semi-precious stones.

The party splits into delegates to meet the emerging factions: Pook'cha the insectoid bard Sam plays goes to meet the dwarf in red dragonscale armor who is accompanied by pupiless-eyed mindthralls, random duergar passerby's psionically enslaved as an entourage: Gartokkar, the Firekeeper, agent of Themberchaud, the red dragon Wrymsmith. Imica, Jim's drow warlock, talks to Stonespeaker Hgraam of the Cairngorm stone giants. Serafin, the halfling ranger played by Pritpaul, addresses the Stone Guard, sent by Errde Blackskull, who answers directly to Deepking Horgar Steelshadow V. The wood elf cleric Norin that Ellen plays keeps her ears on all of the conversations, crashing Serafin's at the end when the Stone Guard police reveal that they have their friends in custody.

Negotiations with the stone giant clanlord Hgraam are easiest. He is pleased they did not kill Rahuud, & while he does not know what is going on but when they are done with all the "politics" he wants them to come speak to him. The other two factions...well, the psychic grey dwarf in incarnadine scales, Gartokkar says the dragon wishes to speak to the party immediately, & the players reasonably are cautious of offending a dragon. The tombstone-shielded Stone Guard are here to escort the players to their captain & try to use the fact that they have the party's friends imprisoned as leverage. Our heroes attempt somewhat successfully to mollify the guards but elect to seek out the dragon, first. Off down the proverbial yellowbrick road they go!



Or I should say "scarlet," as I pull out a cheesy trick from my new SFX toy. We got some smart lightbulbs that can project in different colours, so upon entering the lair of the red dragon, through increasingly complex Wonka factory doors, I switched them all to red light, gave the scene a real 80s fur n' fantasy feel. I'd used a similar trick in Oubliette long ago with a friends weird bathroom light fixture & the red planet RAM. Lighting techs, I know you do important work! The dragon is huge, an obese adult sitting on a pile of treasure & bones. Themberchaud, the Wyrmsmith & since I'm going method I drape myself languidly across the couch while I roleplay him. Long story short? He wants them to spy on everyone for him, including his own Firekeepers, & report back. The dragon can't understand anything like the idea of "peers," so the party nominates Pook'cha as the Master & the rest of them as his Thralls; Themberchaud rewards him with a set of the dragonscale armor of a Firekeeper, which seethes as if still remembering life, supernaturally adjusting to his six-limbed body...though he is not proficient.

The Stone Guard are headquartered in Overlake Hold-- I keep saying "Overhold Lake" on accident-- a stalactite carved into a massive military installation. The Deepking's home away from home, & a prison & a fortress besides. Errde Blackskull is the head of the Guard, & on the way to meet her, something curious happens. An imprisoned duergar runs up to the bars of his cell, pleading: "you must help me, my name is Derendil, an evil wizard polymorphed me into this wreched form..." which is surprising to the PCs, as...that's the quaggoth NPC Derendil's backstory as a "polymorphed elf prince." Huh. Errde wants the player to "find Droki," a derro of ill-repute, which is odd, because that's what the Firekeepers asked the players to do, too. She's willing to temporarily sponsor one of them as a member of her clan so they can move about the city freely, giving Norin a belt of dwarvenkind decoratively embossed with a bearded skull as token of her Official Dwarf Status. The PCs negotiate their friend's release, & in a surprising turn of events, ask if they can buy the duergar "Derendil" as a slave. This being Gracklstugh, the answer is, of course, yes.



Gracklstugh is great. More than a few times I stopped & laughed & said to my players, "this stupid evil dwarf city is fabulous." It's such an awful place, but after the horror of the wilds of the Underdark, the temptation of autocracy is strong. I mean, if you just follow the rules, you'll probably be fine? Maybe? Not to mention that the grey dwarves are stoically awful, but just rational enough to not be written off entirely. It is a special kind of bullshit. Leaving the Stone Guard, the players decide to regroup. Jimjar had been arrested for owning a deck of cards, & is pissed that the players seem exasperated with him; he covered for (the original) Derendil to escape with Stool! Ront was attacked by the drow, &...Topsy was in for graffiti? Last seen as a wererat, were-Topsy apparently carved "DON'T LET HER KILL ME" into the wall of the inn. Gnome-Topsy, on the other hand, is all about getting that curse broken. She & her brother had been bitten as children & the curse broken before, so it is strange it would manifest again.

"Turns out, I brought a D&D manual to a Paranoia game." -Ellen

The players decide to try to press the identity issue with the two Derendils. Frankly, they threw a curveball at me by freeing the dwarven Derendil, but that's the nice thing about a coherent story arc; I know what the master plan is. With the duergar Derendil, confronting him about the matter, bringing up the duplication...seems to keep resulting in brain aneurisms, as "Derendil" starts hemorrhaging from the eyes, nose, ears. The bestial quaggoth Derendil flies into a berserk rage when the other Derendil is shown to him, when his backstory is questioned...the PCs cast sleep & keep him in hand but they decide that the Derendils should go to the priests of Laduguer, the Toiler, with Topsy. The temple is a cave supported by golden pillars carved with ancient runic tales of legendary labours, & the greedy priest mildly overcharge-- duergar!-- for their spells. Topsy's curse is broken, but after paying a consulting fee, the priest tell them that they've actually been having an endemic problem with personality psychosis, of these delusional "Derendils" & "Norins."

At which point Ellen, who plays the PC Norin, goes, "wait what?"
27 Feb 09:03

Star Wars: End of Empire: Eris & the Holograms.



After the theft of a starship last session we come back from the wipe to the classic Star Wars cutaway of howling engines shot from behind as the False Profit punches it out of the bore-hole of the subterranean casino city, followed by the darting shapes of two Cloakshape fighters in close pursuit. Think of them like the Millennium Falcon's cockpit with wings & guns bolted on, rocketing in chase of the stolen getaway ship. You remember our dramatis personae: Rachel's character, the former Imperial mechanic Para Totool, is in the pilot's seat; Jolit the human replica droid infiltrator played by Joey is next to her, trying to figure out how to be helpful; & Raj's scoundrel Jax Cadderly is the group's face, down in the docking port clutching his wounded shoulder. Burke is running a little late, but I actually have a perfect deus ex machina for that: his character the felinoid Force-sensitive Farghul fringer Theynur Kötturinn runs to the back of the ship to find the transponder, seeking to disable it so they can't be tracked...& runs into a hovering black Imperial torture droid that promptly sticks her with a glistening syringe, dropping her to the ground, unconscious!

The dice mechanics of Fantasy Flight's Star Wars games are like reading the oracle bones...& I am finding that I quite like it. Those garlands & radiation symbols, the "interesting results" rather than the straight-forward explosions & triangles as "successes" or "failures," pushes me to evolve the scene organically, forcing me to stretch as a DM when the dice show unexpected results. As a way of resolving narrative scenes it excels, but it can be a little complex for turn-by-turn resolution. Or maybe that's a result of us being novices with the rules, still trying to figure out how piloting works & wait, there is are d% critical tables hidden in here, etc. The moral of the story is I very much like the custom dice, though the granularity of all the tables & weapon qualities is perhaps a little less abstract than I'd prefer. Hopefully familiarity will make winging it second nature.

The rules certainly suited this scene well. Para banked the stolen yacht into the Girders, a vast field of skeletal durasteel beams from a Kuat Shipyards supercarrier that rained skyscraper-sized hull struts— due to build Star Destroyer keels— down on Ord Mantell after a severe suborbital malfunction decades ago. A maze of twists & unpredictable terrain that Para pilots the party's ship into rather than face the rust storm whipped up to the north, full of sharp flakes of metal in a hurricane of razors. Into the massive forrest of i-beams they fly; one of the Cloakshape fighters peels off in panic...but not before firing off a pair of concussion missiles, setting a mass of pillars into blazing domino hell. Inside the ship, Jolit is on top of the floating, spinning interrogation droid, a vibroknife jabbed into it's shell as Theynur drools on the floor below. Jax helps, blasting the thing as he comes up from the loading bay: Raj is pleasantly surprised to realize that Jax's in-game "show don't tell" has revealed that he is the one who shoots first.

Ducking & weaving through the groaning, shifting beams, Para flies the ship & the Force is with her...& it really is, as the players using the Destiny Pool to boost all of her rolls. The other fighter isn't so skilled, or lucky, & busts into a flat explosion against the side of one of the falling supports. Para tries to keep from being crushed beneath the same piece of superstructure, gunning the engine & hitting a hard skid to get the long body of the False Profit out from below, the engines making that distinctive Lucas-y guttural motorcycle growl...& fails. I have Rachel roll on the Critical table, & she gets "Tailspin": just the nose is clipped, spiderwebbing the cockpit window with cracks & sending the ship into a Top Gun spiral, headed downward & towards the brutal rust storm as Para struggles, unable to reach the controls against the g-forces. Jolit finishes off the imperial droid— tougher than he thought!— & it's repulsors die & drop him to the group just in time for the centripetal force of the spin they are in to throw him to the wall. Theynur, coming to & still groggy, nevertheless manages to acrobatically move along the walls against the motion of the ship, slip down into an access pod, & disable the transponder beacon. Jax, gritting his teeth against the pain & vertigo, crawls his way down into the engineering section...& manages to kill the starboard engines, compensating for the spin & rescuing the ship before it can crash.

Pulling a classic Star Wars vertical 180°, they fly the ship back into the Girders, nestling the luxury spaceyacht into the crook of two where they will be hidden away. A sly move; any pursuers will likely assume they died in the conflagration; that's certainly what the surviving Cloakshape fighter pilot reports back to the Black Sun. Inside, the party gets to paranoia. Jolit, all on his lonesome, gets his hands in the guts of the ITO interrogation droid & convinces it to spit out a holorecording: the green-skinned (though how can you tell, on the blue holoprojection?) Faleen Concilliator Kek boarding the False Profit with his entourage of the Contessa, Vice Moff & the arms dealer Crosh. "They left this droid here to make direct contact with the Imperator; make sure it stays on the ship. I don't need it spying on our facilities." & with that it winks off, deleted from the buffer. Jax, searching for a bottle of Corellian brandy, rather easily finds 4-DOX's memory crystal, hidden in a Mon Calamari duo-directional water fountain on the luxurious upper deck, where there is also a long rectangular pool floating in the middle of the room, flanked by two rows of distinguished white holographic busts of a slowly shifting cast historical figures. The others give the rest of the sumptuously appointed ship a thorough ransacking just to be sure, finding some secret compartments but no other hidden foes. After some chatter, they contact Eris Berserk, who arranged this job for the Droid Uprising, & arrange the pick-up, past the blue horizon.

The cerulean sun of Ord Mantell's binary system creates an ionizing field, worse in the atmosphere, that shorts out droids, shields, & electronics. It also gives me an excuse to use my new smartlights for blue mood lightning, a trick that I first used in Out of the Abyss but that I first brainstormed for End of Empire. Flying the ship into blue daylight, they take cover by going down. Kuat Drive Yards had massive mining complex here— that's what all these titanic bore holes are from, as well as the Girders— & they take the False Profit in, idling slowly between rusty AT-CargoTs, six-legged walkers that once traveled single-file like mammoth Indiana Jones mine carts into the striped-out guts of the planet. Eris contacts them to tell the players the coordinates to meet her at: she's going to have them hide the ship down here & pick them up by landspeeder. Oh, & she's got a priority signal for Para: should she patch it through?

"This is Totool."

"Para, am I really the first to get through to you? That's fantastic! It's Ulma! Ulma Verbost, your old Ensign from the Elrood Sector! Listen, you've got to let me be the one who gets your re-enlistment bonus, I can really use the credits! Oh it's so fantastic, I can't wait for you to get back here: did you know the Imperator has your name double flagged on the roster as high value? I mean, they are frankly desperate for any officers, so you could pretty much write yourself a blank check anyhow, but you know how Pryl, sorry, the Imperator has always been about keeping her crew close to her, & besides that I guess your research on that planet you were obsessed with caught her eye as well. I'm so excited I got through to you, boss! Did you know your old middy would make Commander some day? Do you know I report directly to one of the Royal Guards? I've seen his face! Heck, they'll probably let you start a whole dewback program for those stupid monsters you love so much! The ISB say it's 5000 credits now, then ano..."

Click, as the players close the commlink in horror.

The tint of suspicion from earlier, at this point, erupts into full on Tarantino film paranoia. Para's backstory as an errant former Imperial is no secret, but she served with the Imperator? Eris, in a manta-shaped landspeeder with two big cannons & one big rear engine as the "tail," pulls up outside & the comm channel starts chirping again. Jolit & Jax get out of the ship— Jax knows Eris best & Eris, with her sleek black cyborg arm counterpointing his overjacked cyborg arm, just seems to think Jolit is adorable— & Theynur & Para cluster on the bridge, peeking through the crumpled transparent plasteel at the proceedings below. They've already been on the comm with Eris interrogating her about why she patched the call through ("because a call came in to Para's TIE fighter & knew all her code signs, that's why.") & how the Empire knew they would be there ("Why, because they were spying on the Black Sun?") & it ended with Eris calling them amateurs & refusing to talk further unless face-to-face.

Eris Berserk is one of the blue-skinned nearhuman Chiss. None of the party know any others, but while they aren't exactly common they aren't exactly unheard of, either. There are a few colonies of them here & there, like the Pantorans from the moon of Orto Plutonia, & a few famous examples, like the art-loving Grand Admiral Thrawn. They are renown for their cool composure...a trait Eris only occasionally shares. She can be downright coldblooded when the occasion calls for it, but otherwise she vacillates from fond detachment to frustrated rage. She's older, with shorn head except for a white forelock, & she's wearing her heavy black laminate breastplate with flashing lights in the chest & a voluminous if slightly tattered gown from a Chandrilan designer, leaning on her vibro-blaster. Jax & Jolit & her go around in circles for a bit, but eventually they all calm down, Para & Theynur come down, & the crew all head off in Eris' hammerhead landspeeder.

Bust out the death sticks & dive into the pirate booty! Into the creepy Savrip Catacombs they go. Decorated by the endangered Savrip species— you know what they are, they are the holopiece in Dejarik that defeats the Gundark— it is filled with the skulls & bones & droid pieces brought by centuries of elder Savrips in death musth. Now that cooler heads have prevailed, Eris breaks out her humidor & distributes the celebratory thick wraps of spice to the players & let's them comb through her trove of miscellaneous gear. What do you do with all that stormtrooper armor, swoop gang leathers, Gammorean vibroaxes & smuggler's pistols you've collected over your years of privateering? Chuck 'em in the junk room & forget about 'em till an occasion just such as this one! Telling the PCs to mind their Encumbrance ratings, a system that I think is plenty simple in this game, they get to pick out a blaster or vibro weapon of some kind & simple armor of their choice. It's the first costume change of the film & I tell them to think of it as a change to get a default look & visual cues settled.

Jolit puts together a complete set of laminate armor, other than his already well armored battledroid arm, Theynur pulls on a re-breather equipped set of environmental survival gear; Jolit picks up a vibrosword, Theynur a vibroaxe, swing them around experimentally, shrug, & swap. Jax puts on some piecemeal armor, a chestplate, & juices up to a heavy blaster. Rachel asks if there's some kind of mechanic overalls where the tools provide armor, & funnily enough I was just looking up the mechanic's utility suit! Besides that, they also manage to reactive an old astroprobe droid. Arakyd Industries was a droid manufacturer on Ord Mantell who was unable to recapture the success of their probe & scout droids, but never stopped trying, mostly by recycling other droid concepts. 4-DOX is a RA-series protocol droid, a bug-headed knock-off of the popular 3P0 model intended for non-human markets, for instance, & AK-88— Theynur dubs her "Katee"— is a similar attempt to capitalize on Industrial Automaton's popular but feisty astromech droids.

Star Wars movies are not shy about showing you scenes from the villain's point of view, & I wanted to keep that sense of cinematic logic so I reached into my bag of New School gaming tricks & decided that I wanted my PCs to get the chance to play deuteragonists from the other point of view. 4-DOX's bottled memories offer the perfect intro device: Eris plugs the holocrystal into the projecter table she has in a makeshift briefing room, & then I hand out NPC stats to the Players. They are Concilliator Kek's entourage, the fallen nobles, compromised Imperials & war profiteers who trail in his wake, come to bend the knee for the Imperator of the Imperial Praetorians, now that a fleet of Star Destroyers & three Super Star Destroyers have shown up in orbit. "I feel like we're playing the president's stupid, corrupt cabinet," someone says at one point, so mission accomplished. Concilliator Kek, breath mask hissing, orange topknot trailing, dressed in white wampa fur & glittering golden starbird scales, leads them into a long room on board The Eye, protected by a half dozen Crimson Guards & a copy of the Death Star throne. The secondary characters they play are:
    Crosh (Arms Dealer): A warlord who controls the old Old Sienar Fleet Systems orbital shipyards. Mostly fallen to decay, Crosh has scavenged the facility to keep it operational, cannibalizing the failing factories to cobble together some kind of operational assembly line. They now churn out mostly traditional TIEs, sold to corporate guilds, local systems, & criminal enterprises that want to bulk order starfighters. Not the most graceful of leaders, what Crosh lacks in subtlety he makes up for in decisiveness & low-cunning. Joey improved a reference to the arms dealer Crosh in the first session, & I knew then that I was definitely going to give him the NPC role that he'd just spun into existence, since I knew the holo-scene was coming up. He took a gruff tone & a pounding fist to the table.

    Vice Moff Pandar Solt (Corrupt Bureaucrat): Vice Moff Solt is absolutely terrible at his job; that's why he has it. Never good enough to be quickly promoted through the ranks, never ambitious enough to have a position worthy of being thrust from by rivals or Force-choked by Lord Vader, Solt's studious mediocrity & lack of imagination presented an opportunity for Concilliator Kek, as Solt's imperial betters abandoned the proverbial ship. He sponsored Pandar's rise to command, making sure to keep a long holotrail of incriminating evidence & blackmail material along the way, though the pompous Vice Moff is utterly a creature of the Black Sun, & doesn't require much pushing. Played by Burke with a genteel obliviousness of ego.

    Contessa Wilva Misaani (Arrogent Heir): The young, spoiled heir of Ord Mantell technically owns the whole planet. Probably a few others? But Concilliator Kek controls Wilva's funds entirely. All of her credits are funneled through an anonymous banking clan account, to which only he has access, & Kek is not shy about making sure the Contessa knows that she is on a short leash. She may want to govern, but she has never been taught the skills needed to do so. She is a figurehead, trained to spend her allowance fashionably, & she knows it. The Contessa lives the life of an epicurean, hedonistically flirting & fencing her way petulantly across the scarred face of Ord Mantell. Raj relished the chance to play an opportunistic Paris Hilton.

    Commander Ulma Verbost (Naval Officer): Once upon a time Ulma Verbost was an ensign serving under Imperator Pryl, back when the Imperator was just a captain...but Verbost's mentor as a midshipman & direct report was Lieutenant Para Totool. When Para went AWOL, Ulma stayed, & in the power vacuum left after the Battle of Endor, her experience became a valuable commodity in the Empire's leftovers...& other than success, the only thing Pryl has always rewarded is loyalty, whether captain, admiral & Imperator. Now Ulma Verbost is a Commander, & her superior officer is a Royal freaking Guard. She's in charge of the TIE interceptors & other elite starcraft aboard the Super Star Destroyer The Eye. Rachel summoned her up with an Obligation check, & imbued her with a prideful stoicism.
Imperator Pryl enters, walking past the Royal Guards to stand behind the throne. Her naval uniform is crisp white & bears no rank, & she wears a white hooded cloak held together with same claps as Palpatine's robes. Her hair is a thick garland of blonde, wrapped around her head like a halo, & at her waist sits a lightsaber. She speaks plainly & with the illusion of choice, but the implicit threat behind her words needs very little underlining...especially with such eager toadies. The Imperator's agenda is this: she intends to govern. Not just conquer, but rule, & to do so she needs trade. She has access to the Imperial coffers...as long as someone honors the currency. To that end, Ord Mantell offers a unique opportunity: being resource poor but with countless factories, it makes a perfect import partner...much as Mandelore was once strip mined by the Republic to feed the shipyards. Furthermore, she has access to state of the art schematics, blueprints from someplace she calls "The Maw," research that she's willing to upgrade Crosh's factories with, as long as she can be his only customer.

To solve the Contessa's little droid problem, she will grant all sentients "the right of indenture," replacing droid workers with slave labour of another kind. The Praetorians also occupy the Spice Mines of Kessel, giving her control over the sole source of glitterstim in the galaxy...which the Black Sun can distribute. In fact, if Kek will swear allegiance to the Empire & stabilize the Imperial credit market through money laundering, she will back him with force as Underlord of all the Black Sun. After conferring amongst themselves, the anti-party of course agrees to her terms, & the Imperator says she will begin sending down ISB agents for the re-enlistment & conscription drive immediately. She sends an ITO droid from the intelligence bureau with them as a rely so that she & Kek can be in direct contact, & dismisses them, adding one more thing: find Eris Berserk!

The scene ends with Kek telling Crosh to leave the torture droid on the spaceyacht, not wanting to take it into his lair: the scene Jolit first triggered, & with that they eject from the flashback & back into the pirate den. What to do, what to do! "Why do they have my name in their mouths?" wonders Eris, & while Jax tries to flatter her about her fame as a privateer, it falls short. Para doesn't exactly have a lot of chill for things as they stand, either, & so they all concoct a rather harebrained scheme. Based on some intel from Navigator Marid, the Mon Calamari running the Rebellion out here on this sector of the Outer Rim, one of the small, Vigil-class Star Destroyers is caught in a stormfront in the Bright Jewel nebula, one of the gravitic cyclones condensing into a nascent star. On the edges of this stellar whirlpool circles a seemingly abandoned Imperial capital ship. In order to find out why the Praetorians are searching for Eris, & what exactly is going on, they concoct a scheme to break in, raid the data banks &...steal a Star Destroyer.
18 Jan 08:33

Cover Reveal: The Five Daughters of the Moon by Leena Likitalo

by Ana

In which we showcase the cover for The Five Daughters of the Moon, an upcoming book by Leena Likitalo from Tor.com.

Without further ado, behold! The smugglerific cover!

The Cover:

fivedaughters_final

Cover art by Anna and Elena Balbusso, with cover design by Christine Foltzer.

About the Book:

Inspired by the 1917 Russian revolution and the last months of the Romanov sisters, The Five Daughters of the Moon by Leena Likitalo is a beautifully crafted historical fantasy with elements of technology fueled by evil magic.

The Crescent Empire teeters on the edge of a revolution, and the Five Daughters of the Moon are the ones to determine its future.

Alina, six, fears Gagargi Prataslav and his Great Thinking Machine. The gagargi claims that the machine can predict the future, but at a cost that no one seems to want to know.

Merile, eleven, cares only for her dogs, but she smells that something is afoul with the gagargi. By chance, she learns that the machine devours human souls for fuel, and yet no one believes her claim.

Sibilia, fifteen, has fallen in love for the first time in her life. She couldn’t care less about the unrests spreading through the countryside. Or the rumors about the gagargi and his machine.

Elise, sixteen, follows the captain of her heart to orphanages and workhouses. But soon she realizes that the unhappiness amongst her people runs much deeper that anyone could have ever predicted.

And Celestia, twenty-two, who will be the empress one day. Lately, she’s been drawn to the gagargi. But which one of them was the first to mention the idea of a coup?

Inspired by the 1917 Russian revolution and the last months of the Romanov sisters, The Five Daughters of the Moon is a beautifully crafted historical fantasy with elements of technology fuelled by evil magic.

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About the Author:

LEENA LIKITALO hails from Finland, the land of endless summer days and long, dark winter nights. She breaks computer games for a living and lives with her husband on an island at the outskirts of Helsinki, the capital. But regardless of her remote location, stories find their way to her and demand to be told. You can visit her online at www.leenalikitalo.com.

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On July 25, Tor.com Publishing will release The Five Daughters of the Moon, the debut from Finnish author Leena Likitalo and the first in the Waning Moon Duology.

The post Cover Reveal: The Five Daughters of the Moon by Leena Likitalo appeared first on The Book Smugglers.

02 Jan 07:50

I enjoyed Caitlín R. Kiernan's Agents of Dreamland

by noreply@blogger.com (John)
Like a particularly good (albeit fairly grim) X-Files episode about two government agents investigating a cult living by the Salton Sea. Currently a $2.99 preorder at Amazon.
02 Jan 07:43

Excerpt: PASSING STRANGE by Ellen Klages

by Ana

Happy Monday! We are delighted to be hosting today an exclusive excerpt from Passing Strange, an upcoming Tor.com book by Ellen Klages

passingstrange-finalcover

“A slice of history, filled with memorable characters, topped by fabulous writing — a recipe for great reading.” —Ann Leckie, New York Times bestselling author of Ancillary Mercy

San Francisco in 1940 is a haven for the unconventional. Tourists flock to the cities within the city: the Magic City of the World’s Fair on an island created of artifice and illusion; the forbidden city of Chinatown, a separate, alien world of exotic food and nightclubs that offer “authentic” experiences, straight from the pages of the pulps; and the twilight world of forbidden love, where outcasts from conventional society can meet.

Six women find their lives as tangled with each other’s as they are with the city they call home. They discover love and danger on the borders where magic, science, and art intersect.

Inspired by the pulps, film noir, and screwball comedy, Passing Strange is a story as unusual and complex as San Francisco itself from World Fantasy Award winning author Ellen Klages.

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One

On the last Monday of her life, Helen Young returned from the doctor’s and made herself a cup of tea. As she had expected, the news was not good; there was nothing more that could be done.

From the windows of her apartment high atop Nob Hill, San Francisco’s staggered terraces lay like a child’s blocks, stacked higgledy-piggledy, the setting sun turning glass and steel into orange neon, old stone and stucco walls glowing with a peach patina. The fog coiled though the hills like a white serpent.

She set the delicate porcelain cup onto a teak side table and thought about what she needed to accomplish. Her final To-Do list. Ivy, her companion-slash-caregiver had the day off, which made the most important task both simpler and more challenging. She would not have to explain, but would have to do it all herself.

Perhaps she should wait until morning? Helen debated, then picked up her phone. After seventy-five years, she was the last one standing; this was no time for missteps or procrastination. She tapped the screen and summoned a cab.

The day had been warm, as autumn in the City often was, but the fog would chill the evening air. She slipped on a light wool jacket and glanced at the brass-headed cane leaning against the side of the sofa. Would she need it, or would it be an impediment?

Even though her hearing was shot, and her glasses were as thick as a cartoon’s, her legs were still good, for an old broad. Hell, her legs were still great. She wrapped a hand around the dragon handle and did a nice buck-and-wing, then set the tip down onto the hardwood and left it where it was.

At the apartment’s door, she stopped. If anything did go wrong —

She backtracked to the kitchen and the tiny whiteboard that hung next to the fridge, and scribbled an address under ENSURE and TUNA. Easy to erase when she came back. Easy to find if she didn’t.

The doorman escorted her to the waiting cab. “Chinatown,” she said to the driver. “Spofford Alley, between Washington and Clay.” She heard the cabbie sigh. A trip of less than half a mile was not the fare he’d hoped.

“Off the main drag,” he said. “What’s there?”

“Long-lost friends,” Helen answered, and smiled as if that brought her both joy and sorrow.

San Francisco was a city of great density, as much vertical as horizontal, surrounded on four sides by water, houses cheek-to-jowl, but Chinatown made the rest seem spacious. More than seventy thousand people packed into a single square mile. Grant Avenue was a string of gaudy shops and restaurants catering to the tourist trade. The alleys were not as gilded or sanitized. As the cab turned into the single, cramped block lined with three-story brick buildings on either side, Helen could smell the distinctive blend of spices and dried things, vinegar and garbage.

“Stop here,” she said.

“Are you sure, lady? This isn’t a safe neighborhood, especially after dark.”

“I’ve never been more certain.”

“Suit yourself.” He glanced at the meter. “That’ll be four-ten.”

She handed a twenty through the window in the thick Plexiglas that separated driver and passenger. “Wait here — I should be about fifteen minutes. There’ll be another of those for my return trip.”

“Sign says No Stopping, Tow-Away.”

“If the cops come, circle the block.” She slid another twenty through.

“Got it.” The cabbie nodded his assent, and Helen got out.

In the dusk of early evening, the alley seemed to be made of shadows, the only illumination a few lights in upper story windows across the pavement, laundry hanging from the sills, and an illuminated mirror in the back of a beauty salon two doors down, a CLOSED sign dangling in its dingy window. Number 38 was a shabby building with brickwork painted the color of dried blood; a narrow door and street-level window were covered with thick plywood painted to match. The entrance was a solid, weathered slab without ornamentation, not even a knocker. It bore no signs of recent use.

“You know someone who actually lives here?” the cabbie asked from his open window.

“Not precisely,” Helen replied. She removed a ring of keys from her jacket pocket. “I inherited the building, a long time ago.”

The vestibule was dark. Helen closed the outer door and took a maglite from the pocket of her trousers. In a hallway darker still, she used another key to unlock a wooden door whose hinges screeched with disuse. A flight of rickety steps led down; an odor of must and damp earth wafted up.

She flicked the switch at the top of the stairs, bare bulbs glaring on, and turned off her tiny light. Holding the railing for support, she made her careful way down into the cellar.

The floor below was cement. Helen’s sensible, rubber-soled shoes made no sound. She went through an archway and turned left, then left again. Her progress was slow, but steady. It was a maze down here, easy to get disoriented. At one time, most of the buildings on the street had been connected underground, six or seven strung together by invisible passages.

The “ghost tours” run for the tourists claimed that these were all dens of iniquity — opium and white slavery. That might have been true before the 1906 fire. But after? Speakeasies, perhaps, until Prohibition was repealed, or just convenient ways to get from one place to another. In those days, the cops needed no excuse for a raid in Chinatown, and the subterranean routes were a matter of survival.

Now these were only storerooms. The electric lights ended at the third turn. She took out the maglite again. Its narrow beam caught the edges of shrouded furniture, cardboard boxes, an iron-bound trunk, and more than a few scuttling rats. The LEDs gave everything an eerie blue cast, and she shivered despite herself.

One more turn led her into a small room with a dirt floor. Two walls were stone, one brick, all solid. The door she’d come through was the only opening. Helen shone the light onto the brick wall. Its regular expanse was broken only by a wooden rack that held a motley array of dusty teacups and bowls, stacks of chipped plates. A rusty-lidded cast-iron pot sagged the boards of the middle shelf.

She switched the light to her left hand and focused the beam on the pot. She reached behind it and found the small knob hidden by its bulk. She tugged; the knob did not move. With a sigh, she tucked the light under one arm, awkwardly trying to keep it focused. She gave silent thanks for the yoga and dance classes that kept her as flexible as she was. Using both hands, she tugged at the unseen latch. It finally slid open with a click so soft she barely heard it, even in the silence of the underground chamber.

Helen stepped back as a section of the brick wall pivoted outward, creating an opening just wide enough for a person to slip through. It had been formed of the bricks themselves, the alternating blocks creating a crenulated edge to the secret doorway. She felt the hair on her neck spike at the touch of cool air, damp and old and undisturbed.

It had been built for illicit deliveries of whiskey, back in the twenties, she’d been told, a clandestine tunnel leading all the way to Stockton Street. By the time she’d first seen it, it was just a dead end. Now she was the only person alive who knew it existed. Soon it would be another lost bit of history. She switched the light back to her right hand and stepped into the opening.

Three feet beyond was a wall, a deep niche the size of a small window hewn into the rock-studded cement. It looked like crypt, a singular catacomb. But a crypt holds the remains of the dead. This, she thought, was a vault, its contents of — inestimable — value.

Her light revealed a wooden crate, slightly larger than a LIFE magazine, two inches thick, covered in dust. Helen brushed it off, then slid her hands under the thin wood and lifted it. It was not heavy, just a bit ungainly. She held the maglite tight against one edge, and stepped backward into the room with the crockery. The cane would definitely have been a nuisance.

She rested the edge of the crate on one of the shelves and stared into the vault for a long moment, seeing something far beyond the stone. Then she shook herself, as if waking, and reached behind the iron pot. Reversing the latch was easier. Another soft click, and the doorway slowly slid closed for the last time, the jagged edges of its bricks fitting perfectly into the pattern of their stationary counterparts.

An oversized shopping bag with paper handles lay folded on the shelf with the tea cups. She slid the crate into it, laying it flat. Holding the bag like a tray, she walked back through the labyrinth of turns, moving much more slowly. With the last of her energy she trudged up the stairs into the gloomy vestibule, leaving the door ajar. No longer anything of value down there. She stepped back out into Spofford Alley. Even at night, the narrow, dimly lit street seemed bright and expansive after the darkness of the cellars below.

Helen laid the bag on the back seat of the waiting cab, and locked the outside door with a relieved sigh. That was done. Handing the cabbie the promised bill, she got in. When they neared her building, she tapped on the Plexiglas. “Use the back entrance, please.”

The service elevator took her to the twelfth floor, avoiding the doorman and any questions, and she let herself in to the silent apartment. Setting the bag onto her dresser, she went to the kitchen, erased the address from the whiteboard, and poured herself three fingers of the 18-year-old Macallan. Much more than her usual nightcap. Ivy would tsk and scold, but Ivy wasn’t there. Helen took a screwdriver from a drawer and returned to the bedroom.

Her drink was half gone before she felt ready. She laid a towel on her bed and gently withdrew the crate from the bag. The screws were old, set deeply into each side. The thin wood splintered as she removed them, one by one. When the last screw lay on the towel, she used her fingers to carefully remove the lid.

Inside lay a silk-wrapped rectangle, nearly as large as the crate. She lifted it out and set it on the end of her bed, untying the cord that had secured the four corners of the fabric like the top of a circus tent. The silk slipped off onto the comforter, revealing the shallow glass-topped box within.

Helen stared, then downed the last of the scotch in one long swallow.

“Hello, you,” she said. “It’s been a while.”

Two

Tuesdays were always slow. Marty Blake had no idea why. He was behind the front counter, catching up on paperwork — printing out mailing labels, updating the catalog and the database — when he heard the jingle of the bell over the door.

Foot traffic was better since he’d moved to his new location. Not that there hadn’t been plenty of people on the streets of the Tenderloin, just not the clientele he wanted. Martin Blake Rare Books was a tiny shop, and the rent was astronomical, but only a few blocks from Union Square, so chances were excellent that any customers could afford whatever they fancied.

He looked up to see an elderly Asian woman step softly inside. One hand gripped the head of an antique cane; the other held a large Neiman Marcus shopping bag. She wore black silk trousers and blouse under a cream jacket with lapels embroidered in a deep red that matched her lipstick.

This one had money, all right. On the far side of eighty — he couldn’t tell at a glance just how far — her face was wizened and her hair was thin, but still inky black, shot with a few strands of white. She wasn’t stooped or hunched, and although the hand on the cane was spotted with age, her eyes were bright bits of jet behind thick silver-rimmed glasses.

He straightened his own jacket and ran a quick finger through his goatee as she approached. “May I help you?”

“Your specialty is twentieth-century ephemera.” It was not a question.

He shrugged. “One of my areas of expertise. Are you looking for something in particular?”

“Perhaps. May I leave this here?” She eased her bag onto a table.

“Be my guest.”

She nodded her thanks, and Marty returned to his accounts. No need to keep a shoplifting eye out for this one.

Fifteen minutes passed, punctuated only by the tappings of her cane on the hardwood floor and his fingers on the keyboard. Marty looked up occasionally, watching her peruse the shelves, trying to get an idea of what she was drawn to. Much of his business was online, and the bulk of his inventory was in storage. He only had room to display his most select pieces.

In locked golden-oak cases and shallow, glass-topped tables, illuminated by tasteful halogen spots, were fewer than a hundred items. First editions, signed prints, and a handful of original manuscripts and drawings filled the front of the house. Some less respectable items — early paperbacks, erotica, a handful of golden-age comics — still rare and valuable, but not to everyone’s taste, were in secure cabinets that lined the back wall.

One held a dozen pulp magazines from the ‘20s and ‘30s — garish covers, lurid scenes of murder and torture featuring scantily clad women with eyes like snake-filled pits, bound or chained and menaced by hunchbacked fiends, Oriental villains, mad scientists. Every issue was in pristine condition. They’d been packed away in boxes for years, but in the last decade, the market had skyrocketed enough to justify the display space.

The old lady had returned to the back wall twice now. The Christie mapback, maybe? He didn’t see her as a pulp fan. Those were usually geeky men buying up their fantasies with Silicon Valley start-up money that had blossomed into stock options.

Finally she turned and pointed. “May I see this one?”

Damn. Really? You never knew in this business. It was a pulp, and the best one of the lot, but the last thing he’d have thought she’d like — a 1936 Weird Menace whose cover was legendary for its grotesquerie.

He kept the surprise out of his voice. “Certainly.” He unlocked the cabinet, removing the tray case and setting it on a nearby table. He adjusted a rheostat and a halogen circle brightened for close inspection.

She sat, leaning her cane against the side of her chair, and gazed at the magazine in front of her with an expression Marty couldn’t read. Reverence? Longing? A bit of excitement, but mixed with — what? She looked almost homesick. He sat down across from her.

“Tell me about this,” she said.

“Well, as you can see, it’s in superb condition. White pages, crisp spine, as if it were fresh off the newsstand.” He slid a hand beneath the mylar sleeve and tilted the magazine slightly. “It’s an excellent issue, stories by both Clark Ashton Smith and Manly Wade Wellman, which alone makes it quite collectible since — ”

She held up a hand. “I have no interest in those stories,” she said. “What about that cover?”

It was a violent scene with a dark, abstract background. The subject was a pale woman, her eyes wide with fear, naked except for a wisp of nearly flesh-toned silk, a nest of green-scaled vipers coiled around her feet. Looming over her, a leering hooded figure in scarlet brandished a whip. It was a terrifying, erotic illustration, one that left nothing — and at the same time, everything — to the viewer’s imagination.

Ah.” The art. Marty smoothly changed his sales pitch. “The artist is, of course, Haskel. The signature’s at the bottom right, there.” He pointed to an angular H, the cross bar a rising slash with ASKEL underneath. “He did close to a hundred covers, not just for Weird Menace, but for several of the other — ” He groped for the word. “ — unconventional — magazines. A lot of output for a short career — just seven years. No one really knows why he stopped.” He thought back to the reference books in his office. “His last cover was in 1940. October or November, I think.”

“Nothing after that?”

“Not a trace. It’s like he disappeared off the face of the earth.” He recalled conversations he’d had with other dealers over the years. “There are rumors,” he said slowly, “that he did do one last cover, but it was never published. No one even knows what house it was for. I’ve heard guys at Pulpcon sit in the bar and talk about it like it was the Holy Grail, the one piece any collector would hock his grandmother for.” He stopped, remembering who he was talking to. “No offence, ma’am.”

“None taken. What do you think happened?”

“The war, probably. Might have been killed, but there’s no service record.”

She nodded. “My husband was a pilot. His plane was never found.”

“I’m sorry. But, for Haskel, there’s no paperwork of any kind, other than a few invoices. No photos, either. He’s a bit of a mystery.”

“I see. And — ?” She looked at him expectantly.

Marty thought back to the few articles that had been published about Haskel. “He worked almost exclusively in chalk pastels, not oils, which make his paintings smoother and softer, with an almost —” What had that reviewer said? Marty drummed his fingers. Ah, yes. “— an almost technicolor glow. His style is unmistakable, and this is considered one of his finest covers.”

He lifted the magazine once more, this time placing it into the old woman’s hands. “The detail is exquisite.”

“If you like that sort of thing.” The woman arched an eyebrow. “How much?”

He thought quickly. The catalog listing was eight hundred, but he’d seen the look on her face. “In this condition, twelve hundred.”

“That seems reasonable,” she said.

Marty breathed a sigh of relief. Was she even going to try and haggle? If not, it would be an excellent Tuesday after all.

“But I’m afraid my interest lies in the original artwork.” The old woman returned the magazine to the tray case.

Marty sputtered, then coughed in surprise. “An original Haskel? Almost impossible.” He shook his head. “I’ve only seen one, at an exhibition. There are five, maybe six known to exist.”

“You claimed there were nearly a hundred covers,” the woman said in an imperious, indignant tone.

“That’s what he painted, yes. But —” Marty produced a handkerchief and wiped his dampening forehead. “You see, back then, the pulp market was the lowest of the low. As soon as the magazine was on the stands, the art was destroyed. It had no value to anyone, including the artists. Besides, chalk pastels aren’t as — sturdy — as oil paint. Delicate as a butterfly wing.”

“There are originals for sale?”

“Not often. They’re all in private collections. The last one that came up at auction was five years ago, and it went for $60,000. One might go for double that, now.”

“Really?” She tapped a finger to her lips, thinking, and then smiled with an expression so expansive it pleated her entire face. “I’ll just fetch my shopping bag, young man. I believe I have something that will interest you.”

Copyright © 2017 by Ellen Klages

About the Author

ELLEN KLAGES is the author of two acclaimed historical novels: The Green Glass Sea, which won the Scott O’Dell Award, and the New Mexico Book Award; and White Sands, Red Menace, which won the California and New Mexico Book awards. Her story, “Basement Magic,” won a Nebula Award and “Wakulla Springs,” co-authored with Andy Duncan, was nominated for the Nebula, Hugo, and Locus awards, and won the World Fantasy Award for Best Novella. She lives in San Francisco, in a small house full of strange and wondrous things.

Passing Strange is out January 24 2017 from Tor.com.

The post Excerpt: PASSING STRANGE by Ellen Klages appeared first on The Book Smugglers.

28 Dec 11:56

B&N Sci-Fi & Fantasy Mailbag: Dec. 2, 2016

by Joel Cunningham

b&n sci-fi & fantasy mailbagAfter a week off for Thanksgiving break, the B&N Sci-Fi & Fantasy Mailbag is back! It’s a bit of a light week, but quality over quantity, we always say—these are four titles definitely worth watching for. Let’s open ‘er up.

Six Wakes, by Mur Lafferty (January 31, 2017)
A space adventure set on a lone ship where the clones of a murdered crew must find their murderer — before they kill again. It was not common to awaken in a cloning vat streaked with drying blood. At least, Maria Arena had never experienced it. She had no memory of how she died. That was also new; before, when she had awakened as a new clone, her first memory was of how she died. Maria’s vat was in the front of six vats, each one holding the clone of a crew member of the starship Dormire, each clone waiting for its previous incarnation to die so it could awaken. And Maria wasn’t the only one to die recently…

Agents of Dreamland, by Caitlin R. Kiernan (February 28, 2017)
A government special agent known only as the Signalman gets off a train on a stunningly hot morning in Winslow, Arizona. Later that day he meets a woman in a diner to exchange information about an event that happened a week earlier for which neither has an explanation, but which haunts the Signalman. In a ranch house near the shore of the Salton Sea a cult leader gathers up the weak and susceptible — the Children of the Next Level — and offers them something to believe in and a chance for transcendence. The future is coming and they will help to usher it in. A day after the events at the ranch house which disturbed the Signalman so deeply that he and his government sought out help from ‘other’ sources, Johns Hopkins Applied Physics Laboratory abruptly loses contact with NASA’s interplanetary probe New Horizons. Something out beyond the orbit of Pluto has made contact.

Pilot X, by Tom Merritt (March 14, 2017)
What if a time traveler lived in a world where disrupting the timeline could destroy everything in the universe — everything but himself? Pilot X is Ambassador of the Alendans, a race with the ability to move through space and time as guardians of the timeline. Locked in ongoing conflict with the Sensaurians, an organic hive mind that can send messages in thought throughout its own history, and the Progons, a machine race who can communicate backwards in time, Pilot X finally manages to create peace among the three races. But when Pilot X discovers that a secret dimensional war fought in hidden parts of spacetime threatens the fabric of the universe itself, he faces unseen enemies and a deeper conspiracy, bringing him to the ultimate choice: erase the existence of all three races, including his own people, or to let the universe be destroyed.

The Ace of Skulls, by Chris Wooding (Available now)
The intrepid crew of the Ketty Jay have been shot down, set up, double-crossed and ripped off. They’ve stolen priceless treasures, destroyed a 10,000-year-old Azryx city and sort-of-accidentally blown up the son of the Archduke. Now they’ve gone and started a civil war. This time, they’re really in trouble. As Vardia descends into chaos, Captain Darian Frey is doing his best to keep his crew out of it. He’s got his mind on other things, not least the fate of Trinica Dracken. But wars have a way of dragging people in, and sooner or later they’re going to have to pick a side. It’s a choice they’ll be staking their lives on.

Which one of these would you read first?

The post B&N Sci-Fi & Fantasy Mailbag: Dec. 2, 2016 appeared first on The B&N Sci-Fi and Fantasy Blog.

18 Dec 11:05

Dungeons & Dragons’ Gradual Shift Away From Monster Boobs

by Cecilia D'Anastasio on Kotaku, shared by Cheryl Eddy to io9
Zuggtmoy from Rage of Demons

Dungeons & Dragons has historically used attractive monsters, and especially of the female persuasion, to appeal to potential players. Busty demons and lithe wood maidens populated its source material, namely its Monster Manual, throughout the last 40 years.

With recent editions and supplements, D&D has phased out its bare-breasted female monsters and included more sexy male ones, making it clear that the game is going in a different direction. Now, as the game’s 5th edition, released in 2013, works to bring in a bigger audience, you’ll see fewer bare breasts and more abs in the Monster Manual and its Fall, 2016 supplement, Volo’s Guide to Monsters. Recent design changes to the game’s beasts reflect how D&D meditated on its own marketing practices.

Mike Mearls, the Senior Manager of D&D, told me that “In the game’s earliest years, you definitely had a sense of nudity (looking at you, topless succubus in the 1st edition DMG [Dungeon Master’s Guide]!) as something that was becoming a common counter-culture of the time.” Now, D&D is a different game. The counter-culture Mearls refers to was, for the most part, marketed to straight men.

Hobgoblin Iron Shadow from Volo’s Guide

That’s because D&D’s early fandom was mostly male. A 1978 survey puts the percentage of female fans at between .4 and 2.3 percent. The game’s disinterest in courting women was hotly discussed in early ‘80s Dragon magazine columns like “Dungeons aren’t supposed to be ‘for men only’” and “Women want equality. And why not?”. In AD&D, players could reference a “Harlot Table,” an array of twelve “brazen strumpets or haughty courtesons.” Early on, the game’s rules penalized players’ strength score if they chose to be female. It’s not hard to see how the game’s ruleset, illustrations and culture, so mired in wargaming, engendered a bit of a boys’ club

Gary Gygax, the game’s co-creator, was a big pulp fantasy guy. Conan was his bible. And, in Conan, women are hot, well-endowed, and ready to get down—even enemy or non-human women. In Robert E. Howard’s “Frost Giant’s Daughter,” a sexy frost giant who, “save for a light veil of gossamer” was “naked as the day,” is used to lure the barbarian to her father and brother, who would kill him. It’s the classic femme fatale trope, Mearls explained. Greek myths and European folk tales, from which D&D take inspiration, often use these non-human women as vulnerable lures or fierce beasts. Mearls said, “I imagine in the early, male-dominated years of the hobby that took root and became a cliché.”

The 1977 Monster Manual’s marilith and auccubus
1977 Monster Manual’s lamia and erinyes

“I think there was a feedback cycle where the inner circle of fandom was mostly male, that group gave feedback on what they liked, and you had art that delivered what they wanted,” Mearls said. For D&D’s Monster Manual, the game’s first hardcover supplement, that was especially the case.

Mariliths, Erinyes, Lamias and other female monsters are canonically naked with large breasts in the late ‘70s AD&D (the Dryad is hiding behind a tree in a tattered dress). AD&D’s Monster Manual also features a completely naked succubus, crouching down with her arms covering her nipples. It makes sense—a succubus is traditionally seductive, and appears naked in ancient sculpture and Medieval paintings. But in AD&D, 2e 3.5e or 4e—between the late ‘70s and ‘00s—-there was no male aspect of that mythological paradigm, no incubus. He finally appears in a 4th edition supplement, the Demonomicon, in 2010, two years after 4th edition’s release.

Monster Manual canon added the incubus in 2013’s 5th edition, D&D’s Lead Rules Developer Jeremy Crawford explained to me, to “echo the wondrous variety in the human experience and in the myths that muse on that experience.”

5th edition incubus and succubus

If a creature is canonically sexy, Mearls confirmed, D&D’s 5th edition team designed it with a male and female form. In 5e, the ncubus happens to resemble a Buffy character—definitely a bid for straight women’s interest (in the Demonomicon, he’s fully-armored, cross-armed and leaning back in a chair). “We’re equal opportunity cheesecake merchants,” Mearls added. “We don’t assume heterosexual male players.”

Crawford elaborated, “The question shouldn’t be, ‘Why should we add an incubus to our game?’ The question should be, ‘Why was the incubus taken away?’ Why is only half of the succubus/incubus tradition being carried forward by so many games?”

My early years with D&D can answer that question. The first or second time I played in college, my buddy Sam showed me a picture of the nymph in the 3.5 edition Monster Manual. He flipped through the book and paused on her, a slender, red-haired woman wearing only a thin cloth. She rose from the water, the fabric sheer and revealing her every detail. (The nymph is a staple of the AD&D Monster Manual, and in the next Monster Manual edition, she’s wearing the same sheer dress as she is in 3.5.) That, Sam said, is what got him into the role-playing game.

D&D 3.5e’s Nymph, an example of how D&D has portrayed female monsters

What he said stuck with me. A few days ago, I followed up with him and asked him for more details. He told me that, when he was 12 at summer camp and horny as hell, he got introduced to D&D. The nymph was the first thing that grabbed him. He said, “When I saw that image of that nymph, I was excited, not just because I was turned on, but because, strangely, it wasn’t weird. We were just fantasy nerds saying ‘oh, man, sexy nymph.’” He felt like a part of a community that accepted him.

“Because of the fantasy of D&D, I felt safe in my attraction to her. It played a role in my personal sexual awakening,” he said. Later, he bought some D&D books and accessories. D&D’s edginess, which helped connect my friend Sam to his first D&D party, seduced people on the outskirts of mainstream culture.

Mearls explained that he thinks“it was natural to gravitate toward art that, at the time, would’ve been considered edgy and ‘out there.’” And much of that art showcased ripe, young lady monsters—still ubiquitous in bedroom fantasy posters and figurines.

I never really identified with that. Sure, there were ripped male demons in the D&D Monster Manual. But that wasn’t a lure for me, and in any case, those monsters’ design didn’t really appeal to me or my straight, female friends. I loved the idea of communal storytelling, of escapism, of gaming a very strict (and at that point, complicated) ruleset to get an intended outcome. The nymph, for me, felt a little off-putting. It was so obviously engineered to turn on straight men. Was there anything about the game’s monsters obviously engineered for me?

By the 4th edition of D&D, the nymph is absent from the Monster Manual. By 5th, it’s clear that she’s gone for good. In an e-mail, Mearls said that nymphs were simply unpopular monsters among Dungeon Masters. 5th edition was designed after crowdsourced playtesting, and over 175,000 responses from early testers confirmed that gamers prefer elder brains and beholders, apparently, to monster boobs.

“When we considered the audience, we tried to think of how men and women would react, and make sure the reaction we elicited was in keeping with the monster’s character and the design intent,” Mearls said.

Volo’s Guide’s Yuan-Ti Nightmare Speaker

In the 5th edition of the Monster Manual, nudity is still there when it needs to be—but, when breasts can be covered, generally, they are. Even the harpie, canonically unashamed of her body, is crouched such that none of her lady-bits are visible. Bare breasts are absent from Volo’s Guide, the latest supplement to the Monster Manual out in October of this year, in what Mearls says was a conscious effort to “make sure that the art we presented was as appealing to as wide an audience as possible.” Probably the most stereotypically “sexy” female monster in Volo’s Guide is the Yuan-Ti Nightmare Speaker, a dark, muscled woman in a tight halter top with a snakelike torso. Her male counterpart, the Yuan-Ti Pit Master, is long-haired, hard-bodied and undeniably sexy.

Yuan-Ti Pit Master

It’s worth noting that D&D itself encourages players to riff on what’s in the source material. A Yuan-Ti Nightmare Speaker can be naked in your campaign. The nymph can exist, and she can be wearing a boa and red platforms. How sexy you want your monsters to be all depends on the creativity of your Dungeon Master. For new audiences getting introduced to the game, though, a more toned-down or even sexuality across genders may prove more seductive to diverse audiences.

18 Dec 10:35

Tor.com Publishing Fall Quartet Sweepstakes!

by Sweepstakes

torcomquartet

We want to send you a quartet of Tor.com Publishing’s fall books: The Warren by Brian Evenson; Impersonations by Walter Jon Williams; Hammers on Bone by Cassandra Khaw; and Everything Belongs to the Future by Laurie Penny!

The Warren: X doesn’t have a name. He thought he had one—or many—but that might be the result of the failing memories of the personalities imprinted within him. Or maybe he really is called X. He’s also not as human as he believes himself to be. But when he discovers the existence of another—above ground, outside the protection of the Warren—X must learn what it means to be human, or face the destruction of their two species.

Impersonations: Having offended her superiors by winning a battle without permission, Caroline Sula has been posted to the planet Earth, a dismal backwater where careers go to die. But Sula has always been fascinated by Earth history, and she plans to reward herself with a long, happy vacation amid the ancient monuments of humanity’s home world. Sula may be an Earth history buff, but there are aspects of her own history she doesn’t want known. Exposure is threatened when an old acquaintance turns up unexpectedly. Someone seems to be forging evidence that would send her to prison. And all that is before someone tries to kill her. If she’s going to survive, Sula has no choice but to make some history of her own.

Hammers on Bone: John Persons is a private investigator who’s been hired by a ten-year-old to kill the kid’s stepdad, McKinsey. The man in question is abusive, abrasive, and abominable. He’s also a monster, which makes Persons the perfect thing to hunt him. Over the course of his ancient, arcane existence, he’s hunted gods and demons, and broken them in his teeth. As Persons investigates the horrible McKinsey, he realizes that he’s infected with an alien presence. Luckily Persons is no stranger to the occult, being an ancient and magical intelligence himself. The question is whether the private dick can take down the abusive stepdad without releasing the holds on his own horrifying potential.

Everything Belongs to the Future: In the ancient heart of Oxford University, the ultra-rich celebrate their vastly extended lifespans. But a few surprises are in store for them. From Nina and Alex, Margo and Fidget, scruffy anarchists sharing living space with an ever-shifting cast of crusty punks and lost kids. And also from the scientist who invented the longevity treatment in the first place.

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 2:30 PM Eastern Time (ET) on December 16th. Sweepstakes ends at 12:00 PM ET on December 20th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

15 Dec 10:56

All of Tor.com Publishing’s Fiction from 2016

by Tor.com

Tor.com Publishing roundup 2016

2016 was a big year for Tor.com Publishing; the imprint’s first full year in existence. On top of our long-established, award-winning short fiction program, Tor.com published 31 novelettes, novellas, and short novels, and we’d like to take this opportunity to round up all of them.

We are tremendously proud of our authors, illustrators, and editors for creating such wonderful works this year. We hope that you will nominate your favorites for the Hugos, Nebulas, and other upcoming awards which honor outstanding works of science fiction, fantasy, and horror—but most of all, we hope that you have enjoyed reading these stories as much as we have!

 


Novels

 

Infomocracy by Malka Older

older-infomocracyEdited by Carl Engle-Laird
Cover designed by Will Staehle

It’s been twenty years and two election cycles since Information, a powerful search engine monopoly, pioneered the switch from warring nation-states to global micro-democracy. The corporate coalition party Heritage has won the last two elections. With another election on the horizon, the Supermajority is in tight contention, and everything’s on the line.

 

Nightshades by Melissa F. Olson

olson-nightshadesEdited by Lee Harris
Cover designed by FORT; Photo © Getty Images

Alex McKenna is the new Special Agent in Charge of the Chicago office of the Bureau of Paranormal Investigations, the division tasked with investigating crimes involving shades—or vampires, as they’re more widely known. Children have been going missing, and agents are routinely being slaughtered. It’s up to McKenna, and some unlikely allies, to get to the bottom of the problem, and find the kids before it’s too late.

 

Spiderlight by Adrian Tchaikovsky

tchaikovsky-spiderlightEdited by Lee Harris
Illustrated by Tyler Jacobson; Cover designed by Christine Foltzer

The Church of Armes of the Light has battled the forces of Darkness for as long as anyone can remember. The great prophecy has foretold that a band of misfits, led by a high priestess will defeat the Dark Lord Darvezian, armed with their wits, the blessing of the Light and an artifact stolen from the merciless Spider Queen. Their journey will be long, hard and fraught with danger. Allies will become enemies; enemies will become allies. And the Dark Lord will be waiting, always waiting…

 

Impersonations by Walter Jon Williams

williams-impersonationsEdited by Jonathan Strahan
Illustrated by Jaime Jones; Cover designed by Christine Foltzer

A new novel set in the Praxis universe. Having offended her superiors by winning a battle without permission, Caroline Sula has been posted to the planet Earth, a dismal backwater where careers go to die. But Sula has always been fascinated by Earth history, and she plans to reward herself with a long, happy vacation amid the ancient monuments of humanity’s home world. But someone seems to be forging evidence about her past that would send her to prison…

 


Novellas

 

The Burning Light by Bradley P. Beaulieu and Rob Ziegler

beaulieuziegler-burninglightEdited by Justin Landon
Illustrated by Richard Anderson; Cover designed by Christine Foltzer

Disgraced government operative Colonel Chu is exiled to the flooded relic of New York City. Something called the Light has hit the streets like an epidemic, leavings its users strung out and disconnected from the mind-network humanity relies on. Chu has lost everything she cares about to the Light. She’ll end the threat or die trying. A former corporate pilot who controlled a thousand ships with her mind, Zola looks like just another Light-junkie living hand to mouth on the edge of society. She’s special though. As much as she needs the Light, the Light needs her too. But, Chu is getting close and Zola can’t hide forever.

 

Cold-Forged Flame by Marie Brennan

brennan-flameEdited by Miriam Weinberg
Illustrated by Greg Ruth; Cover designed by Christine Foltzer

At the beginning—no, at the end—she appears, full of fury and bound by chains of prophecy… Setting off on an unexplained quest from which she is compelled to complete, and facing unnatural challenges in a land that doesn’t seem to exist, she will discover the secrets of herself, or die trying. But along the way, the obstacles will grow to a seemingly insurmountable point, and the final choice will be the biggest sacrifice yet. This is the story of a woman’s struggle against her very existence, an epic tale of the adventure and emotional upheaval on the way to face an ancient enigmatic foe.

 

The Lost Child of Lychford by Paul Cornell

cornell-lostchildEdited by Lee Harris
Cover designed by FORT; Photo © Getty Images

It’s December in the English village of Lychford—the first Christmas since an evil conglomerate tried to force open the borders between our world and… another. Which means it’s Lizzie’s first Christmas as Reverend of St. Martin’s when the apparition of a small boy finds its way to the church. Is he a ghost? A vision? Something else? Whatever the truth, our trio of witches (they don’t approve of “coven”) are about to face their toughest battle yet!

 

Runtime by S.B. Divya

divya-runtime

Edited by Carl Engle-Laird
Illustrated by Juan Pablo Roldan; Cover designed by Christine Foltzer

The Minerva Sierra Challenge is a grueling spectacle, the cyborg’s Tour de France. Rich thrill-seekers with corporate sponsorships, extensive support teams, and top-of-the-line exoskeletal and internal augmentations pit themselves against the elements in a day-long race across the Sierra Nevada. Marmeg Guinto doesn’t have funding, and she doesn’t have support. But the Minerva Challenge is the only chance she has at a better life for herself and her younger brothers, and she’s ready to risk it all.

 

The Warren by Brian Evenson

evenson-warrenEdited by Ann VanderMeer
Illustrated by Victor Mosquera; Cover designed by Christine Foltzer

X doesn’t have a name. He thought he had one—or many—but that might be the result of the failing memories of the personalities imprinted within him. Or maybe he really is called X. He’s also not as human as he believes himself to be. But when he discovers the existence of another—above ground, outside the protection of the Warren—X must learn what it means to be human, or face the destruction of their two species.

 

The Drowning Eyes by Lee Foster, formerly known as Emily Foster

drowningeyes-smallEdited by Carl Engle-Laird
Illustrated by Cynthia Sheppard; Cover designed by Christine Foltzer

When the Dragon Ships began to tear through the trade lanes and ravage coastal towns, the hopes of the archipelago turned to the Windspeakers on Tash. The solemn weather-shapers with their eyes of stone can steal the breeze from raiders’ sails and save the islands from their wrath. But the Windspeakers’ magic has been stolen, and only their young apprentice Shina can bring their power back and save her people—if she gets help from Tazir, a grizzled captain who’s not interested in risking her ship, her crew, and her neck.

 

The Emperor’s Railroad by Guy Haley

haley-railroadEdited by Lee Harris
Illustrated by Chris McGrath; Cover designed by Christine Foltzer

A thousand years after a global war devastated the environment and zombie-like plague wiped out much of humanity, conflict between city states is constant, superstition is rife, and machine relics, mutant creatures and resurrected prehistoric beasts trouble the land. Watching over all are the silent Dreaming Cities—homes of the angels, bastion outposts of heaven on Earth. Or so the church claims. Very few go in, and nobody ever comes out. Until now…

 

The Ghoul King by Guy Haley

haley-ghoulkingEdited by Lee Harris
Illustrated by Chris McGrath; Cover designed by Christine Foltzer

A story of the Dreaming Cities. The Knight, Quinn, is down on his luck, and he travels to the very edge of the civilized world – whatever that means, any more – to restock his small but essential inventory. After fighting a series of gladiatorial bouts against the dead, he finds himself in the employ of a woman on a quest to find the secret to repairing her semi-functional robot. But the technological secret it guards may be one truth too many…

 

The Dream-Quest of Vellitt Boe by Kij Johnson

johnson-vellittboeEdited by Jonathan Strahan
Illustrated by Victo Ngai; Cover designed by Christine Foltzer

Professor Vellitt Boe teaches at the prestigious Ulthar Women’s College. When one of her most gifted students elopes with a dreamer from the waking world, Vellitt must retrieve her. But the journey sends her across a world ruled by capricious gods and populated by the creatures of dreams and nightmares—and into her own mysterious past, where some secrets were never meant to surface…

 

Hammers on Bone by Cassandra Khaw

khaw-hammersEdited by Carl Engle-Laird
Illustrated by Jeffrey Alan Love; Cover designed by Christine Foltzer

John Persons is a private investigator with a distasteful job from an unlikely client. He’s been hired by a ten-year-old to kill the kid’s stepdad, McKinsey. The man in question is abusive, abrasive, and abominable. As Persons investigates the horrible McKinsey, he realizes that he carries something far darker. He’s infected with an alien presence, and he’s spreading that monstrosity far and wide. Luckily Persons is no stranger to the occult, being an ancient and magical intelligence himself. The question is whether the private dick can take down the abusive stepdad without releasing the holds on his own horrifying potential.

 

Forest of Memory by Mary Robinette Kowal

kowal-memoryEdited by Lee Harris
Illustrated by Victo Ngai; Cover designed by Christine Foltzer

Katya deals in Authenticities and Captures, trading on nostalgia for a past long gone. Her clients are rich and they demand items and experiences with only the finest verifiable provenance. Other people’s lives have value, after all. But when her A.I. suddenly stops whispering in her ear she finds herself cut off from the grid and loses communication with the rest of the world. The man who stepped out of the trees while hunting deer cut her off from the cloud, took her A.I. and made her his unwilling guest. There are no Authenticities or Captures to prove Katya’s story of what happened in the forest. You’ll just have to believe her.

 

The Ballad of Black Tom by Victor LaValle

lavalle-blacktomEdited by Ellen Datlow
Illustrated by Robert Hunt; Cover designed by Jamie Stafford-Hill

Charles Thomas Tester hustles to put food on the table, keep the roof over his father’s head, from Harlem to Flushing Meadows to Red Hook. He knows what magic a suit can cast, the invisibility a guitar case can provide, and the curse written on his skin that attracts the eye of wealthy white folks and their cops. But when he delivers an occult tome to a reclusive sorceress in the heart of Queens, Tom opens a door to a deeper realm of magic, and earns the attention of things best left sleeping. A storm that might swallow the world is building in Brooklyn. Will Black Tom live to see it break?

 

Pieces of Hate and Dead Man’s Hand by Tim Lebbon

lebbon-hateEdited by Lee Harris
Illustrated by Gene Mollica; Cover designed by Christine Foltzer

During the Dark Ages, a thing named Temple slaughtered Gabriel’s family. A man with snake eyes charged him to pursue the assassin wherever he may strike next, and destroy him. Gabriel never believed he’d still be following Temple almost a thousand years later. Because Temple may be a demon, the man with snake eyes cursed Gabriel with a life long enough to hunt him down. Now he has picked up Temple’s scent again. The Caribbean sea is awash with pirate blood, and in such turmoil the outcome of any fight is far from certain.

 

A Whisper of Southern Lights by Tim Lebbon

lebbon-southernlightsEdited by Lee Harris
Illustrated by Gene Mollica; Cover designed by Christine Foltzer

A standalone tale in the Assassins series. Death and destruction follow the demon wherever he treads, and Gabriel is rarely far behind, waiting for his chance to extinguish the creature known as Temple once and for all. But in Singapore during the Second World War, a lone soldier in possession of a shattering secret gets caught up in their battle. The knowledge he holds could change the course of their ancient conflict… and the fate of the world.

 

Every Heart a Doorway by Seanan McGuire

mcguire-doorwayEdited by Lee Harris
Cover designed by Fort; Photo © Getty Images

Children have always disappeared under the right conditions; slipping through the shadows under a bed or at the back of a wardrobe, tumbling down rabbit holes and into old wells, and emerging somewhere… else. But magical lands have little need for used-up miracle children. Nancy tumbled once, but now she’s back. The things she’s experienced… they change a person. The children under Miss West’s care understand all too well. And each of them is seeking a way back to their own fantasy world.

 

City of Wolves by Willow Palecek

palacek-citywolvesEdited by Carl Engle-Laird
Illustrated by Cliff Nielsen; Cover designed by Christine Foltzer

Alexander Drake, Investigator for Hire, doesn’t like working for the Nobility, and doesn’t prefer to take jobs from strange men who accost him in alleyways. A combination of hired muscle and ready silver have a way of changing a man’s mind. A lord has been killed, his body found covered in bite marks. Even worse, the late lord’s will is missing, and not everyone wants Drake to find it. Solving the case might plunge Drake into deeper danger.

 

The Devil You Know by K. J. Parker

devilyouknow-smallEdited by Jonathan Strahan
Illustrated by Jon Foster; Cover designed by Christine Foltzer

The greatest philosopher of all time is offering to sell his soul to the Devil. All he wants is twenty more years to complete his life’s work. After that, he really doesn’t care. But the assistant demon assigned to the case has his suspicions, because the philosopher is Saloninus—the greatest philosopher, yes, but also the greatest liar, trickster and cheat the world has yet known; the sort of man even the Father of Lies can’t trust. He’s almost certainly up to something; but what?

 

Everything Belongs to the Future by Laurie Penny

penny-futureEdited by Patrick Nielsen Hayden
Cover designed by FORT; Photo © Getty Images

In the ancient heart of Oxford University, the ultra-rich celebrate their vastly extended lifespans. But a few surprises are in store for them. From Nina and Alex, Margo and Fidget, scruffy anarchists sharing living space with an ever-shifting cast of crusty punks and lost kids. And also from the scientist who invented the longevity treatment in the first place.

 

A Song for No Man’s Land by Andy Remic

remic-nomanEdited by Lee Harris
Illustrated by Jeffrey Alan Love; Cover designed by Christine Foltzer

He signed up to fight with visions of honour and glory, of fighting for king and country, of making his family proud at long last. But on a battlefield during the Great War, Robert Jones is shot, and wonders how it all went so very wrong, and how things could possibly get any worse. When the attacking enemy starts to shapeshift into a nightmarish demonic force, Jones finds himself fighting an impossible war against an enemy that shouldn’t exist.

 

Return of Souls by Andy Remic

remic-returnEdited by Lee Harris
Illustrated by Jeffrey Alan Love; Cover designed by Christine Foltzer

Book 2 in the Song for No Man’s Land trilogy. If war is hell, there is no word to describe what Private Jones has been through. Forced into a conflict with an unknowable enemy, he awakes to find himself in a strange land, and is soon joined by young woman, Morana, who tends to his wounds and tells him of the battles played out in this impossible place. She tells him of an Iron Beast that will end the Great War, and even as he vows to help her find it, enemy combatants seek them, intent on their utter annihilation.

 

The Iron Beast by Andy Remic

remic-ironbeastEdited by Lee Harris
Illustrated by Jeffrey Alan Love; Cover designed by Christine Foltzer

Book 3 in the Song for No Man’s Land trilogy. The Skogsgra and the Naravelle have launched their final offensive, and Private Jones and his companions are caught in the melee. Tens of thousands will die before the battle is over. They travel deep underground, to find and release the Iron Beast… the one creature that can end not one world war, but two. But at what cost?

 

Patchwerk by David Tallerman

tallerman-patchwerkEdited by Lee Harris
Illustrated by Tommy Arnold; Cover designed by Christine Foltzer

Fleeing the city of New York on the TransContinental atmospheric transport vehicle, Dran Florrian is traveling with Palimpsest-the ultimate proof of a lifetime of scientific theorizing. When a rogue organization attempts to steal the device, however, Dran takes drastic action. But his invention threatens to destroy the very fabric of this and all other possible universes, unless Dran—or someone very much like him—can shut down the machine and reverse the process.

 

The Absconded Ambassador by Michael R. Underwood

underwood-ambassadorEdited by Lee Harris
Cover Illustrated and designed by Peter Lutjen

Rookie Genrenaut Leah Tang gets her first taste of space flight when the team scrambles to fix a story breach in Science Fiction World, the domain of starships, weird aliens, and galactic intrigue. On the space station Ahura-3, Ambassador Kaylin Reed is on the verge of securing a peace treaty to guarantee the end of hostilities between some of the galaxy’s most ferocious races. When Ambassador Reed is kidnapped the morning before the signing, it throws the station into chaos. So now it’s up to Leah and her team to save the day and put the story to rights.

 

Lustlocked by Matt Wallace

wallace-lustlockedEdited by Lee Harris
Cover designed by Peter Lutjen; Lizard photo © shutterstock, illustrations © Getty Images

Book 2 in the Sin du Jour series. The staff of New York’s premier supernatural catering company has their work cut out for them as the Goblin King (yes, that one) and his Queen are celebrating the marriage of their son to his human bride. Naturally the celebrations will be legendary. But when desire and magic mix, the results can be unpredictable. Our heroes are going to need more than passion for the job to survive the catering event of the decade!

 

Pride’s Spell by Matt Wallace

wallace-prideEdited by Lee Harris
Cover designed by Peter Lutjen; Photo © Getty Images

Book 3 in the Sin du Jour series. The team at Sin du Jour—New York’s exclusive caterers-to-the-damned—find themselves up against their toughest challenge yet when they’re lured out west to prepare a feast in the most forbidding place in America: Hollywood, where false gods rule supreme. Meanwhile, back at home, Ritter is attacked at home by the strangest hit-squad the world has ever seen, and the team must pull out all the stops if they’re to prevent themselves from being offered up as the main course…

 

A Taste of Honey by Kai Ashante Wilson

wilson-honeyEdited by Carl Engle-Laird
Illustrated by Tommy Arnold; Cover designed by Christine Foltzer

Set in the world of The Sorcerer of the Wildeeps. Long after the Towers left the world but before the dragons came to Daluça, the emperor brought his delegation of gods and diplomats to Olorum. As the royalty negotiates over trade routes and public services, the divinity seeks arcane assistance among the local gods. Aqib bgm Sadiqi, fourth-cousin to the royal family and son of the Master of Beasts, has more mortal and pressing concerns. His heart has been captured for the first time by a handsome Daluçan soldier named Lucrio. In defiance of Saintly Canon, gossiping servants, and the furious disapproval of his father and brother, Aqib finds himself swept up in a whirlwind romance. But neither Aqib nor Lucrio know whether their love can survive all the hardships the world has to throw at them.

 


Novelettes

 

The Jewel and Her Lapidary by Fran Wilde

wilde-lapidaryEdited by Patrick Nielsen Hayden
Illustrated by Tommy Arnold; Cover designed by Christine Foltzer

The kingdom in the Valley has long sheltered under the protection of its Jewels and Lapidaries, the people bound to singing gemstones with the power to reshape hills, move rivers, and warp minds. That power has kept the peace and tranquility, and the kingdom has flourished. But the Jeweled Court has been betrayed. As screaming raiders sweep down from the mountains, Lin, the last princess of the Valley, will have to summon up a strength she’s never known. If she can assume her royal dignity, and if her Lapidary Sima can master the most dangerous gemstone in the land, they may be able to survive.

15 Dec 10:56

Binti: Home Prize Pack Sweepstakes!

by Sweepstakes

Binti Nnedi Okorafor

Binti: Home, the sequel to Nnedi Okorafor’s Binti, is coming January 31st from Tor.com Publishing—and we want to send you an advance copy of it, along with a copy of Binti!

It’s been a year since Binti and Okwu enrolled at Oomza University. A year since Binti was declared a hero for uniting two warring planets. A year since she found friendship in the unlikeliest of places.

And now she must return home to her people, with her friend Okwu by her side, to face her family and face her elders.

But Okwu will be the first of his race to set foot on Earth in over a hundred years, and the first ever to come in peace.

After generations of conflict can human and Meduse ever learn to truly live in harmony?

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 11:30 AM Eastern Time (ET) on December 14th. Sweepstakes ends at 12:00 PM ET on December 18th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

10 Dec 11:15

Musical Monsters: Revealing the Cover for Cassandra Khaw’s A Song for Quiet

by Tor.com

songforquiet-crop

We’re excited to share the cover for A Song for Quiet, book two in Cassandra Khaw’s Persons Non Grata dark fantasy series. Book one, Hammers on Bone, introduced the unusual occult detective John Persons, hired to hunt a monster. In this standalone story, Persons encounters a new threat that can summon inter-dimensional horrors through the magic of music.

Learn more about the novella and check out the full cover by artist Jeffrey Alan Love below!

A Song for Quiet publishes August 2017. From the catalog copy:

Deacon James is a rambling bluesman straight from Georgia, a black man with troubles that he can’t escape, and music that won’t let him go. On a train to Arkham, he meets trouble – visions of nightmares, gaping mouths and grasping tendrils, and a madman who calls himself John Persons. According to the stranger, Deacon is carrying a seed in his head, a thing that will destroy the world if he lets it hatch.

The mad ravings chase Deacon to his next gig. His saxophone doesn’t call up his audience from their seats, it calls up monstrosities from across dimensions. As Deacon flees, chased by horrors and cultists, he stumbles on a runaway girl, who is trying to escape her father, and the destiny he has waiting for her. Like Deacon, she carries something deep inside her, something twisted and dangerous. Together, they seek to leave Arkham, only to find the Thousand Young lurking in the woods.

The song in Deacon’s head is growing stronger, and soon he won’t be able to ignore it any more.

songforquiet-cover

Illustration by Jeffrey Alan Love; design by Christine Foltzer

 

Author Cassandra Khaw had this to say:

A head is a crockpot of images, constantly bubbling over, slopping from the sides to come together into little story seeds. A Song for Quiet came about from a mix of things: the grossly under-appreciated Dark Seed computer game, Shawn James’ new album, a bit of Cherie Priest, a dash of John Hornor Jacobs’ Southern Gods which I reread yearly, inspiration from Fantasy Flight Games’ Arkham Horror tabletop games, and fever-flashes of a bluesman unable to sing for fear of what he might unleash.

Love’s cover is a little bit of all that and a lot of Persons non Grata.

I’m a little bit excited. Actually, no. I’m a million megawatts of holy-crap-excited. Both for this cover, which makes Deacon James look like the Pied Piper of Hamelin here, dragging behind him a horror older than time itself, and for the book itself. A Song for Quiet is one of the angriest things I’ve written, a story of grief and raging against the futility of the world, about – well, you’ll have to read it yourself.

Pre-order A Song for Quiet at the links below, or from your favorite retailer:

iBooks | Kindle | Nook

06 Dec 01:41

Seanan McGuire's Down Among the Sticks and Bones is great

by noreply@blogger.com (John)


Two sisters step through a magical doorway, find themselves in a gothic moor, are adopted by a vampire lord and a mad scientist, and soon find themselves on a path to becoming mortal enemies. Down Among the Sticks and Bones is essentially a prequel to Every Heart a Doorway, but I liked it more and recommend reading it first. It comes out this summer, but you can add it to your wishlist now.
23 Nov 09:46

Revealing the Covers of Two Tor.com Publishing Debuts: The Ghost Line by Andrew Neil Gray & J.S. Herbison and Killing Gravity by Corey J. White

by Joel Cunningham

dual-revealThere’s nothing as exciting as the potential for greatness in a debut—it’s a Schrodinger’s Cat in ink-and-paper (or electronic) form. Who’s to say if brilliance lies within, until you open the box cover to find out? Granted, sometimes the “box” goes a long way toward revealing the greatness it conceals. Take, for example, the covers that adorn the two debut novellas we’re showing off today. We can’t yet say for sure whether The Ghost Line, by Andrew Neil Gray & J.S. Herbison, or Killing Gravity, by Corey J. White, will rock your world, but the covers sure make the case for a positive outcome (see also: the track record of Tor.com Publishing, which is second-to-none).

That stretched metaphor out of the way, let’s get to it: below, find plot blurbs and full cover art for two 2017 sci-fi debuts forthcoming from everyone’s favorite novella-first imprint, and start planning your 2017 reading now.

The Ghost Line, by  Andrew Neil Gray & J.S. Herbison
Available , 2017
Cover art by John Harris

The luxury cruise ship the Martian Queen was decommissioned years ago, set to drift back and forth between Earth and Mars on the off-chance that reclaiming it ever became profitable for the owners. For Saga and her husband Michel the cruise ship represents a massive payday. Hacking and stealing the ship could earn them enough to settle down, have children, and pay for the treatments to save Saga’s mother’s life.

But the Martian Queen is much more than their employer has told them. In the twenty years since it was abandoned, something strange and dangerous has come to reside in the decadent vessel. Saga feels herself being drawn into a spider’s web, and must navigate the traps and lures of an awakening intelligence if she wants to go home again.

 
GhostLine_FInal

Preorder The Ghost Line, available July 11, 2017. 

Killing Gravity, by Corey J. White
Available May 9, 2017
Cover art by Tommy Arnold

Mariam Xi can kill you with her mind. She escaped the MEPHISTO lab where she was raised as a psychic supersoldier, which left her with terrifying capabilities, a fierce sense of independence, a deficit of trust and an experimental pet named Seven. She’s spent her life on the run, but the boogeymen from her past are catching up with her. An encounter with a bounty hunter has left her hanging helpless in a dying spaceship, dependent on the mercy of strangers.

Penned in on all sides, Mariam chases rumors to find the one who sold her out. To discover the truth and defeat her pursuers, she’ll have to stare into the abyss and find the secrets of her past, her future, and her terrifying potential.

killinggravity_final
Preorder Killing Gravity, available May 9, 2017.

The post Revealing the Covers of Two Tor.com Publishing Debuts: The Ghost Line by Andrew Neil Gray & J.S. Herbison and Killing Gravity by Corey J. White appeared first on The B&N Sci-Fi and Fantasy Blog.

22 Nov 08:52

Winter Tide Sweepstakes!

by Sweepstakes

Winter Tide by Ruthanna Emrys

We want to send you a galley copy of Ruthanna Emrys’s Winter Tide, available April 4th from Tor.com Publishing!

After attacking Devil’s Reef in 1928, the U.S. government rounded up the people of Innsmouth and took them to the desert, far from their ocean, their Deep One ancestors, and their sleeping god Cthulhu. Only Aphra and Caleb Marsh survived the camps, and they emerged without a past or a future.

The government that stole Aphra’s life now needs her help. FBI agent Ron Spector believes that Communist spies have stolen dangerous magical secrets from Miskatonic University, secrets that could turn the Cold War hot in an instant, and hasten the end of the human race.

Aphra must return to the ruins of her home, gather scraps of her stolen history, and assemble a new family to face the darkness of human nature.

Winter Tide is the debut novel from Ruthanna Emrys, author of “The Litany of Earth.”

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 12:30 PM Eastern Time (ET) on November 21st. Sweepstakes ends at 12:00 PM ET on November 25th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

18 Nov 05:56

Sign Up for the Tor.com Digest…and the Tor.com Publishing Newsletter

by Tor.com

tor-stubby

Every Thursday, the Tor.com website collects the week’s biggest articles into a handy, single-page email newsletter. This digest contains original fiction, pop culture commentary, and more. To receive it, all you need to do is sign up here with your email address.


You can also keep up with the Tor.com Publishing imprint via its separate newsletter. In 2015, Tor.com Publishing began offering new original novellas from authors like Nnedi Okorafor, Seanan McGuire, Kai Ashante Wilson, and many, many more. Sign up for the Tor.com Publishing newsletter to receive news and updates on all of their titles and authors, plus excerpts, features, new acquisitions, sweepstakes and more.
17 Nov 00:37

“An Idea Isn’t A Story”: A Conversation with The Burning Light Co-Authors Bradley P. Beaulieu and Rob Ziegler

by Tor.com

Art by Richard Anderson

The Burning Light is about a powerful and dangerous idea, about the connections that tie people together both in our real world and in a near-future flooded New York. How do two authors collaborate on such a big concept? Bradley P. Beaulieu and Rob Ziegler got together to talk about their process as well as some of their favorite characters, scenes, and worldbuilding aspects that went into the making of The Burning Light

 

Bradley P. Beaulieu: In my head, I created the basic idea for The Burning Light: a world in which people are fully connected and share their most intimate thoughts and feelings. The moment I approached Rob Ziegler about writing the story together, he reminded me that he’d written a story that included such a concept. And that I’d read it. Like Leonard in Memento, I’m choosing to forget these facts.

This was really a fun story to create with Rob. Over the course of quite a few emails, Skype calls, and a few writing conventions, we batted the ideas back and forth. Early on, we brainstormed the science fictional elements to a degree, but we quickly started to focus on who the story was about, what they wanted, what was preventing them from getting it, and so on.

We both thought it fascinating how humanity might be given this gift of communing with one another whenever they wished, and however deeply they wished, and what they might do with it under those circumstances. Humans being humans, they would explore every nook, every hidden corner. This is how The Burning Light was conceived, a place formed by the combined consciousnesses of hundreds or even thousands.

But an idea isn’t a story. Early on we narrowed in on Zola as our main character, a caring woman who wants to share in the Light and protect the ones she loves. And hunting her is Colonel Chu, a woman driven by a devastating childhood experience to quench the Burning Light before it causes even more damage. These two characters and these two ideas—sharing vs. control—come to a head in this story.

Rob Ziegler: What I’m laughing about is how you copped to Leonardizing (coined!) the idea of connectivity. And how it makes me realize so much of this process I recall only as hours of writing. But as I read your recollection I’m struck by how much of the brainstorming I’ve let myself forget. Like Zola. I’d sort of claimed her internally as my own, because I’d written that first chapter of hers. But the truth is she was well and thoroughly conceived long before then. She is OURS. So much of the work of this story happened in our conversations, and so much of the writing I did was in response to chapters you’d written. I’ve Leonardized a great deal of that away. I recall many a great Skype session with you, and also, in San Antonio, hashing ideas out in person. But simply because those conversations were fun, I don’t recall them as work in the same way as I do the actual writing. So: I, too, am Leonard. I remember what apparently it suits me to remember.

So beginning at the beginning, when we were rooming together at the con in Toronto—my memory is vague (after all, it was a con.) I remember you suggested we collaborate. But I actually don’t recall the conversation you mentioned, where you were mulling connectivity and I said this was a lot like the novel I’d brought to Wellspring. What I do remember is sitting there brainstorming at the table in the lounge. I remember the ideas themselves, coalescing in the air between us, and I remember thinking they were good and it was going to be fun collaborating with you. I’m pretty sure now at that table is where Zola was first conceived. Do I have that right? Because surely we were already talking about our junkie girl then.

BB: The very first discussion we had about it was on a phone call. I rang you up and just talked a bit about wanting to collaborate because it seemed like an idea that you might dig, and that we could have fun fleshing out. Looking back, little wonder I thought you’d like it!

We didn’t talk about any specifics on that call. Toronto, as you mentioned, was really where Zola first started to form in our minds. It’s pretty interesting how collaborations can work. I’ve only done two, but in both cases, the end result was a million times richer than what I had in my head. Part of this is the natural evolution of character and world and plot; it happens with any story. What isn’t “natural” per se are the surprises that were in store for me. And by “surprises,” I mean changes in story direction I hadn’t anticipated.

In the case of Zola, we had this basic idea of a world in which tightly connected “collectives” existed, but we were trying hard to find some unique aspect about it. We stumbled across this idea of communal drug trips, where people meet with others to feed off of a common medium, one of the party who actually takes the drugs. In this way, it’s sort of no muss, no fuss. People get the experience of taking a drug without actually having to force their own body to deal with it. And that brought up all sorts of interesting angles, like what crazy things the mind of the one on the drugs would come up with, and why they came up with them, and the resulting support or celebration they received from those experiencing the fears or joys with them. It was a really cool story idea, but we needed something juicier to build the plot around. We quickly came up with the idea of: well, what if the medium dies, either under mysterious circumstances or by overdosing? And what if our girl has to step in to replace him?

Things were starting to shape up. But when it came to the main character, Zola, I had in my head this semi-rich woman, someone who has a pretty stable and safe life. I had a pretty tame version of the drug experience in mind as well, one in which the players were all people that did this recreationally, an escape from their hum-drum, day-to-day lives.

But when you started laying out that initial scene, it turned out so different than what I’d been thinking. Zola was now dirt-poor, a destitute woman living on the edge of life in Old New York with her man, Marco, the medium of their drug collective. It was a very interesting process—reconciling what was in my head with this cool vision you’d come up with. It set the whole tone for the story, one of a world that might have plenty of “haves” but many more “have nots.”

I had to completely abandon my initial thoughts of who Zola was, where she came from, and where the story was headed. But that’s part of the wonder of collaborations, the mixing of minds, so to speak, to come up with something that is of both authors, and sort of neither as well.

So what about you? What surprises did you find in our months (and months!) of brainstorming and writing? Or, hell, maybe I should ask first if there were any for you!

RZ: Wow, I didn’t realize I’d gone so far off script. Sorry about that!

But you had surprises for me, too. Every scene you wrote was a surprise, one way or another. I’ll reiterate what you said, that reconciling what I had in mind with what you would write—that process was a constant. Brainstorming is one thing. It’s pure magic, having a good partner with whom to spin up ideas. It’s another thing, though, when the writing meets the page. I’ve never collaborated on a writing project before. It took me a few chapters to get over my desire to control every single word. But that was only in the early going. So often the chapters you’d deliver I liked better than whatever I’d had in mind. It only took a few chapters until you had my complete trust, to the point where I was simply looking forward to what you’d come up with.

Hopefully I’m not giving too much away here, but one specific chapter that still really stands out to me is that first halo scene. We’d talked a lot about it before you wrote it, what it looked and felt like for our junkies to connect, and the dynamics between various characters. Conceptually, aesthetically, it was thoroughly ironed out beforehand. Yet what you delivered so completely surpassed all that. I remember being actually moved, even though I knew exactly what was coming.

But speaking of collaboration and process, the most surprising thing to me was simply how committed you were to this project. As you say, it took months. (Months? Try years!) The most defining moment for me was when you came out to Colorado. We’d been batting chapters back and forth at that point for a long ass time. And we hadn’t specifically outlined anything, we were just making it up as we went. I liked what we were writing, but I’d reached a point where I couldn’t see how this story would end. It was Sisyphean, writing chapters just to write chapters. And plus, in between the writing of those chapters were huge swaths of real life and the writing of other projects. Basically, by the time you came out to Colorado, I’d come close to giving up on the story. I think it was my turn to write a chapter, and I hadn’t.

But you came out, and what did it take? Maybe four days, the two of us hunkered in my office, drinking beer, outlining and writing. By the time you left we had our first draft. It was seriously rough, but that’s when I first felt like we really knew what we were doing. Chu had come forth as a character, and the symmetries between her and Zola had begun to form. We had a bead on where we had to go. Your willingness to show up like that meant there was no way I wasn’t going to show up, too. For me, there was no doubt at that point we would see The Burning Light through to its best version.

So looking back, was there a defining moment in the process for you? Or a moment of defining clarity in the narrative itself, where the story as a whole popped for you?

BB: Ah, Paonia… The town where everyone knows your name whether you want them to or not. It was definitely a fun trip, but I felt like if I stayed even one more day, I wouldn’t have been allowed to leave.

Where did the story crystalize for me? Zola arrived pretty full-fledged. I was on board with her from the get-go. She staked her place in the story immediately with that first scene you wrote where she was oaring through the stink of sunken New York to meet Marco. Chu, on the other hand, didn’t feel fully formed until much later. Zola needed not just an enemy, but a foil, and in those early drafts, Chu wasn’t there yet—she had the violence and the drive, certainly, but was missing the humanity.

Two scenes stand out here for me. The first shows Chu’s drive (some might say cruelty) in the face of the danger that the Burning Light represents. She levels a pretty serious threat against Zola when they first meet in Latitude. That’s the setup. But I love the scene where Chu (trying hard to avoid spoilers here) follows through on those promises. It was a vicious and brutal sequence, and it made perfect sense when we see the other part of Chu, the one that cares so much about protecting the world from the Light that she would imprison her sister to achieve it.

Which leads me to the second scene, which gives us a glimpse of a different Melody Chu, a woman who wishes her life had gone very differently. It’s when she’s sitting in the hold of her gov gunship, talking with Joy. Here is a woman who’s been forced into very hard decisions. She clearly loves Joy, but she can’t let her guard down for fear of what would happen. It’s a thing we show emotionally, but also in a very real sense with the shielding she keeps between herself and Joy lest she let the Light in.

Once we had both of those things, Chu crystallized, and the whole story felt like it was achieving a harmony it hadn’t before.

To wrap up, and to play off this answer a bit, was there any one character who evolved for you? Who changed from our initial conception and you came to really appreciate or enjoy as the final version of the story took shape?

The Burning Light Bradley P. Beaulieu Rob ZieglerRZ: That’s exactly what happened to me: I stayed in this town one day too long. And here I still am. You were lucky, Brad. Lucky. Everyone here remembers you. They say, “Hi.”

But…I’m with you re: Chu. It wasn’t until later drafts that she began to take shape. To my mind, the story really began to pop as we found her humanity. It’s staying true to that old saying: everybody believes they’re the good guy, especially the bad guy.

Since you’ve already talked about her, I’ll talk about Jacirai. I liked him a lot right from the get go. He comes ready-made, the sort of character whose motivation is fueled entirely by self-interest. He’s all smiles, all teeth. Doesn’t care if he’s the good guy or the bad guy. But tweaking him just slightly, giving him a core of real nobility, allowed the story’s entire final act to slot into place. There are a couple of other characters, like Holder and Bao, whom I like a lot. But the way the story forced us into finding a deeper layer of Jacirai, and the subsequent payoff, was very satisfying.

And now that I’ve mentioned them, I want to talk about Holder and Bao. But we’ve probably given away too many spoilers already, so in the interest of keeping the story at least somewhat fresh, I’ll sign off. Brad, it’s been a pleasure. Come back to Paonia any time. We still have a pod waiting for you.

The Burning Light is available now from Tor.com Publishing.
Read an excerpt here on Tor.com

16 Nov 00:39

Read an Excerpt From Nnedi Okorafor's Sequel to Her Award-Winning Space Adventure, Binti

by Cheryl Eddy

io9 is thrilled to share the exclusive first excerpt from author Nnedi Okorafor’s Binti: Home, the sequel to her coming-of-age tale Binti, which won Hugo and Nebula Awards for Best Novella this year. It picks up a year after the first story ended, and raises the stakes for its two main characters.

Here’s the official synopsis, plus the full scan of the gorgeous cover art (note the praise from Ursula K. Le Guin), followed by the excerpt:

It’s been a year since Binti and Okwu enrolled at Oomza University. A year since Binti was declared a hero for uniting two warring planets. A year since she found friendship in the unlikeliest of places.

And now she must return home to her people, with her friend Okwu by her side, to face her family and face her elders.

But Okwu will be the first of his race to set foot on Earth in over a hundred years, and the first ever to come in peace.


“Five, five, five, five, five, five,” I whispered. I was already treeing, numbers whipping around me like grains of sand in a sandstorm, and now I felt a deep click as something yielded in my mind. It hurt sweetly, like a knuckle cracking or a muscle stretching. I sunk deeper and there was warmth. I could smell the earthy aroma of the otjize I’d rubbed on my skin and the blood in my veins.

The room dropped away. The awed look on my mathematics professor Okpala’s face dropped away. I was clutching my edan, the points of its stellated shape digging into the palm of my hands. “Oh, my,” I whispered. Something was happening to it. I opened my cupped palms. If I had not been deep in mathematical meditation, I’d have dropped it, I’d not have known not to drop it.

My first thought was of a ball of ants I’d once seen tumbling down a sand dune when I was about six years old; this was how desert ants moved downhill. I’d run to it for a closer look and squealed with disgusted glee at the undulating living mass of ant bodies. My edan was writhing and churning like that ball of desert ants now, the many triangular plates that it was made of, flipping, twisting, shifting right there between my palms. The blue current I’d called up was hunting around and between them like a worm. This was a new technique that Professor Okpala had taught me and I’d gotten quite good at it over the last two months. She even called it the “wormhole” current because of the shape and the fact that you had to use a metric of wormholes to call it up.

Breathe, I told myself. The suppressed part of me wanted to lament that my edan was being shaken apart by the current I was running through it, that I should stop, that it I would never be able to put it back together. Instead, I let my mouth hang open and I whispered the soothing number again, “Five, five, five, five, five.” Just breathe, Binti, I thought. I felt a waft of air cross my face, as if something passed by. My eyelids grew heavy. I let them shut…

*

…I was in space. Infinite blackness. Weightless. Flying, falling, ascending, travelling through a planet’s ring of brittle metallic dust. It pelted my skin, fine chips of stone. I opened my mouth a bit to breathe, the dust hitting my lips. Could I breathe? Living breath bloomed in my chest from within me and I felt my lungs expand, filling with it. I relaxed.

“Who are you?” a voice asked. It spoke in the dialect of my family and it came from everywhere.

“Binti Ekeopara Zuzu Dambu Kaipka of Namib, that is my name,” I said.

Pause.

I waited.

“There’s more,” the voice said.

“That’s all. I said. That’s my name.”

“No.”

The flash of anger that spurted through me was a surprise. Then it was welcome. I knew my own name. I was about to scream this when…

*

…I was back in the classroom. Sitting before Professor Okpala. I was so angry, I thought. Why was I so angry? It was a horrible feeling, that fury. Back home, the priestesses of the Seven might even have called this level of anger unclean. Then one of my tentacle-like okuoko twitched. Outside, the second sun was setting. Its shine blended with the other sun’s, flooding the classroom with my favorite color, a vibrant combination of pink and orange that the native people of Oomza Uni called “ntu ntu”. Ntu ntu bugs were an Oomza insect whose eggs were a vibrant orange-pink that softly glowed in the dark.

The sunlight shined on my edan, which floated before me in a network of current, a symmetry of parts. I’d never seen it disassemble like this and making it do so had not been my intention. I’d been trying to get the object itself to communicate with me by running current between its demarcations. Okpala claimed this often worked and I wanted to know what my edan would say. I had a moment of anxiety, frantically thinking, Can I even put it back together?

Then I watched with great relief as the parts of my edan that had detached slowly, systematically, reattached. Whole again, the edan set itself down on the floor before me. Thank the Seven, I thought.

Both the blue from the current I still ran around it and the bright ntu ntu shined on Okpala’s downturned face. She had an actual notebook and pencil in hand, so earth basic. And she was writing frantically, using one of the rough thick pencils she’d made from the branch of the tamarind-like tree that grew outside the mathematics building.

“You fell out of the tree,” she said, not looking up. This was how she referred to that moment when you were treeing and then suddenly were not. “What was that about? You finally had the edan willing to open itself.”

“That’s what it was doing? That was a good thing, then?”

She only chuckled to herself, still writing.

I frowned and shook my head. “I don’t know…something happened.” I bit my lip. “Something happened.” When she looked up, she caught my eye and I had a moment where I wondered whether I was her student or piece of research.

I allowed my current to fade, shut my eyes and rested my mind by thinking the soothing equation of f(x) = f(-x). I touched the edan. Thankfully, solid again.

“Are you alright?” Professor Okpala asked.

Despite medicating with the soothing equation, my head had started pounding. Then a hot rage flooded into me like boiled water. “Ugh, I don’t know,” I said, rubbing my forehead, my frown deepening. “I don’t think what happened was supposed to happen. Something happened, Professor Okpala. It was strange.”

Now Professor Okpala laughed. I clenched my teeth, boiling. Again. Such fury. It was unlike me. And lately, it was becoming like me, it happened so often. Now it was happening when I treed? How was that even possible? I didn’t like this at all. Still, I’d been working with Professor Okpala for over one Earth year and if there was one thing I should have learned by now it was that working with any type of edan, no matter the planet it had been found on, meant working with the unpredictable. “Everything comes with a sacrifice,” Okpala liked to say. Every edan did something different for different reasons. My edan was also poisonous to Meduse; it had been what saved my life when they’d attacked on the ship. It was why Okwu never came to watch any of my sessions with Okpala. However, touching it had no such effect on me. I’d even chanced touching my okuoko with my edan. It was the one thing that let me know that a part of me may now have been Meduse, but I was still human.

“That was isolated deconstruction,” Professor Okpala said. “I’ve only heard of it happening. Never seen it. Well done.”

She said this so calmly. If she’s never seen it happen before, why is she acting like I did something wrong, I wondered. I flared my nostrils to calm myself down. No, this wasn’t like me at all. My tentacle twitched again and a singular very solid thought settled in my mind: Okwu is about to fight. An electrifying shiver of rage flew through me and I jumped. Who was trying to bring him harm? Calmly, I said, “Professor, I have to go. May I?”

She paused, frowning at me. Professor Okpala was Tamazight, and from what my father said of selling to the Tamazight, they were a people of few but strong words. This may have been a generalization, but with my professor, it was accurate. I knew Professor Okpala well, there was a galaxy of activity behind that frown. However, I had to go and I had to go now. She held up a hand and waved it. “Go.”

I got up and nearly crashed into the potted plant behind me as I turned awkwardly toward my backpack.

“Careful,” she said. “You’re weak.”

I gathered my backpack and was off before she could change her mind. Professor Okpala was not head professor of the mathematics department for nothing. She’d calculated everything probably the day she met me. It was only much much later that I realized the weight of that brief warning.

I took the solar shuttle.

With the second sun setting, the shuttle was at its most charged and thus its most powerful. The university shuttle was snake-like in shape, yet spacious enough to comfortably accommodate fifty people the size of Okwu. Its outer shell was made from the molted cuticle of some giant creature that resided in one of the many Oomza forests. I’d heard that the body of the shuttle was so durable, a crash wouldn’t even leave a scratch on it. It rested and travelled on a bed of “narrow escape”, slick green oil secreted onto a track way by several large pitcher plants growing beside the station.

I’d always found those huge black plants terrifying, they looked like they’d eat you if you got too close. And they surrounded themselves with a coppery stink that smelled so close to blood that the first time I came to the station, I had what I later understood was a panic attack. I’d stood on the platform staring blankly as I held that smell in my nose. Then came the flashes of memory from that time so vivid…I could smell the freshly spilled blood. Memories from when I was in the dining room of a ship in the middle of outer space where everyone had just been viciously murdered by Meduse.

I had not ridden the shuttle that day. I didn’t ride it for many weeks, opting to take swift transport, a sort of hovering bus that was actually much slower and used for shorter journeys. When I couldn’t stand the slowness and decided to try the solar shuttle again, I’d pinched my nose and breathed through my mouth until I got onboard. Once we started moving, the smell went away.

A native operated the scanner and I handed her my astrolabe to scan. She narrowed her wide blue eyes and looked at me down her small nose, as if she didn’t see me take this shuttle often enough to know my schedule. She batted one of my okuoko with a finger; her hands were bigger than my head. Then she rubbed the otjize between her finger and motioned for me to enter the shuttle’s cabin.

I sat where I always sat, in the section for people my size near one of the large round windows and strapped myself in. The shuttle travelled five hundred to a thousand miles per hour, depending on how charged it was. I’d be in Weapons City in fifteen minutes and I hoped it wasn’t too late, because Okwu was about to kill his teacher.

*

The moment the house-sized elevator rumbled opened I ran out, my sandaled feet slapping the smooth off-white marble floor. The room was vast and high ceilinged with rounded walls, all cut into the thick tooth-like marble. I coughed, my lungs burning. Wan, a Meduse-like person, was feet away, engulfed in a great lavender plume of its breathing gas. It didn’t have Okwu’s hanging tentacles, but Wan still looked like a giant version of the jellyfish that lived in the lake near my home on Earth. Wan also spoke Okwu’s language of Meduse. I’d been down here plenty of times to meet Okwu, so it knew me, too.

“Wan, tell me where Okwu is,” I demanded in Meduse.

It puffed its gas down the hallway. “There,” Wan said. “Presenting to Professor Dema against Jalal today.”

I gasped, understanding. “Thanks, Wan.”

But Wan was already heading to the elevator. I lifted my wrapper above my ankles and sprinted down the hallway. To my left and right, students from various parts of the galaxy were working on their own final projects of protective weaponry, the assignment this quarter. Okwu’s was body armor, its close classmate Jalal’s was electrical current.

Okwu and Jalal were taught together, stayed in the same dorm and worked closely together on their projects. And today, they were being tested against each other, as was the way of Oomza Weapons Education. I was fascinated by the competitive push and pull of weapons learning, but I was glad mathematics was more about harmony. Okwu being Okwu—a Meduse of rigid cold honor, focus, and tradition—loved his program. The problem was that Okwu hated his professor and Professor Dema hated Okwu. Okwu was Meduse and Professor Dema, a human woman, was Khoush. Their people had hated and killed each other for centuries. Tribal hatred lived, even in Oomza Uni. And today that hatred, after simmering for a year, was coming to a head.

I reached the testing space just as Okwu, encased in a metallic skin, brought forth its white and sharp stinger and pointed it at Professor Dema. Feet away, Professor Dema stood, carrying a large gun-like weapon with both her hands and a snarl on her lips. This was not the way final exams were supposed to go.

“Okwu, what are you doing?” Jalal demanded in Meduse. She stood to the side, clutching a series of what looked like thick fire-tipped sticks with her mantis-like claws. “You’ll kill her!”

“Let us finish this once and for all,” Okwu growled in Meduse.

“Meduse have no respect,” Okwu’s professor said in Khoush. “Why they allowed you into this university is beyond me. You’re unteachable.”

“I’ve tolerated your insulting remarks all quarter. Let me end you. Your people should not plague this university,” Okwu said.

My lungs were laboring from the gas Okwu was copiously pluming out as it prepared to attack its professor. If it didn’t stop doing this, the entire room would be filled with it. I could see Professor Dema’s eyes watering as she resisted coughing, as well. I knew Okwu. It was doing this on purpose, enjoying the strained look on Professor Dema’s face. I had only seconds to do something. I threw myself before Okwu, pressing myself to the floor before its okuoko which hung just below its weaponized casing. I looked up at Okwu, its tentacles were soft and heavy on the side of my face. Meduse immediately understand prostration.

“Okwu, hear me,” I said in Khoush. Since arriving at the university, I’d taught Okwu to speak Khoush and Himba and it hated the sound of both. My theory is that this was partially due to the fact that for Okwu the sound of any language was inferior to Meduse. On top of this, Okwu had to produce the words through the tube between its okuoko that blew out the gas it used to breathe in air-filled atmospheres, and doing so was difficult and felt unnatural. Speaking to Okwu in Khoush was irritating to it and thus the best way to get its attention.

I called up a current, treeing faster than I ever could have back home. I’d learned much from Professor Okpala in the last year. My okuoko tickled, the current touching them and then reaching for Okwu’s okuoko. Suddenly, I felt that anger again, and some part of me deep down, firmly accused, “Unclean, Binti, you are unclean!” I gnashed my teeth as I fought to stay in control. When I could not, I simply let go. My voice burst from me in a clear and loud; in Khoush, I shouted, “Stop! Stop it right now!” I felt my okuoko standing on end, writhing like the clusters of mating snakes I often saw in the desert back home. I must have looked like a crazed witch; I felt like one, too.

Immediately, Okwu brought down its stinger, stopped pluming gas and moved away from me. “Stay there, Binti,” it said. “If you touch my casing, you will die.”

Professor Dema brought down her weapon, as well.

Silence.

I lay there on the floor, mathematics cartwheeling through my brain, current still touching my only true friend on the planet even after a year. I felt the tension leave the room, leaving myself, too, finally. Tears of relief fell down the corners of my eyes as my strange random anger drained away. My okuoko stopped writhing. There were others in the cavernous workspace, watching. They would talk, word would spread and this would be another reminder to students, human and non-human, to keep their distance from me, even if they liked me well enough. Okwu.

Its close classmate Jalal put down her weapons and hopped back. Professor Dema threw her gun to the floor and pointed at Okwu. “Your casing is spectacular. You will leave it here and download your recipe for it to my files. But if we meet outside this university where I am not your teacher and you are not my student, one of us will die and it will not be me.”

I heard Okwu curse at her in Meduse so deep that I couldn’t understand exactly what it said. Before I could admonish Okwu’s crudeness, Professor Dema snatched up her weapon and shot at Okwu. It made a terrible boom that shook the walls and sent students fleeing. Except Okwu. The wall directly to its left now had a hole larger than Okwu’s nine-foot tall five-foot wide jellyfish-like body. Chunks and chips of marble crumbled to the floor and dust filled the air.

“You didn’t miss,” Okwu said in Khoush. Its tentacles shook and its dome vibrated. Laughter.

Minutes later, Okwu and I left the Weapons City Inverted Tower Five. Me with ringing ears and a headache and Okwu with a grade of Outstanding for his final project in Protective Gear 101.

*

Once on the surface, I looked at Okwu, wiped marble dust and otjize from my face and said, “I need to go home. I need to go on my pilgrimage.” I felt the air close to my skin; once I got back to my dorm room and wash up, I’d re-apply my otjize. I’d take extra time to palm roll a thick layer onto my okuoko.

“Why?” Okwu asked.

I’m unclean because I left home, I thought. If I go home and go through pilgrimage, I will be cleansed. The Seven will forgive me and I’ll be free of this toxic anger. Of course, I didn’t say any of this to Okwu. I only shook my head and stepped into the field of soft water-filled maroon plants that grew in the field over the Inverted Tower Five. Sometimes, I came here and sat on the plants, enjoying the feeling of buoyancy that reminded me of sitting on a raft in the lake back home.

“I’ll come, too.” Okwu said.

I looked at him. “You’ll land in a Khoush airport, if you’re even allowed on the ship. And they’ll…”

“The treaty,” it said. “I’ll go as an ambassador for my people. No Meduse has been on Earth since the war, for war’s sake. I’d be coming in peace.” It thrummed deep in its dome and then added, “But if they make war, I will stir it with them, like you stir your otjize.”

I grunted. “No need for that, Okwu. The peace treaty should be enough. Especially if Oomza Uni endorses the trip. And you come with me.” I smiled. “You can meet my family! And I can show you where I grew up and the markets and…yes, this is a good idea.”

Professor Okpala would certainly approve. A harmonizer harmonized. Bringing Okwu in peace to the land of the people its people had fought would be one of the ten good deeds Okpala had insisted I perform within the academic cycle as part of being a good Math Student. It would also count as the Great Deed I was to do in preparation for my pilgrimage.


Nnedi Okorafor’s Binti: Home will be out January 31, 2017.

 

09 Nov 11:50

This Morning in Publishing: November 7, 2016

by Stubby the Rocket

Binti, Ghothenburg city library magazine

Check out this sweet library action! The Ghothenburg city library in Sweden puts out a magazine twice a year to let people know what’s going on their branch, from concerts to classes to book talks. The current issue features Nnedi Okorafor’s Binti on the cover! You can take a peek inside the magazine here.

This morning we’ve got Doctor Strange reading an angry Kurt Vonnegut letter, China Miéville talking about utopia, and one of our favorite questions of all: what apps would classic authors be using if they were alive today?

Ken Liu, Twitter, Invisible Planets

09 Nov 11:35

Today, Infomocracy is Free to Download in Its Entirety

by Tor.com

Infomocracy Malka Older

What if the next election was…different?

It’s been twenty years and two election cycles since Information, a powerful search engine monopoly, pioneered the switch from warring nation-states to global microdemocracy.

Malka Older’s novel Infomocracy, out from Tor.com Publishing this past June, asks how information overload and democratic elections will merge as the 21st century unfolds. Will facts matter? Will geography matter? The possibilities are intriguing and complex.

And they are free to download for a limited time, from now until the end of November 9th (EST).

For two days only, if you sign up for Tor.com Publishing’s monthly newsletter, they will send you the ebook edition of Infomocracy for free.

Want to know a little more about “infomocracy” first? Author, humanitarian worker, and governance Ph.D. candidate Malka Older explains how the idea of infomocracy emerged from her work around the world.

 

08 Nov 08:37

See Infomocracy author Malka Older at the Harvard Coop!

by Katharine Duckett

MalkaOlder-Infomocracy

Malka Older’s debut novel Infomocracy features a thrilling global election campaign, which makes it the perfect read for this political season! Catch up with Malka on November 12th at 7:00 PM at the Harvard Coop in Cambridge, MA, to hear her read from Infomocracy and talk about the parallels between her fiction and our own electoral politics.

Malka Older is a writer, humanitarian worker, and PhD candidate at the Centre de Sociologie des Organisations studying governance and disasters. Named Senior Fellow for Technology and Risk at the Carnegie Council for Ethics in International Affairs for 2015, she has more than eight years of experience in humanitarian aid and development, and has responded to complex emergencies and natural disasters in Uganda, Darfur, Indonesia, Japan, and Mali. Infomocracy is her first novel.

You can find additional details on the event here, and get started with the first five chapters of Infomocracy!

04 Nov 06:43

Prize Pairs: Cory Doctorow & Laurie Penny Sweepstakes!

by Sweepstakes

everything-walkaway

Laurie Penny’s novella Everything Belongs to the Future is out now from Tor.com Publishing, and Cory Doctorow’s novel Walkaway will be out in April from Tor Books. Both explore what happens when part of society has the power to postpone (or beat) death, so we’ve paired them up as a prize pack! We want to send you a paperback copy of Penny’s book, and a galley of Doctorow’s.

Everything Belongs to the Future is a bloody-minded tale of time, betrayal, desperation, and hope that could only have been told by the inimitable Laurie Penny. In the ancient heart of Oxford University, the ultra-rich celebrate their vastly extended lifespans. But a few surprises are in store for them. From Nina and Alex, Margo and Fidget, scruffy anarchists sharing living space with an ever-shifting cast of crusty punks and lost kids. And also from the scientist who invented the longevity treatment in the first place.

Fascinating, moving, and darkly humorous, Walkaway is a multi-generation SF thriller about the wrenching changes of the next hundred years…and the very human people who will live their consequences.

Hubert Vernon Rudolph Clayton Irving Wilson Alva Anton Jeff Harley Timothy Curtis Cleveland Cecil Ollie Edmund Eli Wiley Marvin Ellis Espinoza—known to his friends as Hubert, Etc—was too old to be at that Communist party. But after watching the breakdown of modern society, he really has no where left to be—except amongst the dregs of disaffected youth who party all night and heap scorn on the sheep they see on the morning commute. After falling in with Natalie, an ultra-rich heiress trying to escape the clutches of her repressive father, the two decide to give up fully on formal society—and walk away. After all, now that anyone can design and print the basic necessities of life—food, clothing, shelter—from a computer, there seems to be little reason to toil within the system.

It’s still a dangerous world out there, the empty lands wrecked by climate change, dead cities hollowed out by industrial flight, shadows hiding predators animal and human alike. Still, when the initial pioneer walkaways flourish, more people join them. Then the walkaways discover the one thing the ultra-rich have never been able to buy: how to beat death. Now it’s war—a war that will turn the world upside down.

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 1:30 PM Eastern Time (ET) on November 3rd. Sweepstakes ends at 12:00 PM ET on November 7th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

03 Nov 12:17

Hammers on Bone: Cassandra Khaw on Inspirations & Influences

by Ana

“Inspirations and Influences” is a series of articles in which we invite authors to write guest posts talking about their Inspirations and Influences. In this feature, we invite writers to talk about their new books, older titles, and their writing overall.

Today we are delighted to give the floor to guest author Cassandra Khaw, talking about the inspirations and influences behind her novella Hammers on Bone.

(Trigger warning: domestic abuse).

Hammers on Bone

Stripped of its tentacles and its noir vernacular, Hammers on Bone is, more than anything else, an allegory of domestic abuse. The idea for its conception isn’t something I’m going to go into here – I’ve talked about it in other guest blogs already, and it’s not a pleasant subject to bring up. But there’s merit in discussing what lives at the heart of the novella.

Domestic abuse is unfortunately common. For all our pretenses at civity, our species hasn’t outgrown the idea of asserting dominance through violence. We chip at each other over social media. We snip, we argue, we undermine enemies with gossip, we circle each other like dogs in a ring, starved for openings to strike. Every day, we’re subjected to and we subject others to shows of aggression.

All for power.

And power is interesting. Power doesn’t have to be inherited or enforced by a strength of arms, doesn’t necessitate formalization. Power doesn’t need to manifest as a successful career, or an aptitude in sports, or even an enviable selection in mates. Power can be subtle, insidious, bought with the currency of friendship. Power can simply be this: the ability to convince someone that there is no way out.

That no one else loves you.

That no one cares.

That this is your fault.

That you are completely and absolutely alone.

There’s an entire treatise to be written about why someone would crave such control over another human being, and how it correlates, perhaps, to an absence of control over their own lives, or another variety of personal weakness. But at the end of the day, it’s all the same to the victim.

The mother figure in Hammers on Bone is caught in a cycle of abuse. For all that she understands that McKinsey, her fiance and antagonist, is a danger, she stays with him. In the novella, we see the compromises that she makes daily, how she attempts to displace his attention from the children, how she offers herself up in exchange. We see the way she protects and worse, we see the fact she understands that he’s in her head.

Why doesn’t she walk away?

Hammers on Bone complicates that proposition by adding otherworldly horrors, creatures that grow inside human flesh. But even without those eldritch aberrations, there’s a simple answer to that question: because it just isn’t that simple.

Abusers are insidious. They scream, they shout, they beat their victims unconscious. But then, they stop and they kiss the bruises they’d left behind, their voice full of contrition, full of shame-faced love. This time, everything will be different. This time, I’ll change. And besides, aren’t we both broken people, anyway? It’s you and I against the world, baby. No one understands you like I do.

Leslie Steiner’s TED talk on the subject explains the situation eloquently, as does the responses to the #WhyIStayed hashtag. Because of the good times we had. Because of the children. Because he promised he’d get help. Because I’ve been with him since I was fourteen, and I can’t imagine life any other way.

It’d be easier if we were better equipped as a society to deal with these situations. More often than not, the victim, should they come forward, is forced to itemize everything that’d happen, to provide justification and explanations. They’re asked to relive their trauma, over and over, interrogated on the specificity of each scenario. Did they goad their partner? Had they done something? What led up to this moment?

There’s something to be said too about the shame of being in that situation. Our parents, our friends, our siblings – they’re often the first to pass judgment on a partner. She looks like trouble. He doesn’t seem like he’d make a good husband. I don’t think you two would make a good couple. In the throes of early love, we ignore them, confident in our own selections. When that proves wrong? What happens next? If you’re lucky enough to have a good support network, there is healing. But not everyone is that fortunate and they often know so it, so they keep silent, curl into themselves as they try to make sense of a terrifying world.

With Hammers on Bone, I wanted to examine the worst-case scenario, what happens when you don’t break from the cycle. There are a lot of other things that inspired Hammers on Bone too: a desire to subvert noir, a love-hate relationship with Lovecraft, an affection for Cronenbergian body horror.

Mostly, though, I wanted to talk about abuse, how easy it is for it to happen, how we hide its scars and how we protect its monsters.

Divider

cassandra-1CASSANDRA KHAW writes a lot. Sometimes, she writes press releases and excited emails for Singaporean micropublisher Ysbryd Games. Sometimes, she writes for technology and video games outlets like Eurogamer, Ars Technica, The Verge, and Engadget. Mostly, though, she writes about the intersection between nightmares and truth, drawing inspiration from Southeast Asian mythology and stories from people she has met. She occasionally spends time in a Muay Thai gym punching people and pads. The novella is available on Amazon US | Amazon UK

The post Hammers on Bone: Cassandra Khaw on Inspirations & Influences appeared first on The Book Smugglers.

03 Nov 09:03

Hammers On Bone Signed Copy Sweepstakes!

by Sweepstakes

hammers-pika-2

Cassandra Khaw’s Hammers On Bone is now available from Tor.com Publishing—and we want to send you a copy that’s signed (and doodled in!) by the author! Each doodle is different, but one example is pictured there to the right.

John Persons is a private investigator with a distasteful job from an unlikely client. He’s been hired by a ten-year-old to kill the kid’s stepdad, McKinsey. The man in question is abusive, abrasive, and abominable.

He’s also a monster, which makes Persons the perfect thing to hunt him. Over the course of his ancient, arcane existence, he’s hunted gods and demons, and broken them in his teeth.

As Persons investigates the horrible McKinsey, he realizes that he carries something far darker. He’s infected with an alien presence, and he’s spreading that monstrosity far and wide. Luckily Persons is no stranger to the occult, being an ancient and magical intelligence himself. The question is whether the private dick can take down the abusive stepdad without releasing the holds on his own horrifying potential.

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 2:30 PM Eastern Time (ET) on November 2nd. Sweepstakes ends at 12:00 PM ET on November 6th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

29 Oct 03:23

The Burning Light

by Brad Beaulieu, Rob Ziegler

burning-light

Disgraced government operative Colonel Chu is exiled to the flooded relic of New York City. Something called the Light has hit the streets like an epidemic, leavings its users strung out and disconnected from the mind-network humanity relies on. Chu has lost everything she cares about to the Light. She’ll end the threat or die trying.

A former corporate pilot who controlled a thousand ships with her mind, Zola looks like just another Light-junkie living hand to mouth on the edge of society. She’s special though. As much as she needs the Light, the Light needs her too. But, Chu is getting close and Zola can’t hide forever.

Available November 1st from Tor.com Publishing, The Burning Light is a thrilling and all-too believable science fiction novella from Bradley P. Beaulieu and Rob Ziegler, the authors of Twelve Kings in Sharakhai and Seed.

 

 

One
We Want the Vector

Three months ago…

They came to the first junkie at a landing maybe fifteen floors up. Matted hair hid her face; geologic layers of filth caked her skin. She sat cross-legged and blissed like some old ascetic on a mountain. She stank.

Solaas leveled his carbine at her. Goggins moved to grab her. The woman was oblivious.

She was tapped in, burning in the Light.

Colonel Melody Chu’s mind reached out to her troops, her words an electric flicker of pure thought:

Don’t even bother with her. She’s just a junkie. We want the vector.

A column of bramble and vine grew up the stairwell to a hole in the roof, a pale coin of light far above. Chu and her Gov troops continued to spiral upward, up, up, up, sweating in mirror black graphene armor, lugging their electromag carbines. Four months here, and Chu knew this was what they would all remember. The Sisyphean grind of climbing these old towers, the saturating miasma of sewage rising off the canals below. New York was a ruin of shit and stairs.

My point is, Chu said as they climbed, those old religions were on to something. I like sin. I like the idea of it. They’d passed a street preacher outside the building, his little boat moored to the top of a light pole protruding a few inches above the canal’s brown surface. In it he’d stood, bearded and wild. He’d gleamed with a wrath verging on joy, and ranted at them about Jesus. Jesus and salvation and Hell—his mind had reached out, briefly connecting, flashing images of crucifixion and fire. It had gotten Chu and her XO, Lieutenant Holder, talking.

Some of that God stuff’s alright. Holder’s mind leaned against Chu’s, a perpetual offering, sharp as a blade and poised, awaiting her command. He was small, but solid, dedicated, the only one of her troops not raised in a Gov soldier collective. It was why Chu had chosen him. The others, their empathy had been groomed out of them—but not Holder. And empathy, Chu figured, was a useful compass, even if sometimes it got in the way. It was their mission to save people, after all…

Holder’s words came as a shuffle of memory and thought as he followed her silently up the stairs. There was a worship group up in the woods not far from my collective growing up. Mostly Amish, I think, but they’d thrown together pieces of the Koran and the Gita, too, and some of the other old books. Nice people. Weird, no doubt, tapped in to each other nonstop, feeding each other verses. No conversation even, just pure scripture. You’d run into them on the road or someplace and it’d be this biblical feedback loop. Crazy. Good folks, though, real decent, all about service and compassion, shit like that. Always helped us pull in our wheat. He reflected for a moment. Made great cheese.

I don’t mean the stories, Chu told him, Jesus and Allah and God. I don’t care about God.

A-fucking-men, chorused several of her troops, and dry chuckling broke their silence. Four months their minds had been connected. They’d begun to share the same sense of humor.

I’m talking about sin, Chu said. Sin I get. Sin and repentance. Sin and salvation. Right and wrong. Consequences. Punishment. Her mind opened to Holder and her troops. She let them feel her certainty, wrapped them into her personal memory of the street preacher—railing at them from the far side of a madness built of brimstone and visions of angels, but righteous, brimming with his cause, fierce.

Chu related to the man.

We are standing at the edge of the end of the world, she said.

She knew her reputation within the Gov collective. Captain Ahab Chu. She’d brought down whole collectives, and many of her superiors thought she was too quick on the trigger—especially after Latitude. When Latitude had come down, it had hit everyone where it hurt: in their balance sheets.

Obsessive. Precipitous decision making. These were the assessments made by functionaries higher up the food chain. After Latitude, Chu had presented her superiors a real problem. The abrupt extermination of six thousand people had struck them as… an overreaction. Yet no one could argue she wasn’t effective.

They’d solved it by promoting her. After Latitude, they’d given her carte blanche to pursue the Light wherever it turned up—but with only a single squad: eleven washouts and Holder.

For her troops it was exile, far from the upriver promised land of cush overwatch postings in bloated finance and trade collectives, where the pay was good and the bribes were better. Exile, and her troops knew it. But Chu had won them over, cajoled them, harangued them, overpowered them with mission focus. She had personally stared into the Burning Light—and the Light had stared back. She knew it was coming. As they climbed the stairs, Chu let her troops feel it:

I have seen the Light! And the Light was no white whale. It was a shark, a marauder. In her bones Chu knew this. And her troops, they were not outcasts. No, they were righteous. They were her crusaders. They gave her Amens!

Why’s the Light got to chew on all these stankass junkies down here in New York? Solaas lamented. Chu felt his fatigue, heard his ragged breath echoing in the stairwell.

Moron, came Goggins, it doesn’t pick them because they’re junkies. It makes them junkies.

Yeah, well, it’d do my esprit de corps a shitload of good if it showed up once in a while in some posh Montreal whore collective.

Amen!

Goddamn.

I’d fight that fight.

If the Light showed up in a whorehouse, Solaas, Holder said, we’d have to reassign you on ethical grounds.

Why’s that, Chief?

Gov doctrine specifically prohibits interfamilial combatants.

I don’t get it.

Couldn’t very well have you fighting your mother, now, could we.

You know my mother, Chief? A sly flicker played across Solaas’s mind. Are you my father?

Fucking A right. and I’m gonna whup your ass, son, you don’t get up those stairs. Like sunlight off water, the joke reverberated among them, laughter playing across their minds, pushing the incessant churn and turn of the stairs to the background. Then it faded, the joke, the laughter, replaced again and always by the stink, by the grind, by the eternal climb.

That mean I get to call you Daddy?

Chu let herself smile.

* * *

They found the vector on the thirty-first floor. By some miracle the level hadn’t been stripped by scavenger gangs. It was a maze of glass, steel, stained drywall, and rotted industrial carpet—a moment two centuries old frozen in time, unpeopled, caught in perpetual nightshift.

It was what passed as a security team that gave up the vector’s position.

Goggins, on point, extended the spy eye, a black glass marble on his flat palm, beyond a blind corner. Its vision of the hallway beyond filled the minds of Chu and all her troops.

Well this is something new.

Through the spy eye, they all saw: four young bangers crouched around a lantern before an empty doorway. They were shirtless, tatted up with ink—not junkies themselves, just hired hands, hustlers getting paid for a night’s work, AKs slung over shoulders or propped against the wall. Two played dice, the other two passed a joint back and forth. The apotheosis of readiness and discipline. Chu almost felt sorry for them.

We got the drop, Holder figured, no problemo.

Chu unbelted a flash disc, the size of an old silver dollar her father had shown her once. Her mind touched her troops, calm, emphatic.

Goggins. Solaas. High, low. Go on the flash. Professional groupings, nice and tight.

Chu rolled the disc down the hallway. Lightning flashed. Thunder pounded the air. Goggins and Solaas stepped around the corner, Goggins high, Solaas low. The pock!-pock!-pock!-pock! of hypersonic ceramic rounds scorching the air lasted less than a second.

Clear!

Chu stepped around the corner. Through a curl of white smoke she saw the bangers, all four of them shredded, utterly still.

Good work. Her mind leaned against Goggins and Solaas, laying on the positive vibes, like scratching two cats behind the ear.

The room beyond had once been a bathroom—robbed now of all its porcelain and stalls, just a hollow square with holes in the floors and walls where piping had been stripped. The vector sat there on the floor.

It isn’t Zola, Chu observed. Holder gave her a look and she immediately regretted showing her disappointment.

No, Colonel Ahab, that is not your girl from Latitude. But a vector’s a vector, correct?

Chu swallowed bitterness. You are correct.

Just a kid. Goggins knelt beside the vector as the troops gathered up. Can’t be older than nine.

Goggins wasn’t joking. The boy was barefoot, starved-looking in a stained T-shirt so big it reached his knees. Like the junkie they’d encountered below, he sat lotus, unaware of the troops standing over him, his mind deep in the Light. He was the anchor, the physical center around which the other junkies had arranged themselves in a sphere throughout the building. A halo, they called it. Through the vector, this kid, they connected to the Light.

Just a kid… , Goggins repeated, distantly this time, and Chu realized he was reaching out to the boy, testing his limits even as the boy was touching the Light.

Goggins! Filter up! Chu ordered. We take no chances in this unit.

Yeah, dipshit. Solaas slapped Goggins’s shoulder, hard. Don’t get any on you, man.

It was true. Chu knew from experience. The Light had touched her once. The memory wrapped her psyche like enflamed scar tissue. A memory she’d shared with her troops so they’d understand what they were fighting, and why.

Joy had been a kid too, like this boy. And like this boy she’d sat at the center, within a little paper-walled classroom. A spontaneous halo, they’d called it. Bodies lay all around her. Chu’s teachers, friends, her parents. Gov troops who had come to the scene. Bodies, fallen over one another like fish dropped from a net. Dozens of them.

Her sister had surveyed the death, and her eyes had belonged to someone else, empty except for curiosity. When she’d seen Chu, standing stunned at the doorway, she’d smiled beatifically and lifted her hand, beckoning for Chu to come closer. And then the Light had reached out—

Chu drew the pistol from her hip.

Colonel! Holder reached out a hand to stay her, but not quick enough. Chu pressed the barrel against the kid’s forehead as the memory washed over her. Moments ticked past. Her troops watched her. Her hand trembled.

The kid opened his eyes. He gazed up at Chu, the same empty-but-clear expression worn by ancient Buddhist statues. The same expression Chu’s sister had worn. He smiled.

“I remember,” he said. “I remember you.” Chu felt it: the lighthouse strobe at the edge of her consciousness. It pulled her, grew brighter, tickling those places where she was most vulnerable, those places torn by loss.

A warm sensation rose up within her. The Light reached out, full of promise—

Chu raised the pistol and clubbed downward, hard and fast, clocking the kid across the temple. He went instantly limp. Chu holstered the pistol, then turned and walked away, her troops parting before her storm. For the first time in days, she spoke aloud.

“Bag the little fucker.”

* * *

When Chu and her troops returned to canal level, junkies were still fleeing. They clambered into homemade canoes and kayaks, gondolas, old rowboats into which they’d jerry-rigged sails. They cast looks over their shoulders at the Gov troops; the fear in their eyes made Chu laugh.

Her troops ignored the junkies. Their boat, a sleek katana-class interceptor, was tied to an old flagpole protruding from the building’s side. With its black diamond-plate decks and miniguns and electric props, it was like a barracuda here in the old city, a thing of startling wealth and ingenuity, of predatory speed. Goggins and Solaas hauled the vector aboard, stuffed into a black canvas bag, inside which he’d begun kicking.

Take him below, Chu told them. Give him another injection. Make sure he’s out. In a day, maybe two, they’d give him to their contact a half-day up the Hudson, who in turn would pack him in a Gov transport and send him west, for Grandma and the scientists she kept in her employ.

The street preacher still stood in his little boat. He yelled at the sudden exodus of junkies, yelled at the emerging troops. He lived for moments like this, Chu was pretty sure, the transient illusion of a flock to shepherd.

You know what scares me? she asked Holder. They stood side by side against the katana’s deck rail. Every time I catch a glimpse, every time I feel the Light, it’s just like when I was a girl, seeing it for the first time. I want to go in. I want to let it take me, just like it takes these fried-ass junkies. Even after everything we’ve seen, I still want it. How do you fight something that makes people want like that? How did you fight sin?

For once, it had begun to rain. A wall of cool mist had boiled up out of the Atlantic and now it swept north, swallowing Manhattan’s old square monoliths in a blanket of white.

I hate this city, Holder said finally, beads of mist clinging like mercury to his crewcut. He gazed up the canal, a canyon of vine-wrapped ruins. Chu followed his eyes to where larger, faster boats—boats with multiple sails and rows of oars—had appeared from around a corner a few blocks up. They’d begun to close on the fleeing junkies.

Labor traders.

They’d gather up the junkies and sell them off to the scavenger gangs, to whore shops, to black-market ship captains. The ones too weak for work, they’d dump overboard. Groups of these traders had begun tailing the katana: where Chu and her troops went, junkies fled like rats.

It’s no wonder the Light shows up here, Holder said. A single patrol for the whole city… how many halos you think are going on right now?

The source says nine. But we won’t reach any of them in time.

Exactly. We pop one, three more spring up in its place. We’re rowing against the current here. Holder sucked his teeth. Maybe Grandma can pull a string or two, get us some more troops?

Grandma burned her bridges keeping me out of the stasis tanks after Latitude. She doesn’t have any strings left to pull.

The oversight committee then?

They’d have to believe there’s a credible threat. Chu gave Holder a look. They haven’t seen the Light.

Up the block, grappling hooks flew. The Labor boats began reeling in the smaller junkie boats. There was yelling. There were harpoons. There were guns. An idea occurred to Chu.

You say we need more patrols. You are definitely not wrong. She let the thought dangle like a rope between them, let Holder grab hold, pull it in. And the Gov won’t give them to us…

Holder eyed her, skeptical at first, then nodding as he tasted the idea. His gaze went back to the Labor boats, and now he smiled. We buy them.

Chu nodded. We buy them.

Grandma’s got chavos?

The one thing she does have.

Gentle precip scoured the shit smell from the air. It dimpled the canal with tiny silver rings. The street preacher, still railing, leveled a finger at Chu. She nodded to him, and smiled. His hand mimed a gun, aimed at her, and he winked: bang!, a moment of connection, as though this ruined city had just offered up in totem its strangest and most beautiful creature.

His sermon didn’t miss a beat.

Chu turned her face up into the rain, and let herself be cleansed.

 

Two
I Never Regret You

Zola, baby!

The call rang at the center of Zola’s mind. Marco’s touch, urgent, full of need, too long out of the Light. He had the itch. His presence in Zola’s mind drew her forward, her gondola making slow progress up the canal. East 17th Street, a narrow canyon of concrete, dangling vines, the rusty press of anchored scavenger barges. Scrap vendors cried their wares, those last bits of sellable flesh picked from the bones of the old city. “Copper wire, yo! Hammered clean, real pure, no zinc! Take a look, mama!” “Porcelain, porcelain! Granite and marble! Whole tons, ya, barato real! Make me an offer!” Late summer humidity hung thick in the air; everything shimmered.

Zola!

Zola pressed her mind to Marco’s: Be there righteous fast, baby. We need food, ya. Then I’m home. Home. Nowhere, everywhere. Wherever she was together with Marco. Wherever the Light called them.

She leaned hard on the oar, sweating, angling her gondola through a school of two-seater junks—a pack of Moby Jah boys whose faces turned and in unison showed Zola teeth filed into rows of incisors, sharklike and predatory. Their minds reached out for Zola’s—a whisper, a collective unified by mad beats and fierce love for Moby Jah. They sailed around Zola’s gondola, circles and figure eights, each rainbow-painted boat quick and moving in eerie coordination with the others, like the schools of mackerel skimming the concrete foundations below. They were synced. They turned their teeth at Zola and as they slid past, their minds couldn’t quite touch hers and so they spoke aloud.

“Hot hot day, girl, ya. Be hot like you.” Their words hung, an affront to the physical space between them and Zola. “Why your mind so far away, huh? You a junkie, girl? You are, ya. Junkie girl.” Their laughter was the laughter of one, spilling from many, Moby Jah’s laughter. “We take care of you, sweet junkie girl. Take care of you right.” Out loud, their voices cut the air, made Zola’s isolation burn, made her mind feel like a stone cast from a cliff, disconnected, alone. She bared her teeth and hissed at the men, and as she did a tremble worked itself out from somewhere deep in her body. The need to connect. Her hands shook. She fought the urge to vomit.

She had the itch, too.

“Junkie girl, all burned up.” The Moby Jah boys corralled her. She regretted now coming at Stuy Town from the south. But Midtown was rife with thug cops hired by the Gov bitch whose sleek boat had prowled the city for months now, busting up halos. These cops, their sole focus was bagging junkies like Zola. She made to push through the Moby Jah boys, who’d cut her off now, their incisor smiles aimed her way. They toyed with her, steering their little boats at hers then veering away at the last instant—letting her know that if they wanted her, she was theirs. Zola reached into the chest pocket of her overalls, touched the tiny pearl-handled two-shot pistol she kept there. As she did, all the Moby Jah boys, every single one, snapped their heads to an electric barge up the way, crewed by three men and two women.

Cops.

Cops, with their little steel shields pinned to the chests of old Kevlar vests, pinned to the shoulders of torn T-shirts, pinned anywhere they couldn’t be missed, as though the law had come down and baptized them of their sins and justified their natures. They’d all been slavers and thugs before the Gov bitch had come and bestowed badges. Now they were slavers and thugs who believed themselves legit.

Casually, the cops regarded the Moby Jah boys. They all held weapons—an old AK, pistols, a sawed-off. One old man held a simple fishing spear, a panting white bull terrier parked in his lap. The Moby Jah boys scattered, bobbing their heads twice to each stroke of the oar, and disappeared up an alley clogged with floating plastic.

It was just Zola then. She stood there in her gondola. The cops zeroed on her, all five of them. One of the men, a muscled blond who wore his badge pinned to a frayed straw hat, looked her up and down as the cop barge drew close. Zola braced herself to fight.

Zola, baby! Marco’s mind, touching hers. Need you here, girl. Soon, ya.

Busy, baby. Hush.

“Ma’am,” the blond cop said aloud, and touched the brim of his hat like some cowboy of yore as the two boats squeezed past each other in the narrow row between vendor barges. Zola forced herself to smile as gunwales nearly touched. She trembled, as much from fear now as from the itch. One of the cop women, big and scarred—she cocked her head back in contempt and said to the big blond:

“You ain’t no super suave, Benji, you a lawman now. Act it, ya.”

“Just being polite, Captain,” and the blond smiled broadly at Zola. The woman called Captain, who wore old surplus camouflage with brass on the epaulets, and whose shoulders carried the exaggerated swagger of street authority—she pegged Zola with a narrow look.

“You look like someone maybe I know, girl. What’s your name?” The boats, almost past each other now. Zola, still smiling, working the oar, trying to slip away—

The cop captain grabbed the gondola’s gunwale. The woman’s mind reached out, a probing flicker inside Zola’s skull. Zola tried to project her own mind like a shield, press her thoughts to the captain’s, the most natural of connections, a casual sharing of memory, the whispered merger of experience. She was Zola—once the star navigator at Latitude. She’d steered fleets of ships across the globe with her mind, easy as a smile, shared the simultaneous thoughts of ten thousand since her earliest memories. Connection had once been as natural as breathing. She pressed her thoughts forward, desperate now to connect with just one person.

There was nothing. The Light had burned her clean, and the captain knew it. Predatory recognition lit the woman’s eyes.

“Junkie.” She grinned horribly—brown wooden dentures, street-carved by some Rican whittler. “What’s your name, junkie? Your name Zola? Got a friend wants to meet you. You’re all she ever talks about.” Zola, leaning hard on the oar, going nowhere. The captain held the gondola fast. The other cops scrambled, reaching for Zola, reaching for her boat. “Benji, get her,” the captain ordered. Benji stepped across, ungainly, reaching.

Zola reacted—pure muscle memory, a fighting fitness class, part of her Latitude girlhood. Her foot snapped out, a straight kick that caught the big blond cop in the chest. His arms flailed. His eyes went wide. He fell back against the captain, then slid cursing between the two boats and into the canal. Zola brought her heel down on the captain’s hand. The woman recoiled, hatred twisting her face. She lunged, but Zola was already on the gondola’s oar, sliding slo-mo down the canal, just beyond reach, the vendors quiet now, old Carib mamas and Rican ’crete hawkers staring at the junkie girl heaving at the oar and the cops cursing in her wake and trying to get their barge turned around. It was too wide. It wedged itself across the canal. In the water, the blond cop sputtered, holding his hat high where it wouldn’t get wet. The captain shook pain from her hand.

Zola, oaring away, faster now, the cop boat receding. She aimed her middle finger at the cop boat. “Chinga tu madre!”

The captain bared brown wooden teeth. She pulled a big pistol from a holster and brought it level.

“No!” The old man in the back of the cop barge stood, holding his fishing spear in one hand and the little white terrier in the other. “She’s worth more alive.”

“Still worth something dead.”

“We know her now. We’ll find her again.”

Zola felt that pistol aiming for her head, but the shot never came. The captain didn’t pull the trigger. Zola angled the gondola around a corner, a narrow alley, looked back, a last glimpse. The captain, sucking those teeth, her gun dangling at her side. The old man and the dog both looking Zola’s way—the old man smiled at her.

* * *

Zola, baby! Marco, insistent now, full of possession and love and heat and fear. His thoughts reaching out like fingertips to touch Zola. For an instant they connected, a fluid rush of union, the way Zola used to do before the Light had burned the ability out of her. Now it only ever happened with Marco, a few days each time after they’d touched the Light together. You good? Are you good?

Ya. She wasn’t caught, but maybe good was saying too much. There had been a time, before the Light, before Marco, when her life had been easy. Those memories, days in Latitude when she’d done what she’d been born to do—navigator, lover, collector of far-flung artifacts—it was as though that life had belonged to someone else. Now, with cops not far behind and Zola winding the gondola through random streets, trying to lose herself down alleys and blend into the press of boat traffic, she couldn’t remember what it felt like to be something other than hunted. She worked the oar back and forth, let the air breathe against her sweat. I’m good, she told Marco, and then: Baby, they know my name.

Just a matter of time. But you’re safe?

Safe.

Marco’s relief flooded Zola. His mind braided through hers. Zola peered through his eyes—down the face of the Stuy tower from whose ruin he leaned, dangling from the dark cavity of an empty window, a vine clenched in one fist. Sunlight blazed off the East River far below, searing white light around which the city seemed insubstantial, a bardo of gray Stuy Town monoliths rising out of the spiraling foam of tidal vortices. Concrete and brine, a world of physical truths from which Zola felt Marco’s mind recoil, the confines of what Jacirai called the mortal cage. Marco’s thoughts bent wildly away from the moment, wrapped themselves instead around Zola’s mind, zeroing playfully on the things he wanted to do to her—half fantasy, half memory. His lips on her neck, the gentle tug of his teeth on her nipples, the places his tongue would tease. But beneath those urges was a different, more desperate desire, a wish to be back among the folds of the Light, enveloped in a sea of thoughts so deep they’d never find the limits.

Into the Light… The whisper of a thought, unbidden, and Marco leaned far out the window, into blinding sun. Zola felt his fear, his urge to let go. Don’t make me wait, girl.

He had the itch, bad.

Be easy, baby. Cops filling the day thick as mosquitoes. But I’m coming, ya. Soon now. Zola’s shoulders flexed against the oar; she fought the shake in her hands. Real soon, baby.

She worked the gondola through the boat traffic—the scavenger barges loaded down with rebar, ’crete dust, and steel girders stripped from uptown scrapers and towed by Rican men in longboats, oars like centipede legs sculling the canal; the schools of rainbow junks, men shirtless in the heat, on the prowl for a hustle, their shaved heads dark and nodding in unison to the beats of Moby Jah; black market banker types who rode in the posh leather seats of gleaming polymer-hulled boats, their collars buttoned priest-high and bound by silk cravats, faces vacant, meditative: their minds riding the ebb and flow of currency from one black account to another.

Through the traffic, back onto East 17th now, a wide deep pool at the intersection of First Ave. Old Rican mommas had set up shop there, rafting square garden barges together in the afternoon sun. They sat, wrapped in the personal shade of thin shawls, behind tables stacked with jars of herbs and spice seeds. From behind giant aviator shades, they watched as East Siders browsed their garden rows.

Zola scanned the avenue for cops, and saw none. She felt exposed: this was a place where normal people shopped—as normal as people in this city got. These new cops, they gave rewards for junkies. But junkies had needs too. Marco had needs.

Zola steeled herself, thrust her chin defiantly forward, and threw a line. She stepped out into a bed of root vegetables. This she wandered slowly, probing bare toes into black topsoil disturbed by a thousand shoppers before her—skinny carrots, onions whose impressive stalks belied bulbs no bigger than her thumb. The tomatoes, however, were real beauties. They hung pendulous, oxhearts nearly too heavy for their vines, on the yellow side, not quite ripe. Perfect. Bending low, Zola reached out to touch one. In the corner of her mind, she felt the pressure of Marco’s need, his itch. It made her hand shake.

“¿Puedo ayudarte, hija?” A Rican woman stepped toward her. In her insectoid shades, the distorted reflection of Zola’s gaunt face. Zola picked two tomatoes and held them up.

“This. Saw palmetto, too. And mullein. I need it dry, madre. Dry enough to burn, ya.”

The Rican woman said nothing. With a finger she pushed the shades up over her brow—her black eyes fixed on the tomatoes, clocked the tremor in Zola’s hand. A stillness came over her and she stood like that, poised, hand raised in mid-gesture, occupied by the sort of silence that meant her mind had merged with others from her collective. For a beat, it was like time stopping, then the madre’s eyes refocused on Zola. Her expression was hard.

“East Side Growers don’t want no junkies in our gardens. You got to go, honey.” She glanced pointedly down the row, where a young, East Side mother leaned over, inspecting a patch of leeks. A clean skirt and hair pulled back and rings on her fingers, the moneyed ease of someone who had never seen bad shit—or, Zola figured, the Burning Light of Truth. Beside the woman sat a toddler in denim overalls, the miniature, clean version of what Zola wore. Desirable customers. The Rican woman waved a hand as though Zola were a fly to be shooed. “You got to go!”

“Junkies got to eat, too, madre.” Zola held up the tomatoes. “Already picked them, ya. Got to buy them now.”

The madre eyed Zola for another hard beat. Then, sucking her lip, she jerked her head forward, dropping the shades to her nose. She aimed a finger at the ground, as though some immutable principle lay etched there in the garden’s topsoil.

“Chavos,” she stated.

“Si, si.” Zola clutched the front of her overalls and shook them. Coins jingled in the bib pocket.

“No. Chavos real.” The madre raised an index finger to her temple. She went still again, and this time Zola felt the whisper of the woman’s mind reaching out, to Zola this time, trying to connect, the way the cop woman’s had—but in Zola’s lobes, atrophied by the breadths and depths to which the Light had taken her, it was almost intangible, as impossible to touch as smoke. When she’d come to the old city from Latitude, Zola had still been able to connect. She could’ve reached out and joined the madre, traded real currency. The Light, though, took its tithe. After three trips with Marco and the others, it was hard to connect. After ten, Zola could only connect in the calm days that followed each trip. After twenty, her hands had begun to shake and her dreams had turned to white fire, and now she couldn’t join anyone anymore, except for Marco. Jacirai said it might come back if she stopped, but Zola doubted it. It was a sacrifice they all made, those who wanted to touch the Light. Sometimes it seemed too much.

“Real is real, ya.” Zola shook the coins again. “I pay, madre, you sell.”

The shakes set in again, deep in Zola’s chest, emanating out to her limbs. The itch, the need to connect.

Out on the canal, the cop boat appeared, sailing east now. Under her breath, Zola cursed. She turned away from the cops, held a hand to her brow to obscure her face. The Rican woman watched, her gaze switching from Zola to the cops and back, clocking the whole thing. She pursed her lips, considering.

“Please, madre,” Zola pleaded. “I see it in your face you think I got no life worth living, ya. But I got love, and someone to live for, someone who loves me. Those puto slave cops take me,” a glance toward the cop boat, “and that’s all gone. I’ll be gone. Please.” The madre frowned, not without sympathy.

“You take them.” Indicating the tomatoes. “You take them and you go.”

Heat worked its way up Zola’s spine. Marco’s mind, itching bad.

Zola, baby… Leaning far out into the light, yearning to let go. Zola stepped closer to the Rican woman.

“And saw palmetto,” she insisted. “Mullein, too. I need it real dry, ya. Dry enough to burn.” Her whole body afire with the itch, her reflection twisting in the woman’s shades. “Thank you, madre.”

* * *

“You got to be careful, baby.” Marco, framed in pale light at the open edge of the thirty-fifth floor, where once had been floor-to-ceiling windows and now hung a thick screen of vines. He sat naked, arms wrapped around his knees, the immediacy of his voice a source of grounding warmth in the building’s gutted solitude. “That defiance of yours get you killed, ya.” He meant the cops. He’d been there with Zola, watching through her eyes, listening through her ears. He’d seen the woman cop raise her pistol.

“It’s okay,” Zola told him. She’d built a small driftwood fire on bare concrete near the edge where its smoke would leak out into the day, and now cut tomatoes into palm-thick slices with the same folding knife she used for cleaning fish. It was an old residential building. Rican and Carib scavs had stripped it long ago, like most of the old city core, mined it for raw materials for the new cities up north along the Hudson. Nothing remained now but concrete struts, spines of rebar—Stuy Town a Venetian ruin rising from the river far below.

Marco had tried to make good on his promises, had come on determined and rough, kissing, groping. But he had the itch bad and couldn’t get it up. After, they had lain there in cavernous isolation, wrapped in the coarse folds of an ancient army surplus blanket. Zola had tried to hold him.

“Lo siento, baby,” he’d said, and turned away.

She’d run her fingertips over the tattoos on his shoulders and along his arms, images he’d designed himself, a narrative tapestry of his short life, all the places he’d ever been, inked into his skin. A painted kabuki mask on his shoulder, emblemizing his time in a Tokyo farming arcology. A spiraling, fanged snake he’d had done in a Sao Paolo art collective. An AK over his heart, from Mexico City. The two of them had connected in the Light, gone deep into each other’s memories. He was rough and uneducated, at least in the ways Zola was educated, but the breadth of his experience made her feel small, and she liked that. He’d been everywhere. He’d sought vivid experiences, his true north the ardent belief in a life wholly lived, equating meaning to the most raw sensations. He hungered to find the limits of his being. It was only natural he would come to the Burning Light.

During the cool nights between the ritual halos when the itch kept them from sleeping, Zola would lay an index finger against his skin, and in the low firelight whatever image she touched, Marco would tell that story—not like people did now, but with words, spinning a tale like people used to do. Zola would recall his memory, a memory now her own. She loved these stories, these memories he’d given her—always exotic, far-flung, full of fighting and broken, drunken hearts. With each one a piece of Marco would fall into place, some historical marker helping to map him; his smile, his dark moods, each shared memory a stepping stone, bringing him closer to Zola.

There in the cavernous twilight of the empty Stuy tower, they lay together in strained silence. His failure frightened them. It marked his decline.

“We should go somewhere,” Zola’d said into the growing darkness. “Make a new tattoo.”

For a long while, they both simply breathed, relishing that sweet lie.

“All times are now, ya,” Marco said finally, maybe to Zola or maybe only to himself, and then he’d slipped from under the blanket and away from her. All times are now. It was a meaningless phrase to Zola, the sort of thing Jacirai would declare in one of his mad sermons between rituals, the Burning Lighters stationed in a sphere around him in whatever vacant tower they squatted. His eyes would roll back so only the whites were visible and he would growl and spit and give utterance like some feral demon—from on high, ya, the echoes of things they’d all touched in the Light. His sermons, sometimes they spoke straight to the heart of truth—that in the Light they all became something more, godlike in the depth of their union—and sometimes it seemed all nonsense, just noise to keep everyone going, feeling connected until the next ritual, the next sweet burn.

As Zola covered the tomato slices in an herb mixture—thyme, basil, sea salt, and white pepper, which she took in pinches from a small leather pouch—she watched Marco. He looked small, boyish. Ribs etched his back, and he trembled. It was as though the Light had hollowed him, as though he were receding in stages from his own flesh so that others might touch the truth. Thus was his lot, a medium for the Light. Zola strained to touch her mind to his, and for a moment they reveled in closeness.

You give so much.

She set the tomatoes to fry in a small pan on the fire, turning them every so often with the tip of her knife. The sun had half set and turned the water below the color of blood. Zola figured there was something natural in this space, in moments like this, something primitive and true. Wrapped in the blanket, she imagined herself like the Anasazi, staring out at the desert from the high safety of their hollow cliffs. She’d had a collection of Anasazi relics once, in a special plexi case in her Latitude abode. Pot shards with zigzag designs, a stone grinding tool. Prizes in her collection of souvenirs from all over the globe, talismans to the idea of a world growing smaller, coming together, like it had been when the old cities had been filled with people instead of water—but now that was all gone. The sun turned red over the canals and flooded brownstones, a different sort of desert. Down there, the cops hunted junkies. And those cops knew Zola’s name.

“Baby. Eat.” She held the pan and beckoned Marco to the fire. He smiled weakly.

“Lo siento, baby, I just got no appetite. Looks mad tasty, ya, but…” He dropped his face into his hands and squeezed his forehead. “My head, killing me fucking bad.”

The Rican madre had given Zola the mullein and saw palmetto wrapped in two big banana leaves, and these Zola pulled from the pocket of her discarded overalls. She mixed the herbs together with some local rooftop dirt weed and tobacco from a stale cigarette, both of which she’d kept hidden in a little wooden box in her day bag. She rolled it all together in a tear of notebook paper and licked it shut.

“You ever regret it?” Marco asked, his face still cradled in his palms. Zola leaned close into the fire to light the joint. Marco looked at her. “Do you?” His face hollow, an apparition of who he’d once been. A stab of fear shot through Zola: Marco was fading, and they both knew it. Zola understood exactly what he was asking. Did she regret losing that other life? Was the Light worth the sacrifice? Was he worth it?

That other life. Even the memory of it felt somehow false, a life so wholly different it might never have been.

* * *

Her navigator’s abode. A slice of sky wrapped in photosensitive plexi, the sunlight pouring in. This was what Zola remembered. Resting in the deep folds of an African leather sofa, bathing in sunlight as she did the work for which she was born. Navigating. Reaching out to her ships, their eager minds meeting hers as they cut across some far-flung stretch of globe. Around Zola, her collection of artifacts. Zulu spears and Siberian oak tables, pottery shards and computer keyboards, ornamental wristwatches and Amazonian fertility totems, all arranged geographically, a ritual layout of lost histories. Curled up at her feet, two great and friendly wolfhounds.

Her ships, sunlight in the mornings. Latitude filling her mind, that easy hive hum. Six thousand people living their lives, their minds shared with hers. The sensate minutiae of their mornings, breakfast smells and first-light trysts, people doing Latitude’s work. The hum, a greater metabolism in which Zola had always been immersed, whose unifying thread was a collective will bent on the flow of goods, the accumulation and reinvestment of boggling amounts of currency. Connection. This was what she remembered.

And Byron. His dense physicality, the gentle way his mind braided through hers. Her primary, her mate. Born the same day, the two of them. Brought forth from the laboratory wombs deep in the Latitude vaults. Connection—this was what they were designed for. Brought forth together, the two of them, already immersed in the buzz of Latitude’s collective ebb and flow. The cinnamon and musk smell of him, his eyes lighting up when it was impossible to tell whose thought belonged to whom, his thick arm splayed possessively across her in sleep. Born together, born for each other.

She knew now that the Light had touched her first in dreams. Now she could recognize it. Half-remembered images, how she’d start awake, and the aftereffects, a manic residue she carried through her days. In sleep, the Light came to her as quick, stabbing visions. The ocean’s slate horizon—out there, beyond the globe’s long curve, a flash, brighter than the sun. Pure white light.

She’d wake next to Byron in a sweating tangle of Milanese silk, the morning sun slashing horizontally across the apartment, the dream already fading. Beside her, Byron would sleep on, the bulk of him rising and falling with meaty breaths, gentle and oblivious, his dreams the dreams of Latitude. A flash. That was all it had been, just a dream.

But then the Light came to her when she was awake.

Her abode was on the thirteenth floor of Latitude’s North River Tower, a diamond of steel and plexi that rose like a rapier tip from the bank of the Hudson. A monument to the rebirth of global trade. Latitude, reaching out, touching every part of the world, making it smaller every year. One day, it would be the way it had been centuries before, cheap goods from across the world filling everyone’s life. This was Latitude’s directive, and it was therefore Zola’s. Deep in the nest of an African leather sofa, she worked with her face turned up to the morning sun.

Four thousand miles away, a fleet of ten catties sailed in formation, parallel to a thin white ribbon of sand just visible against the eastern horizon. These were her ships, a day out of Ivory Coast, loaded up with industrial diamonds, copper, manganese, gunning for the North Atlantic. Their sails dug hard into wind blown from a storm to the south. Their minds pressed Zola’s, full of the joy of their sprint.

She ran them north, and as she did Byron emerged naked from sleep and came to her, rubbing sleep from his soft moon face. Zola pulled him down and straddled him, and rode him in the sofa’s smooth leather as the sun warmed them both. She let the ships feel him, let him feel the ships and salt air and motion. Together they watched the prows slice long swells into rainbows of silver spray. They felt the waves, their endless roll perfectly in tune with Zola’s movements. In the freedom of it he laughed and bit Zola’s neck, and through it all Latitude was there, in the background, encouraging, other minds reaching out, joining them in the moment. Light filled the abode and the white orb of the sun seemed to grow around them, and somehow inside Zola, too, a hot coin at the top of her spine, spreading, like she was falling into it—

I AM.

The statement blotted out everything. It wasn’t a voice, or even thought. It was simply knowledge.

I AM.

Some axis tilted inside Zola, gravity changed direction. The dream returned to her. That lighthouse flash. Now there were people on a shoreline—they stared at the horizon. They had been there for a long time, she sensed, watching. All at once they turned. Fire filled their eyes.

I KNOW YOU.

It was her face. All of them, they were her.

YOU ARE.

White light seared the horizon. It grew, a star exploding, an infant taking its first breath. It enveloped the sea, the shoreline, the people. White fire, a magnesium flare, the hot spot in her head exploding, filling her, and everything else was gone.

When the Light receded, Zola didn’t know how much time had passed. There on the couch, blinking, still atop Byron; her heart hammered in her ears. Her mind reached out to her ships. They were disconcerted, still running north, but slow now, their formation faltering. Byron, one hand frozen against her breast, gaped at Zola.

“I am… ,” he said after a moment, “amazing.”

“Did you… ?” Zola, struggling to reel in her ships, didn’t know what to say. Did you see… ?

You shone like the SUN, girl.

No. The light. Come on, did you see it?

Byron, grinning… I saw.

* * *

High up in the dead Stuy tower, Zola stared into the fire and exhaled smoke. “Sometimes I regret, ya.” Honest, because she always was with Marco. “I miss my ships.”

The itch came on strong and for a moment it made Zola shudder under her blanket. Some days, like today, when it had been a long time between ceremonies, it felt as though her soul had been stretched between two far-away moments in time. It felt like it might snap. Her mind railed against its isolation.

“I regret it bad, sometimes. Wish I could unsee everything the Light shown me. Just wake up one morning back in Latitude, my people all around, and me linked with my fleet of big catties. Sailing down the North Sea, steering them home. I miss my people.” The white noise press of Latitude’s minds, gentle as low surf breaking. All of them dead now, all of it gone. She said, “Latitude collected our memories. I never knew anything but that, like time just washed through us and collected in a pool. Never lost. Now it’s like it never happened.” Outside, the city had gone red as the sun bled away. “I lose every moment, like I’m not even here, ya. The time’s just gone, no proof I ever witnessed it.”

“The Light reach out to you long before I ever met you,” Marco said. With his feet at the edge of the drop, he shivered. “You a medium, same as me. Why that Gov lady got such a thing for you—she knows it.” He looked at Zola. “When I’m gone, you got to step in, answer the call.”

“Don’t talk like that. You going nowhere.” Zola rose from the fire and moved to Marco. She sat behind him, wrapped herself and the blanket around him, meeting as much of his skin with hers as she could. He was cold. “This’ll help your head, baby.” Motherly, she wedged the joint between his lips.

He sucked deep. As he held the smoke in his lungs Zola could feel his heart stutter against her breast. His tremble eased then, and Zola pressed her lips to his back, to his neck, to his shoulder. Her mind reached out for his, but she didn’t have enough left, and neither did he. They both needed to touch the Light. From within the isolation of her own skull, she whispered in his ear:

“I never regret you.”

Excerpted from The Burning Light © Bradley Beaulieu and Rob Ziegler, 2016