Iain M. Banks (Modern Masters of Science Fiction), by Paul Kincaid

Modern Masters of Science Fiction: Iain M. Banks, by Paul Kincaid

A concise yet comprehensive literary analysis on the works of the late Iain Banks. Kincaid’s writing functions primarily through illustrating and deconstructing the thematic lineage and interplay between Banks’ novels published with and without the M, but also delves into the deeper political and societal backdrop in which Banks’ wrote and lived. The bits of history that Kincaid feels influenced Banks are particularly illuminating for myself, someone who knows little of Scottish or UK life, especially concerning the 70s and 80s.

Iain M. BanksNot as obviously praising of Banks’ writing as Simone Caroti’s The Culture Series of Iain M. Banks: A Critical Introduction, and in a lot of ways it does feel like a response to it. Caroti called for a need to examine Banks’ entire catalog of writing, not just the M or non-M work as had previously been done. Kincaid’s book takes exactly this approach, but with an emphasis on his science fiction work. It is also a much more balanced examination of the strengths and weaknesses at play in the novels. That being said, the rabid Banks fan inside of me enjoyed Caroti’s book quite a bit more because it more closely aligned with my own reading and interpretation of Banks; which is of course an admittedly subjective, masturbatory reason.

Caroti’s book started a new conversation; addressing the ways in which Banks had been grossly ignored, misunderstood, and misinterpreted in literary circles and criticism over the years. It posited a much better interpretation of Banks’ work than had previously existed. I’m please to see that it appears Caroti’s contribution had it’s desired effect, because this continuation of the conversation seems to have benefited greatly from it. Gone are the misreadings and general sloppy analogies in the pre-Caroti analyses. Of course, as a result, Kincaid is much more objective and more in line with a standard literary analysis, which is more intellectually pleasing, but it remains thoughtful to the corrections and additions that Caroti made previously.

Paul KincaidThe bulk of this analysis deals with Banks’ writing chronologically, but also takes into account the order in which the novels were written, rewritten and released. Since so many of them — the Culture novels specifically — were written very early and then reworked later in Banks’ career before being published, this method helps to trace the evolution of themes and thoughts throughout the novels as they changed and adapted. There are quite a few biographical details and quotes interspersed throughout, which I always welcome, especially considering that there is still no extant proper biography on Banks. The book then comes to a close with an illuminating interview between Banks and Jude Roberts, who received her P.h.d. on The Culture series.

This book is something I’ve been waiting a long, long time for, and I am extremely pleased that Kincaid has not only continued the conversation on Banks’ work and legacy that Caroti jump started, but also added so much to it in the process. This is a fantastic addition to the Modern Masters of Science Fiction series and I look forward to seeing where we go from here. Personally, I feel that Banks’ work needs to endure the test of time, and welcome future writings on him as a subject.

Paul’s book is available to purchase from the University of Illinois Press, and will be released on May 30th, 2017.

Used Book Haul 3/31/17

I almost never buy new books, and I’ve had pretty fantastic luck at local thrift stores and used book shops the past few weeks. There are several close by, including the always fantastic Dickson Street Books. Here are some of the most recent additions to my library.

Borne, by Jeff VanderMeer

Borne, by Jeff VanderMeer

VanderMeer’s writing is engaging, difficult, and worth the effort required to read. It takes me a little longer to finish his novels than I feel like it should. It’s the kind of writing that makes me a better reader. It’s challenging and uncomfortable. Something about his prose makes me have to go back and reread sentences to make sure I understood what was being said. It reminds me of William Gibson’s writing in that way. Of course, VanderMeer and Gibson write in entirely different styles, but I have to do the same thing with Gibson novels as well. I kind of love it. There is a lot going on in each sentence, and I feel that it gives his novels tremendous reread value.

Onto Borne specifically. First off, whoever designed this cover is brilliant. Not only is it gorgeous, and visually hard to pin down, perfectly describing the character of Borne itself, but there is also a glossy spot coat image printed across it that is entirely hidden until the light hits it just so. I’ll leave the mystery of exactly what is revealed in the light intact for you to discover when you see it in person. But it is a story element, and it’s very clever. Little touches like this really sell me on having physical copies of books over digital. Bravo FSG.

All of the VanderMeer story staples are here in full force: Ruinous ecology, strange bioluminescent life, forgotten memories, a misplaced sense of self-identity, life that might not be human, animals that (maybe) used to be human, a hint of something much larger happening on the periphery, a creepy company meddling in things they shouldn’t, and a perfect mix of mystery and resolution in the story. All told through beautiful prose that itself lends an eerie literary landscape for the rich characters to inhabit.

The most obvious comparison here is VanderMeer’s Area X/Southern Reach trilogy, being his most recent work. I can guarantee that if you enjoyed those novels, you’re very much going to enjoy Borne. Maybe even more so. I could even make a case that it is entirely possible, and doesn’t take all that much head canon, to connect Borne to the Southern Reach novels. I’m really looking forward to the publication date to see what fellow readers think here.

Jeff VanderMeerUnlike the Southern Reach trilogy — one story broken into three parts — Borne is a complete story in and of itself. It’s also a literary universe I would not at all mind returning to in the future. The story is told in a first person narrative, and the reader is acknowledged to exist. So it’s got that slightly post-modern thing going on. There are only a handful of characters, only one of which I found slightly underdeveloped, and they’re all unique. Nobody is one dimensional here. The story itself deals with themes of nature versus nurture, self identity, parenting, childhood, survival and the different forms that love can take. It’s violent, disturbing, endearing and quite a feat of imagination. At some points it felt so vivid and alive that it somehow became visually stunning. This is of course not a common description of a written work, but it absolutely applies here.

Jeff VanderMeer is a literary author, writing almost exclusively speculative fiction. He’s at the center of that illusive Venn diagram containing Fantasy, Science Fiction, and Literary Fiction, and belongs in whatever section of your bookshelf Octavia Butler, Adam Johnson, Ursula Le Guin, Dexter Palmer and Gene Wolfe inhabit.

Borne comes out April 25th, 2017 from MCD/FSG books.

“Am I a person?” Borne asked me.
“Yes, you are a person,” I told him. “But like a person, you can be a weapon, too.”

In Borne, a young woman named Rachel survives as a scavenger in a ruined city half destroyed by drought and conflict. The city is dangerous, littered with discarded experiments from the Company―a biotech firm now derelict―and punished by the unpredictable predations of a giant bear. Rachel ekes out an existence in the shelter of a run-down sanctuary she shares with her partner, Wick, who deals his own homegrown psychoactive biotech.

One day, Rachel finds Borne during a scavenging mission and takes him home. Borne as salvage is little more than a green lump―plant or animal?―but exudes a strange charisma. Borne reminds Rachel of the marine life from the island nation of her birth, now lost to rising seas. There is an attachment she resents: in this world any weakness can kill you. Yet, against her instincts―and definitely against Wick’s wishes―Rachel keeps Borne. She cannot help herself. Borne, learning to speak, learning about the world, is fun to be with, and in a world so broken that innocence is a precious thing. For Borne makes Rachel see beauty in the desolation around her. She begins to feel a protectiveness she can ill afford.

“He was born, but I had borne him.

But as Borne grows, he begins to threaten the balance of power in the city and to put the security of her sanctuary with Wick at risk. For the Company, it seems, may not be truly dead, and new enemies are creeping in. What Borne will lay bare to Rachel as he changes is how precarious her existence has been, and how dependent on subterfuge and secrets. In the aftermath, nothing may ever be the same.

The Best American Science Fiction and Fantasy 2016, Edited by John Joseph Adams and Karen Joy Fowler

The Best American Science Fiction and Fantasy 2016For those who are interested in the best that Science Fiction and Fantasy has to offer as a literary form. This is an equal mix of F and SF stories, and John Joseph Adams truly understands the difference between Fantasy and Science Fiction, which is refreshing. In Fantasy the impossible happens. In Science Fiction the impossible but theoretically plausible happens. The stories started out a little rough but quickly got into some AAA level stuff about a quarter of the way in, including a few new personal all-time favorite short stories from any genre.

It’s wonderful to see this published along side The Best American Short Stories. I’ll be picking this yearly collection up every year, and so should you.
Standout stories: Interesting Facts, No Placeholder for You My Love, The Duniazát, Things You Can Buy for a Penny, and Three Bodies at Mitanni.

Individual story reviews:

Meet Me in Iram, by Sofia Samatar: F, 2/5
Narratively unique but otherwise not particularly interesting.

The Game of Smash and Recovery, By Kelly Link: SF, 3/5
Enjoyed this one. I like it when authors write outside of their usual genre like this. It’s dedicated to Iain M. Banks at the end, which automatically made me rethink it as a Culture story, which it isn’t. But it very easily could exist in that universe.

Interesting Facts, by Adam Johnson: F, 5/5
A new all-time favorite. Heartbreaking and human, with mind-blowing prose that literally changes the way you read the story AS you’re reading it. Fantastic fantasy.

Planet Lion, by Catherynne M. Valente: SF, 2/5
Alien lion analogs act out some soap opera drama when they come in contact with advanced colonist tech. A real eye-roller, with a neat tech concept near the end that is its only redeeming quality.

The Apartment Dweller’s Bestiary, by Kij Johnson: F, 1/5
20 very short non-stories written in second person about imaginary creatures in apartments, often detailing whether or not “your” boyfriend or girlfriend likes or gets along with them.

By Degrees of Dilatory Time, by S.L. Huang: SF, 4/5
I liked this one. Near future transhumanistic tale about adaptation and the process of healing being more than a physical one.

The Mushroom Queen, by Liz Ziemska F, 4/5
Creepy little fantasy story. Reminded me a lot of Jeff VanderMeer, but that might just be the Mushrooms talking.

Daydreamer by Proxy, by Dexter Palmer: SF, 3/5
Short little comedy about what seems like the worst place to work.

Tea Time, by Rachel Swirsky: F, 2/5
Great writing for literally being a piece of fan fiction.

Headshot, by Julian Mortimer Smith: SF, 4/5
Realistic near future democracy concepts. Very thought provoking.

The Duniazát, by Salmon Rushdie: F, 5/5
Fantastical alternate mythical history. Beautiful prose.

No Placeholder for You, My Love, by Nick Wolven: SF, 5/5
Fucking hell, that was brutally good. An SF romance/tragedy mixed in with Simulacron 3. Fantastic writing, and a compelling story.

The Thirteen Mercies, by Maria Dahvana Headley: F, 4/5
Great writing. I want to know more about this world. Brutally grimdark fantasy that’s just one click off our world.

Lightning Jack’s Last Ride, by Dave Bailey: SF, 4/5
Loved the way this one was written. Feels like a story straight out of the prohibition era, transported to the slight future.

Things You Can Buy for a Penny, by Will Kaufman: F, 5/5
Such a perfect cautionary fairytale. I wanted to hate this one when I started it, but it very quickly won me over and became another high peak in this collection.

Rat Catcher’s Yellows, by Charlie Jane Anders: SF, 4/5
An almost perfect little SF story.

The Heat of Us: Notes Toward an Oral History, by Sam J. Miller: F, 3/5
Solid oral history of a paranormal event that took place during a police raid on a gay bar during the late sixties.

Three Bodies at Mitanni, by Seth Dickenson: SF, 6/5
This story exemplarily embodies everything about what SF can accomplish as a literary form. An absolutely fantastic cerebral, philosophical, moral human story.

Ambiguity Machines: An Examination, by Vandanna Singh: F, 2/5
It was okay. The stories within the story were fun.

The Great Silence, by Ted Chiang: SF, 2/5
Really surprised that this wasn’t better. Ted Chiang almost never disappoints, but this one kind of left me wanting.

Gutshot, by Amelia Gray

Gutshot, by Amelia Gray

Gutshot, by Amelia Gray

“Here, the road of excess leads to the palace of wisdom, and that road is paved with handjobs.”

I’ve found that these FSG Originals are at the very least, always something unique that you might not find published elsewhere. They have the feel of something published by a much smaller press like Tin House, Two Dollar Radio, or Coffee House Press. This means that they’re usually going to be divisive as well. But, when their niche lines up with yours, it’s like a curator personally picking books for you.

With the exception of Ted Chiang, story collections are always going to be a little hit and miss from story to story. At worst Amelia Gray’s stories are uncomfortable and unsettling, with great prose. At best they’re uncomfortable, unsettling, hilarious, disturbing, and moving, with great prose. Great prose is the common denominator.

There are 4-5 really great stories in here, and 1 fantastic one. There are about 30 or so that relied way too much on their gimmick to accomplish anything worthwhile as stories. Think Chuck Palahniuk trying to gross you out, and forgetting to you know, tell a story. But if you’re like me, you’ve already been desensitized to that sort of thing, and you’re un-gross-outable. So you’re just left with no story.

Amelia Gray

Amelia Gray

‘Go For It and Raise Hell’ is a high point and you should go read it right now. It reads like a character introduction from The New and Improved Romie Futch, which had fantastic secondary characters. You should go read that book right away. I was also really surprised by ’50 Ways to Eat Your Lover.’ The way it hid the story in the least interesting part of each sentence was brilliant and really snuck up on me. It accomplished so much in 50 sentences. ‘The Swan as Metaphor for Love,’ was another one that really worked for me. It illustrated how from afar something can be much more appealing than the up-close reality.

The stories that are good, are really good. Gray does this thing with her writing, where there’s just a hint of something else going on in each story and the reader has to sort of weed it out for themselves a bit; they have to meet the story halfway. When it works, it really works.

All-in-all this is an uneven collection, but the gems are hidden in here, and the stories are short enough that you can slam one out in a couple minutes flat. I’d say go for it. The good stories are worth digging through the rest.