Five Reasons I recommend WIDOWLAND, by C.J. Carey
- Excellent pacing and page-turning tension
- A female hero who comes into her agency in a believable way
- Legit world-building of a bleak UK governed by Nazis
- The writing around the sexual relationships feels vital and true (more on this in the longer review)
- Given the consistent point of view and straightforward timeline, I’m guessing this would make a great audiobook
To purchase WIDOWLAND, click here
The Longer Review…
To control the past, they edited history. To control the future, they edited literature.
WIDOWLAND is an alternative history novel, set in London, 1953. This story would probably carry a PG-13 rating because of the sexual relationships although none of the sex scenes were explicit. For this reason, I wavered on the rating. Overall, the main sex scene was tastefully, even beautifully handled in terms of the emotional weight it carries within the story.
In this alternative history, Germany has invaded the UK and Hitler rules over it as a protectorate. The coronation of Edward the VIII (Queen Elizabeth’s uncle) and the American divorcee, Queen Wallis, is taking place soon. Significant because The Leader, Hitler himself will descend on London for the celebration. The soon-to-be King and Queen of England are collaborators with the Nazis, based on an actual historical and private meeting that took place between the Edward and Hitler at the Berghof in 1937. (No record of the meeting has survived).
The story, told in close third person by the main character, Rose Ransom, opens with a description of London preparing for the coronation. Through Rose’s eyes, the world unfolds. The reader quickly understands, that although Rose holds little power in the system, she sits at the top of the subjugated population as a Geli. She is young and her view of reality is sometimes naive and not always reliable, but the discoveries she makes along the way are a part of how Carey maintains tension in the story. The reader senses the danger she does not.
This is a story about a woman and about women living under Nazi occupation. Carey could have gone overboard painting the world, but deftly focuses the reader’s attention on the kind of oppression that exists in England for the vulnerable. The elderly, women and widows in particular, suffer under the yoke of the Nazis. She highlights the caste system which categorizes the “utility” of women. In this early excerpt, the reader begins to understand Carey’s 1953 London.
Members of the first and elite caste were popularly called Gelis after the woman most loved by the Leader, his niece Geli. Klaras–after the Leader’s mother–were fertile women who had produced, ideally, four or more children. Lenis were professional women, such as office workers and actresses, after Leni Riefenstahl, the regime’s chief film director. Paulas, names after the Leader’s sister, were in the caring professions, teachers and nurses, whereas Magdas were lowly shop and factory employees and Gretls did the grunt work as kitchen and domestic staff. There was a range of other designations–for nuns, disabled mothers and midwives–but right at the bottom of the hierarchy came the category called Friedas. It was a diminutive of the nickname Friedhöfefrauen–cemetary women. These were the widows and spinsters of over fifty who had no children, no reproductive purpose, and who did not serve a man.
There was nothing lower than that.
Rose first runs into trouble when the Cultural Commissioner of the UK Protectorate asks that she help him solve a mystery. She is to venture into Widowland and spy on a group of Friedas. An uprising is bubbling to the surface in London right as Hitler is set to arrive. These disempowered women are the suspected Nazi resisters. The clock is ticking and Rose’s big boss makes known to her that more than just her job is on the line if she fails.
What unfolds is a story of discovery for Rose and choices that will impact many.
One comment about the sexual relationships in this novel. The sex is not explicit. There is an implied disorder to the relationship between Rose and her lover, who is twenty-five years her senior. The power dynamics and how German men use power to procure beautiful young women is a part of the world these characters inhabit and is taken for granted in the novel world. However, the author adds a scene that is emblematic of sex within a loving relationship. The revelation that comes to Rose and the writing around this encounter are so poignant and beautiful, I will remember this passage of writing for a long time.
The following is a post about the craft of storytelling. Posts like this are somewhat unusual for me on my author website. Most of time I am reviewing science fiction for the average consumer, not just for the writer. In this post, I am poking my nose into craft. I don’t want to just taste the stew…I want to know how it is made. This post is for the writer and beware…contains spoilers.
This is my second installment on first chapters. A few days ago, I analyzed chapter 1 of DUNE. To read that post, click here. Today, I analyze chapter 1 of THE HOBBIT.
This first chapter
–introduces the reader to the world and the main characters
–evokes reader empathy for Bilbo by showing Bilbo’s inner conflict
–presents the choice that will change Bilbo’s life forever
–introduces the reader the the fantastical possibilities that lie ahead, but also the dangers
In a hole in the ground there lived a hobbit. Not a nasty, dirty wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.
Thus begins THE HOBBIT, by J.R.R. Tolkien, but really this sentence begins the longer saga that so many have come to know and love, THE LORD OF THE RINGS. Notice what it accomplishes.
- Sentence #1 introduces a new creature, the hobbit. This creature will inhabit the long saga. He will be the unlikely hero (later his nephew, Frodo will be our hero). The audience will come to admire, adore and identify with Bilbo and Frodo.
- This sentence begins to describe the culture of hobbits. They are earthy, living in holes, but absolutely committed to cleanliness and comfort. These creatures are civilized…they just happen to like holes as their place of abode.
- In this first sentence, Tolkien begins to evoke our empathy for Bilbo, who will soon trade in his life of comfort for a wild and magical adventure.
Paragraph #2 of THE HOBBIT describes Bilbo’s home in detail, which will be the place where all the action takes place in the remainder of the chapter, including the entertaining of a wizard and a large group of dwarves, but even more than that, this home represents the comfortable life of a gentleman. Later in the story, Bilbo often thinks of home (as does Frodo in the LOtR saga) as a place of rest, comfort and peace. It is a place to return to.
Paragraph #3 and #4 describe Bilbo’s ancestry, posing the curious conflict he bears within himself. There is a debate between the Baggins and the Took within Bilbo. The Took side of his family (Bilbo’s mother’s side) is prone to adventure and risk-taking. The Baggins side of the family (Bilbo’s father’s side) is conservative and would reject adventure and any controversy at all. The reader doesn’t have to wonder for very long which side will win out. Without that Tookish spirit, Bilbo might never have walked away from his comfortable hobbit hole.
Both impulses inhabit Bilbo and most readers can relate. It might be said that opposing impulses, such as what Bilbo experiences, are a part of every person. Thus, Tolkien evokes our empathy for Bilbo in chapter 1. Much as Bilbo leaves the comfort of his hobbit hole to journey with the dwarves, the reader leaves his/her comfort to embark with them in the story world.
Now for the rest of chapter 1: Bilbo, because of his value of hospitality, entertains Gandalf (a wizard who believes Bilbo will be a key member of the adventure) and a group of dwarves who demand food, drink, then compel him to travel with them to a place where a dragon guards a great treasure. The adventure, as it is presented, is magnificent, romantic and promises great wealth. Bilbo is taken in, though it is touch and go for a while. Despite his willingness to leave his home, it could be said the hobbit is in a way bewitched by the romantic notion of a grand adventure.
As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him, a fierce and jealous love, the desire of the hearts of dwarves. Then something Tookish woke up inside him, and he wished to go and see the great mountains, and hear the pine-trees and the waterfalls, and explore the caves, and wear a sword instead of a walking-stick.
Yet, Thorin, the lead dwarf, does not mince words about the dangers they might face.
We shall soon before the break of day start on our long journey, a journey from which some of us, or perhaps all of us (except our friend and counsellor, the ingenious wizard Gandalf) may never return. It is a solemn moment.
What is Bilbo’s reaction to this sobering news?
Poor Bilbo couldn’t bear it any longer. At may never return he began to feel a shriek coming up inside, and very soon it burst out like the whistle of an engine coming out of a tunnel. All the dwarves sprang up, knocking over the table.
The stage has been set. The semi-cowardly and ill-prepared Bilbo Baggins will reluctantly leave his comfortable hobbit hole and venture with these new friends, the dwarves and Gandalf. When he finally returns, he will be completely changed and so will Middle Earth.
For over the misty mountains cold
To dungeons deep and caverns old
We must away ere break of day
To find our long-forgotten gold.
Bilbo went to sleep with that in his ears, and it gave him very uncomfortable dreams. It was long after the break of day when he woke up.
This stanza, when one reflects on THE HOBBIT and THE LORD of the RINGS speaks of long-forgotten gold. The dwarves believe this to be part of their hoard, that which is guarded by the dragon, Smaug. The reader understands a deeper meaning. Long-forgotten gold is the one ring to rule them all, found by Bilbo…later passed on to Frodo, becoming the impetus for the Lord of the Rings Saga.
The reader doesn’t understand at this point the profundity of the dwarves’ song, but it is there, imbedded in that first chapter of the very first book.
Spoilers below. If you want to read a review of the novel without spoilers, click here.
I happen to be in a writing critique group that started up this past week. A couple of the folks in this group are writing novels and sent in first chapters for a swipe at getting critique. So, I read a few Chapter 1’s yesterday and in the course of that reading, I began to wonder…Do these seem like first chapters to me? How do I feel as a reader as I am taking in the narrative for the first time? Do I begin to have a strong sense about the story, the characters and about the writing style? Absolutely. I did and do have feelings and ideas. Some of those made me want to keep reading. Others did not.
That led me to the question: How does a novelist write a brilliant chapter one?
I wonder about my own first chapter, the beginning of my novel that is undergoing an extensive edit. How do I feel about my first chapter? What is it accomplishing and what is it not accomplishing? Have I done the necessary work to hook my reader, keep them interested and engaged, settle them into the world I am creating?
All writers of any genre ponder this question when they sit down before the blank page because the possibilities are endless, as endless as stories themselves. However, I do think there are ways to understand first chapters, to critique and edit them for the purpose of making them better.
Therefore, I begin a series of posts devoted to the question of beginnings. My focus will be on science fiction and fantasy novels and the hope is not to be prescriptive. Telling the writer what to do or not do detracts from originality and art. However, paying attention to how great authors craft a narrative is worthwhile. We learn from the greats. Study enough of them and we begin to see common threads.
So, my goal in this series of posts is to plunder first chapters and see what I can glean about my own writing and will record my findings for the sake of other writers.
Today, A Look at DUNE, chapter 1
Frank Herbert is a great writer and though the novel DUNE isn’t perfect, it’s very close to perfect. How does that first chapter set us up for a marvelous journey?
I see it accomplishing four things.
-Gives us a sense of the setting of the story
-Introduces the primary characters, even putting the main character through a first test
-Hints at the coming conflict
-Tantalizes the reader with compelling mysteries
First, chapter 1 of DUNE give us a sense of the setting.
Here is the first sentence of the novel.
In the week before the departure to Arrakis, when all the final scurrying about had reached a nearly unbearable frenzy, an old crone came to visit the mother of the boy, Paul.
Most of us have experienced moving houses, cities, states. We know what it feels like to change locations. In this first sentence of DUNE, the reader is alerted immediately to the fact that a change in location is taking place for this particular family, for this particular person, Paul. Moving is disruption. Paul’s family is about to be disrupted. He will soon be leaving Caladan for a planet called Arrakis, sometimes called Dune.
Soon after, in the early paragraphs, Herbert repeats this series of words three times as paragraphs. They jump out on the page like a refrain. They are written in italics, which in Herbert’s style, represents thought. Paul, the main character continues to mull over this reality.
So, not only will Paul be leaving his current location, but the new location is harsh. There is a sense of foreboding about this desert planet. Paul will move from Caladan, a land where water is plentiful to Arrakis, where water is scarce. Caladan is known, comfortable, secure, a virtual paradise. Arrakis is mysterious, uncomfortable in so many ways, in part because of its climate. Climate will be a large issue in the rest of the novel. Herbert wants the reader to begin thinking about ecology and its importance to a planet and a people.
Here is the second sentence of DUNE.
It was a warm night at Castle Caladan, and the ancient pile of stone that had served the Atreides family as home for twenty-six generations bore that cooled-sweat feeling it acquired before a change in the weather.
When Paul’s family leaves Caladan, they are not only leaving their current comfortable home/castle, but they are leaving their home of twenty-six generations. This move is an epic move. The reader is left asking…why? Why leave this lovely planet and this home of so many years? We get a few clues as to why this move it taking place. Power and political maneuvering are introduced, a profound subject of the story.
Thufir Hawat, his father’s Master of Assassins, had explained it: their mortal enemies, the Harkonnens, had been on Arrakis eighty years, holding the planet in quasi-fief under a CHOAM Company contract to mine the geriatric spice, mélange. Now the Harkonnens were leaving to be replaced by the House of Atreides in fief-complete—an apparent victory for the Duke Leto. Yet, Hawat had said, their appearance contained the deadliest peril, for the Duke Leto was popular among the Great Houses of the Landsraad.
Arrakis is the place where the empire derives its most important resource: Melange, or spice, as it is sometimes called. Melange is the secret to space travel in this particular universe.
We can already see now how the chess pieces are stacking up.
This brings us to the second accomplishment of Herbert’s chapter one, the introduction of most of the main characters.
Paul is mentioned in the first sentence. So is his mother. Paul’s mother and Paul are on the stage for the very final scene of the novel as well. In fact, his mother gives voice to the final paragraph/speech.
Not only that, but the crone mentioned in that first sentence, the one who will test Paul later in the chapter, will also be on that stage at the finale. This is great writing.
Add to the list the Bene Gesserit, the Fremen, House Harkonnen…all are mentioned, Thufir Hawat, (who will be present in the final scene) and Dr. Yueh, important as the one who betrays House Atreides…all are introduced in chapter 1.
Note this paragraph early in the chapter.
Paul awoke to feel himself in the warmth of his bed—thinking…thinking. This world of Castle Caladan, without play or companions his own age, perhaps did not deserve sadness in farewell. Dr. Yueh, his teacher, had hinted that the faufreluches class system was not rigidly guarded on Arrakis. The planet sheltered people who lived at the desert edge without caid or bashar to command them: will-o’-the-sand people called Fremen, marked down on no census of the Imperial Regate.
The Fremen will become important to the story, of primary importance, but the reader is simply introduced here. There is mystery surrounding these people. I am curious. I want to learn more and Herbert will plunge me into Fremen culture before too long.
It’s interesting to note who is left out of chapter 1.
The Duke Leto, Paul’s father, does not get a speaking part until chapter 4. Even the emperor, the most powerful political person in the Landsraad, receives little attention. These are important omissions. It says something about how the story will be focused, that despite the powerful political figures on the scene, Paul and his mother, the two of them in particular, will take center stage.
Chapter 1 hints at future conflict.
As Paul is undergoing the test, the gom jabbar, here is what the Reverend Mother, the crone says to him.
The old woman said: “You’ve heard of animals chewing off a leg to escape a trap? There’s an animal kind of trick. A human would remain in the trap, endure the pain, feigning death that he might kill the trapper and remove a threat to his kind.”
As I was re-reading the chapter last night, this nugget stopped me in my tracks. I had not realized, not seen how this Reverend mother quote foretells the remainder of the story.
Paul does feign death on Arrakis, so that he might kill the trapper and remove the threat to his family. That is, in essence, a summary of the novel. These two sentences are so brilliantly placed, subtle in all the best ways. We don’t understand consciously upon first reading, but Herbert has just told us what we can expect.
Lastly, chapter 1 teases the reader with mysteries.
This is an odd world, a mysterious one in which a mother of an only son, will give him up to a religious figure, knowing he might die.
Jessica stepped into the room, closed the door and stood with her back to it. My son lives, she thought. My son lives and is…human. I knew he was…but…he lives. Now, I can go on living.
This we absorb and I, at least, want to read to find out more about this bizarre world where such a thing would happen. In order to know more, I must keep reading.
Then, there is the planet Arrakis and the Fremen. In chapter one, we learn very little about them, but we wonder about them as Paul does. The planet is a desert and the Fremen seem to live off the grid. They are wild and uncounted by the empire. Who are they? We are meant to wonder, and to find out, I have to keep reading.
And lastly, in Chapter 1, Herbert introduces the reader to the idea of the Kwisatz Haderach, a messianic figure. Is Paul the Messiah? The reader suspects he is, though Paul himself struggles with this identity throughout the novel, mysterious even to him. We will have to keep reading if we want to figure out the true identity of the Kwisatz Haderach.
So…all of this in Chapter 1. I am wowed and I am hooked. I am also set up well in the world to take in more of the details as they unfold. Moreover, I have enough sense of the main characters to be able to navigate this complex world where many more characters will soon be introduced. It makes me wonder how many times Herbert went back to edit and perfect his beginning…because I don’t think he could have written a better version than the one we read today.
This morning, I finished reading the classic science fiction novel, A CANTICLE FOR LEIBOWITZ. I rate this novel PG for violence.
First, the short review…
To purchase the novel, click A CANTICLE FOR LEIBOWITZ.
5 Reasons I Recommend A CANTICLE FOR LEIBOWITZ
- If you are a science fiction fan and want to be fluent in the genre’s history, Leibowitz is on many lists of must read sci-fi.
- The novel’s world is depicted plainly and purposefully, capturing the tragedy of a post nuclear holocaust world without sentimentality. The prose is often lovely and the story becomes more and more gripping as it unfolds.
- Especially for the philosopher and the theologian, A CANTICLE FOR LEIBOWITZ puts forward some of the most profound ideas around human evil and our propensity for self-destruction.
- Even if you’re not a philosopher, the characters and ideas come together in a way that does not allow the reader to ignore our society’s seeming dance toward self-destruction.
- In a similar vein as On The Beach, by Nevil Shute, A CANTICLE FOR LEIBOWITZ is a story that has the capacity to change our minds about nuclear arms and warfare.
A CANTICLE FOR LEIBOWITZ was originally published in three parts.
Fiat Homo…Let there be man
Fiat Lux…Let there be light
Fiat Voluntas Tua…Let thy will be done
The first two section titles refer to the Biblical account of creation, when God spoke the earth and humankind into being. The third section’s title refers to the Christian New Testament. Not that the idea lacks foundation in the Hebrew Bible, but the phrase itself is taken from The Lord’s Prayer and Jesus’ prayer in Gethsemane before his death. “And he went forward a little, and fell on his face, and prayed, saying, My Father, if it be possible, let this cup pass away from me: nevertheless, not as I will, but as thou wilt.”
A fair amount of Latin is spoken in this novel and I did not understand all of it, but most phrases are translated within the story or the context makes the meaning clear. All of the main characters and narrators are associated with a religious order, the monks of The Leibowitzian Order, that was established following what the novel calls The Flame Deluge.
The monks, much like Irish monks during the Dark Ages, copy, preserve and make available ancient knowledge to those who will have it. For the most part, the barbarians who dwell around the monastic fortress, whose setting is the old American West, hate this knowledge and see it as the reason destruction came to the planet.
An excerpt from the novel:
“After the bombs and the Fallout came the plagues and the madness. Then, in the bloodletting known as the Age of Simplification, the people – those few who remained – rose up against their teachers, their scientists and their rulers, those they held responsible for turning the world into a barren desert…”
A CANTICLE FOR LEIBOWITZ, published in 1959, channels the zeitgeist of an era when people were genuinely terrified of and preparing for nuclear war. For many readers, especially, younger readers, that period of history can feel like a long time ago in a galaxy far far away…but given Covid19, the economic shock that has hit the globe through the shutdown as well as the rise of a belligerent Communist China and a perpetually divided United States, war and/or chaotic one-upsmanship between two superpowers seems less far distant than it has since 1989, when the Soviet Empire collapsed. If World War III were to happen today, what would be the fallout?
Many of the questions posed by Miller in A CANTICLE FOR LEIBOWITZ are relevant today. There is wisdom and a degree of sobriety that can be gained by our society paying closer attention to stories like this one.
Read All Three Issues of SUPERMAN SMASHES THE KLAN You Won’t Be Sorry
- Comic book action and a great story
- Relatable kid characters who make poor or good choices and learn from them
- Even Superman grows and changes
- History lesson combined with Gene Luen Yang memoir tidbits in the final pages of each issue are perfect for spurring deeper conversations about racism in the US
- I can’t get enough of Gurihiru’s lovely art
It’s a sad season for many of us on planet Earth who are living under the threat of COVID19 spread. Schools have been shuttered, so many activities cancelled and parents are left trying to figure out how to keep their kids off screens and at least somewhat engaged in their education. Great books, ones your kids will be motivated to read without any of your coaxing, are the home-school parent’s best friend.
On my website, you can use the menu bar for educators to see what science fiction books might appeal to your student. It’s not an exhaustive list, but there are more than a few gems you’ll want to check out. When I review a book, I give the story a movie type rating…G, PG, PG-13, etc.
If you want to read a review of issue 1 of this series, click SUPERMAN SMASHES THE KLAN, A No Spoiler Review
If you want to read a review of issue 2, click here
In the case of issue 3, I have no reservations in recommending this book to all kids and adults, though you might give it a PG rating for the serious topic it tackles, racism and violence.
The story (as portrayed in all three issues) is accessible to a child. He/she might need to be old enough to engage in a basic conversation about race, justice and belonging, but my experience in having two kids who attended public schools in California, they were ripe for the beginning of that conversation by kindergarten. I would recommend you don’t shield your young ones from starting this conversation early.
In this third issue of SUPERMAN SMASHES THE KLAN, the story climaxes with a confrontation between Superman and the Klan of the Fiery Cross. Superman has befriended the Lees, an Asian American family that has moved out of Chinatown and into the suburbs. They are the focus of the Klan’s animosity and Superman is defending them against the Klan’s violence. Author, Gene Luen Yang does not pull punches. There is a real portrayal of race hatred in this comic series, but that is what makes this story all the more powerful…it delivers truth.
Roberta, the young sister in the Lee family plays a crucial role in helping Superman beat back injustice. She will appeal to both girls and boys with her quirks (in the opening sequence of the first issue, she gets car sick and has to throw up while her family is driving out of Chinatown) and her bravery (she confronts evil and injustice head on, even though she can’t always defend herself). In this issue, Lois Lane takes Roberta under her wing and encourages her to research a mystery for the Daily Planet as a cub reporter. Roberta is a wonderful hero.
Given the talented writer that he is, Yang draws out a number of characters on both sides of the conflict who have depth. The bad guys are more than just foils. Likewise, the good guys are not always perfect. Even Superman is grappling with flashbacks around his own childhood, trying to make sense of his alien nature. It’s one of a number of great storylines that will please the Superman fanatic and add much to the themes that emerge in SUPERMAN SMASHES THE KLAN.
A bonus delight in all the issues are the final pages where Gene Luen Yang puts forward a bit more history of his own immigrant story and that of the Klan…In a vulnerable and testimonial way, he reflects on both the challenges and the beauty of our mixed cultural nation.
SUPERMAN SMASHES THE KLAN is a story in three issues. One issue every other month released since October. This is something comic book readers understand. You buy one issue, read about your favorite hero and wait in anticipation for the next issue to come out. Comic book adventures are serial-styled stories. Each comic book usually contains one story arc and always ends with a cliffhanger. That is one reason why readers buy the next issue. There is delight in this way of consuming a story, but it requires more patience than most of us are used to.
In case that style does not appeal to you or your child, buy all three. All three SUPERMAN SMASHES THE KLAN issues contained in one book, a story that will grab your child and keep him or her reading. The three will be released together on May 12. To preorder the story in one paperback instead of 3 separate issues, click here.
My advice in case you plan to discuss race with your child, make sure you read the story too. The education that will come out of the reading will benefit parent and child.
To buy SUPERMAN SMASHES THE KLAN, ISSUE 3, click here.
To buy the previous issues, click
Writes editor John Joseph Adams…”The BEST AMERICAN SERIES is the premier annual showcase for the country’s finest short fiction and nonfiction. Each volume’s series editor selects notable works from hundreds of magazines, journals, and websites. A special guest editor—a leading writer in the field—then chooses the best twenty or so pieces to publish. This unique system has made the Best American series the most respected—and most popular—of its kind.”
To order this anthology, click Best of SFF 2019.
LaShawn’s story was first featured here…but why just read hers…there are so many great stories in this anthology.
KINDRED, perhaps the most admired novel written by the late, great Octavia Butler is nearly perfect.
I rate this novel PG-13 for the violence that is shown, though not celebrated, against black slaves.
I plan to write a separate post for educators after this general review of the novel.
Short Review…3 Reasons to Read
- KINDRED is a page-turner. As a novelist, I so admire this book. It ain’t easy to keep your audience on edge. Butler does it with genius.
- KINDRED humanizes slaves and slaveholders…In my mind, KINDRED is a literary narrative because it does not simplify the incredibly complex story of slavery in US history/society.
- KINDRED is literary, yet it is also an adventure story…Read the book to gain empathy, knowledge and understanding, but count on being entertained and in suspense while you learn.
Octavia Butler did write great science fiction, like The Xenogenesis Trilogy, but KINDRED falls into a different category. It’s a time-travel fantasy with fewer of the typical time travel tropes. We all know those tropes, how tension builds as the reader/audience wonders whether a character who impacts past will change the future. In KINDRED, that tension (changing the future by impacting the past) stays in the background. It is a worry, but not the primary worry. What creates the tension in KINDRED is the survival of the main character.
The story premise is brilliant.
Dana, whom the reader affixes to early in the novel, is an African American woman, married to a white man living in the 1970s. She is living her life in the present as a happy, seemingly normal person. Suddenly, she finds herself yanked back into history. It takes her a while to figure out why, but eventually, she and the reader understand that every time one of her ancestors (a white slave owner) finds his life in danger, Dana is summoned to the past. This happens multiple times.
In the past, Dana is a compelling character because she has experienced some degree of liberty in the 1970s as a black woman. Out of that experience, she becomes a guide and a conscience to those she encounters, to slaves and to slaveholders. Dana is also a threat, including the slaves she will try to help, because her agency upends the social norms in such a significant way.
Dana comes back into real time when she finds herself in danger of being severly injured or killed. The going back and forth is painful and a brilliant narrative device. The reader, who empathizes with Dana, finds these short respites back in the modern era as hopeful and yet terrifying, knowing, as Dana does, that she will be yanked back in time within minutes, hours or days. The oasis in the modern era gives Dana and the reader a chance to catch a breath and process the dark reality of slavery, but the tension remains.
At least in part, our society has grown out of the horrors of slavery, even the novel puts forward this idea. Yet, the African Slave trade is an historical reality which cannot be denied. Butler brings the audience close to the horror. She makes her reader think and feel the impact of slavery and does it disarmingly, through story. It’s a powerful way to teach.
Regarding KINDRED’s captivating narrative, I challenge you to read the first twenty pages of this book and be able to put it down.
Regarding KINDRED’s story, I challenge you to read something of greater substance that falls into the category of “time travel narrative”. I doubt you will find one.
To buy this masterpiece, click KINDRED
To buy the first of Butler’s science fiction the Xenogenesis trilogy, click DAWN
To buy the whole trilogy, click The Xenogenesis Trilogy
BINTI, by Nnedi Okorafor, is a novella about a young woman from a desert tribe on Earth. Her people are called the Himba people and they make a vital piece of technology on Earth called an astrolabe. Binti is the name of the main character. The story, told in first person, begins with Binti climbing aboard a transporter that is taking her to a launch port, then onward to Oomza Uni. Oomza Uni is a university on a distant planet where Binti will have the opportunity to study mathematics with the best and brightest from all over the universe. She is the first of her people to be admitted, so there is the sense of her achieving a great honor. However, she and we (the reader) clearly understand how high the cost is as she leaves her tribe and family behind, potentially forever.
Binti is a 16-year-old, but this book is not a YA book according to the author. However, the back cover of the paperback calls it a “coming of age story”, which might put it in that genre for some. I believe it will appeal most to the middle grade and YA audience, with some degree of PG-13 gore (one incident).
The Novella, BINTI, won the Hugo award in 2016 and the Nebula in 2015 for best novella.
To order BINTI, click here.
What I enjoyed about BINTI.
- Sometimes, a novella is just right. There aren’t many around, but novellas can be a satisfying reading experience. To get through a story in one long sitting or two or three short sittings is a lovely thing. Also…light-weight, perfect for a 2-hour plane ride.
- The main character is unique and different than a typical caucasian protagonist. Her culture will feel different to many readers. Okorafor has ties to Nigeria and I am guessing that her place of origin impacts the writing of this world. That world is powerful in many respects in how it anchors the character’s identity. For the sci-fi reader who loves to enter into new cultures and worlds, this story will scratch an itch.
- Decent tension to keep the reader going.
- A satisfying introduction to an author’s burgeoning world. (two novellas follow this one)
It’s a bargain to order the complete trilogy. To do so, click here.
What annoyed me about BINTI and makes me hesitant to give it the highest review…
- Somewhat shallow character development. This is the negative of the novella format…it’s a challenge to develop the characters deeply.
- The conflict is resolved too easily.
- There are wonderful characters here, but I found the writing a bit underwhelming. My exposure to literary fiction makes me a snob sometimes…the writing won’t be a problem for most readers.
- The tech is more like magic in this story than science…or might as well be. I’m wondering if it will be explained in the next novella in a sciency way or not?
Today, I look at China Miéville’s, EMBASSYTOWN. Beware of spoilers. This won’t be a review of the novel, but a study of the Ariekei, the aliens indigenous to the planet Arieka.
First, a little advice…If you have the opportunity, consume EMBASSYTOWN via audiobook. To buy EMBASSYTOWN via Audible, click here. To buy the physical novel, EMBASSYTOWN click here. Language is central to the story, but the Ariekei language is best experienced when heard rather than read, therefore my encouragement to read via Audible. The Ariekei (also known as the hosts) speak from two mouths at once. One mind, but two words emerge from the creature when it vocalizes. In the audio reading, the sound producers overlay two words spoken at once, like hearing two notes played at the same time. The effect is marvelous and strange.
For a synopsis: One human culture, the Bremen, has adapted and figured out a method of speaking with and listening to the indigenous population of Arieka, a planet on the edge of the known universe. Their motivation for doing so is to maintain a colony on Arieka. Like a typical colonial power, the Bremen dig for metals and also trade with the Ariekei, whose biotech is advanced and valuable across the known universe. The Ariekei are advanced in many respects, but their language does not allow them to lie or even speculate.
Conflict arises in EMBASSYTOWN when one Bremen ambassador introduces lying into the Ariekei language. He does this in the hopes of taking control of the host population, but chaos ensues. The main character, a woman named Avice Benner Cho, steps in to save those living on the planet, both human and Ariekei.
How does Miéville give the aliens, the Areikei, personality and tap into audience empathy?
- Similar to the film Arrival (see post 2 of 3), point of view is key. POV rests in one human character who is relatable. Avice narrates this tale in the first person. Not only is she human, she was raised on Arieka and is known by the indigenous population. She is returning to her home after many years of traveling through space. Avice is the “in between” character. She describes, interprets and translates for the audience.
- Miéville finds colorful shorthand ways of describing the physical and personality attributes of particular Ariekei. Miéville, through his narrator, Avice gives the aliens nicknames, like Spanish Dancer. It’s genius because this shorthand gives the audience color, shape and depth to individual Ariekei and is so much better than than referring to all of them as “insect-horse-coral-fan things” another set of descriptors Avice muses on in the novel. An artist’s rendering in the top image is not necessarily what I had imagined when I pictured the Spanish Dancer, but Miéville doesn’t need me to have that specific picture in my mind. The broad brush strokes are there in the nickname and not just any nickname…calling the creature a dancer implies grace and dignity. The name takes an alien that might be perceived as monstrous and draws our attention to its beauty and gentleness. Maybe this is why ocean scientists call the sea creature (pictured above) a Spanish Dancer. The moniker is descriptive and if I’m visiting an aquarium staring at this thing through glass, if I am thinking of dancers instead of monsters, my eyes are drawn to its beauty. Miéville is doing the same thing when he has Avice call one particular Ariekei, The Spanish Dancer.
- The Ariekei have known Avice since she was a child. Avice has a positive association with the Ariekei. She was raised on their planet and thrived. Humans and Ariekei have lived together for many years in peace. This underlying truth makes a difference in how the audience feels about the Ariekei.
- The Ariekei are vulnerable to human abuse. The narrative of indigenous people groups used and abused by empires and greedy civilizations is not an uncommon story for the current sci-fi reading audience. Miéville dips into that narrative in this novel, portraying the aliens as complex, but also also as innocent, in large part because their language makes it impossible for them to lie. The audience empathizes with the vulnerable indigenous population. The narrative of “empire” taking over the “innocents” and using them for its own gain is familiar. That story taps into the audience’s empathy and our empathy lies with the Ariekei in this case.
- Avice relates to individual Ariekei, Miéville’s way of showing the audience that the Ariekei are not a monolith. Spanish Dancer is the most important Ariekei to the story, but there are others. As Avice relates to her and describes her and other Ariekei, the audience recognizes that though they are different from humans, the Ariekei are not all the same as one another. They are distinct in appearance and personality just as human beings are distinct from one another. (contrast this reality with the hive mind aliens, like the Formics in the Ender’s Game series, or the big computer brain of the Cylons “toasters” in Battle Star Galactica television series. I will tackle hive mind aliens in my final post on this topic.
I am delighted to introduce this third guest post. Professor Liam Corley, an old friend from my early years as a University pastor at UC Berkeley, writes on Jemisin.
First, Professor Corley will show us why Jemisin is worth reading. Second, he will comment on Jemisin’s deft handling of the story-telling craft. The latter part of the post contains spoilers, but for anyone who cares about writing great characters in epic novels, the professor’s sharp analysis will be incredibly helpful. Enjoy!
Five Reasons…(no spoilers)
Sure, N.K. Jemisin has won all of the top prizes in the industry, and every one of the books in The Broken Earth trilogy has won the Hugo. But you’re a discerning reader. You don’t follow trends or hype. Why will you be glad you read Jemisin’s amazing novels?
- You’re a mom, and you have fought with your daughter. Maybe been mean. Apologized. Did it again. Jemisin’s work is all about the woman protagonist, especially mothers, and the tangled relationships she depicts will have you thinking about YOUR relationships in a new way.
- You know Black Lives Matter, but you don’t know how to talk about it without bursting into flames or tears. Jemisin’s work is a treasure trove of insight into how to confront, live through, and go beyond racial injustice and all of the horrors it has inflicted. From lynching to the casual use of the N-word, it’s all there, in sci fi clothing.
- You care about the environment–really care–and wonder what humanity is doing to its survival prospects by destroying our home.The Broken Earth faces up to the end of the world. Again and again and again. Why are we destroying the world? Because we’re greedy and hate each other. Yup, that’s pretty broken. But Jemisin also shows people learning how to survive in the aftermath and figuring out how to make things right.
- You think Toni Morrison is the best writer ever. Hands down. Ever. If Octavia Butler and Toni Morrison had a love child, it would be N.K. Jemisin. If you can remember reading Beloved in college or watching the movie with Oprah and bawling your eyes out because it was all just so wrong, so beautiful, and so painfully wrong and beautiful, you’ll want to read The Broken Earth.
- You love great science fiction and fantasy world-building and character-driven plots. If you are an avid sci-fi reader and especially if you write it, you’ll want to immerse yourself in Jemisin’s Broken Earth trilogy. For more on this point, see my longer review on Craft and Culture in Jemisin’s work below.
Click here to buy the first book of The Broken Earth trilogy. Click here if you want to buy all three.
Warning: there are spoilers below, so in case you haven’t read Jemisin yet, you may want to stop reading and pick up the first book of the trilogy.
Craft and Culture:
Notes on N.K. Jemisin’s The Broken Earth Trilogy
Readers of SFF (science fiction and fantasy) have embraced N.K. Jemisin’s acclaimed Broken Earth trilogy, and every installment of the series has won the coveted Hugo Award. Consequently, this post is not meant to introduce new readers to the series. Instead, I will be pointing out elements of Jemisin’s writing that contribute to the magic of the reading experience. Other SFF writers will find this of interest, but so will readers who want to understand why the novels affected them as they did. I’ll touch briefly on how Jemisin weaves her alternating timelines into a narrative fabric that turns flashbacks into a strength, not a weakness, on Jemisin’s incorporation of racial politics that are already part of her reader’s core emotional lives, and on the genres novels’ connections to more literary traditions.
I found myself reflecting on Jemisin’s woven chronologies when I was trying to think through the best ways to incorporate character backstories in my SF work-in-progress. Writers know that flat characters live only in the moment, and their motivations tend to have more to do with survival or accomplishment than working out emotional consequences of their past. Yet providing a character’s past can be a distraction from engaging readers in the drama of the story’s “now” time. How then can authors deepen their characters without losing narrative engagement? Jemisin’s solution is brilliant.
In the first book of the trilogy, Jemisin takes her main character’s timeline and slices it into three parts—childhood, adulthood, and post-apocalyptic adulthood. The character has different names in these time periods and acts in much different geographies and societies, so it takes a while before most readers realize that the chapters which alternate between these three perspectives are actually all the same character at different times of her life. What this allows Jemisin to do is to provide the entire scope of her main character’s life in a nonlinear fashion that is as engaging as it is emotionally excruciating. Getting to know the main character at three very different stages of life gives readers a clear view of the character’s depth, journey, change, and motivation.
This technique shouldn’t simply be adopted wholesale by authors wishing to provide an engaging saga, but it makes evident a point that could be adopted more broadly: backstory needs to be as engaging as the main story or it shouldn’t be indulged in beyond broad strokes and hints. All narrative is a dance between scenes and interludes, scenes and interludes, scenes and . . . Flashbacks, to be compelling and to maintain the hooks of engagement, should be fully realized scenes and not inert paragraphs of backstory.
The Broken Earth series is almost entirely a story about race-based injustice and the ways that civilizations built on exploitation create systems and stories to obscure or recast their dependence on a despised underclass. Jemisin is incredibly effective in evoking readers’ feelings about American racial politics by incorporating parallel dynamics in her fictional world. The first, and probably most overt, instance is her use of a racial epithet, “Rogga,” to indicate orogenes, the enslaved and exploited earth magicians. The sonic similarity of the epithet to the N-word is obvious and intentional. Indeed, even the complex ways the term is used in the series—as slur, as indictment of injustice, as insider labeling—mirror the many ways the N-word is debated in our society. This instance of labeling leaves no questions in the readers’ minds about the allegorical nature of racial politics in Jemisin’s world.
What makes Jemisin’s evocation of contemporary race so powerful is precisely such correspondences that, despite their overt nature when reflected upon, fit so well within plot of the novel that readers can escape the sorts of mental coping mechanisms they have for engaging racial issues in their non-reading lives. Edgar Allan Poe was a master of this technique. His tales of the grotesque and macabre are set far distant in time and geography from the slave-owning Southern states where he lived, but their depictions of torture, fear, guilt, and sadism draw indirectly on the repressed experience of those dynamics on plantations. Jemisin’s incorporation of lynchings, segregation, dehumanization, and other tools used by racist societies to subjugate their victims both draw on and make explicit the prevalence of these practices in our own world.
I’ll pivot here to Jemisin’s relationship to African American literature because the series has numerous plot points and characterizations that evoke masterworks by Toni Morrison, one of the most important American writers of the last century. Morrison has won both the Pulitzer and Nobel Prize in a distinguished career that exploded into prominence with the publication of Beloved in 1988. Morrison’s novels often focus on a strong African American woman character, something Jemisin also does through her allegorical association of orogenic ability with African American identity. [spoiler alert] Several key plot points in The Broken Earth draw on Sethe’s world in Beloved, most notably when Sethe murders her own child to prevent her from being taken back into slavery.
There are at least a dozen other correspondences between Morrison and Jemisin that occurred to me as I read The Broken Earth, but I won’t spoil your reading pleasure by listing them all. Suffice it to say, SFF editors and agents interested in fostering more #ownstories in the genre should expect to see more explicit borrowing from more established traditions in the future. Most importantly, I think that editors and agents should take note of what Morrison and Jemisin already have expressed through their work: #ownstories aren’t niche or sideline stories; they are central to the human condition, and in the case of the United States, foundational to our national identity and culture.
Related to the issue of a society’s foundations in racial injustice, i.e. SLAVERY, is how Jemisin draws on another classic of SFF literature, Ursula K. Le Guin’s immensely powerful and well-known story, “The Ones Who Walk Away from Omelas.” The story poses a philosophical question about injustice and the related phenomenon of scapegoating: would I live in a society that seemed perfect if I knew its perfection depended upon the suffering a single nameless child? The Broken Earth stages this epiphany and existential crisis time and time again throughout the series, with the added element of the unmerited scapegoating being race-based.
On the whole, I’ve become quite a fanboy of Ms. Jemisin’s work, and I hope someday to assign it in one of my classes on American literature
Liam Corley is a professor of American literature at California State Polytechnic University, Pomona. He is also a Navy Reserve officer, and he returned to creative writing as a way of understanding the world after his deployment to Afghanistan in 2008-2009. His work on literature and war can be found in Badlands, Chautauqua, College English, First Things, The Wrath-Bearing Tree, and War, Literature, & the Arts. He is currently at work on a science fiction manuscript about genetics, time travel, and humanity’s irreligious future. He lives in Riverside, CA, with his wife and four children.