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The Mummy Was the Perfect Successor to Indiana Jones

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It seems that everyone is using Indiana Jones as their inspiration these days. Listen to directors on both Doctor Who and Supernatural describe specific seasons of either show as “our Raiders of the Lost Ark,” or the myriad of filmmakers who bump it to the top of their lists of films that affected them as children, the ones that mattered most in their development into mature movie-type people. Now there’s a plan to reboot the whole thing because we can never really get enough of the famed archaeologist.

But who stacks up against Spielberg’s classics on film? (Do not say National Treasure 2: Book of Secrets.) In other media realms? There’s much to be said for the Lara Crofts and Daniel Jacksons of the world, but they seem to miss out on the key notes that Indy hit.

So I’m nominating the 1999 remake of The Mummy.

What makes The Mummy my top contender against other potential usurpers? After all, many types of entertainment have tried to bank on an Indy-like niche…

Jones-alikes are aplenty in media, either by character or circumstance. Lara Croft was the most obvious inheritor, and while the Tomb Raider games are still popular, the film series they launched was dismal at best. The studio relied on Angelina Jolie’s sex appeal at the expense of building Croft’s character (unless she was crying to her real-life daddy, Jon Voigt, who is a poor replacement for Sean Connery). Set in the modern day with modern action, the retro gleam that Indy provided was nowhere to be seen—it was all semi-automatics and hanging from marble ceilings. National Treasure was similar in that regard, with a distinct lack of globe-trotting due to being primarily concerned with U.S. history, and we all know that Nicolas Cage—special fella that he is—is no Harrison Ford.

Science fiction films like Stargate might have fit the bill with their pacing and style of action. But even with the ancient history angle filling that archaeological niche, Stargate was oddly too serious to become the next Indy heir. It’s humor was entirely circumstantial, and none of the characters fit an Indiana-like mold—Kurt Russell’s version of Jack O’Neil and James Spader’s Daniel Jackson were arguably pieces of Jones’ character split between two people. Stargate worked as a sci-fi epic, but lacked that rollicking quality that Raiders possessed. The Fifth Element had the humor and Bruce Willis’ Korben Dallas could have played as a future-time Indy, but it lacked the historical vantage point beyond its opening scene, and was built more as a single myth than a serial.

Outside of film, more and more media draws on Indiana Jones for inspiration, and video games seem to be the place to go by and large. From Uncharted to La-Mulana, even goofy little app games like Temple Run, everyone is drawing on that familiar vein of storytelling. But regardless of how much fun it is to be the avatar of a similar character, it’s not the same as enjoying the wit and wonder of an Indiana Jones film.

Which brings me back to my point about The Mummy and how excellent it is, and how I will fight to defend its honor—preferably with a saber.

We can safely say that director/screenwriter Stephen Sommers was not aiming anywhere remotely highbrow with his not-even-really-a-remake of The Mummy. His other projects, from Van Helsing to G.I. Joe: Rise of the Cobra, don’t even scrape to middlebrow. It is doubtful that he, like so many current writers/directors/showrunners took his particular treatment of the old Universal classic and thought, I’m gonna do right by Spielberg, though he did mean for his film to bear a resemblance to Jones. Yet regardless of intention, it’s fair to say that this movie—more than your average successor—managed to capture the “spirit” of the Indiana Jones mythos better than anyone. How?

To start, of course, you need the right leading fella to play your quippy action man, Rick O’Connell. Brendan Fraser is nothing like Harrison Ford in terms of his path as an actor—his career has jumped all over the place, and that seems to have suited him. But what Fraser did have that was essential to any Indiana analog (say that five times fast) was the perfect balance of swagger, charm, and silliness. Fraser is goofier than Ford, yes, but he’s rugged enough, willing to get dirty enough, as-good-with-a-sword-as-he-is-with-a-smile enough. And because he was perhaps a more light-hearted incarnation of the type, his counterpart in this journey—Rachel Weisz’s Evelyn Carnahan—was similarly sweetened, a bumbling and eager Egyptologist looking for recognition in a field where women are rarely accepted.

And I’m going to say something that’s going to probably upset a lot of people now; I kind of prefer Evelyn to Marion. Thing is, while Marion is wonderfully no-nonsense and a total hell raiser, her personal stake in Raiders revolves around her having a piece of jewelry that her dad left behind after being a pretty terrible parent. She regards her presence alongside Jones as insurance on her investment in his search for the Ark. But mostly… there are still feelings there and she can’t ignore them. On the flip side, Evelyn is actually the foreword momentum of the story in The Mummy; she’s there because of her expertise, and she is the one who possesses the knowledge to make their expedition successful. Her curiosity is what eggs the plot on, and while Rick is certainly the hero, he’s also technically just her muscle. He’s there to fetch and carry, glare at the rival expedition when they get too entitled, and boggle at her when she puts their lives in danger because, what, reading the Book of the Dead sounds like a great idea, obviously.

The fact that the film has a villain who is bound to the artifacts is a great angle to play when your story hinges on archaeological discovery. The titular mummy could have come off too hokey for a modern audience, and there are very specific reasons why it didn’t turn out that way. In part, the special effects actually did their job in this film—they delivered something new, but didn’t detract from the story or make the character seem secondary to the flashy CGI. In addition, actor Arnold Vosloo only agreed to take the role of Imhotep if he could cut out the camp on his end; he felt the mummy would be a better baddie if he played it straight, allowing the tragic love story to motivate him rather than magical curse juice. It ties him back to his old Universal black-and-white counterpart, but this Mummy is capable of showing just how far he must go for a woman he’s already died for once.

For all that the story was a goofy romp, it bounced back on moments of levity. It never got quite as serious as Jones perhaps, but even the camp turned on emotional blows—like the death of Captain Winston Havlock, the steady and methodical assimilation of the American treasure hunters, and Imhotep’s genuine pain at losing Anck-Su-Namun for a second time. And rather than making the male hero the only important central figure with a bunch of occasional sidekicks, The Mummy put together a great ensemble of people who all felt important to the core of the narrative. Rick O’Connell is the fighting man on the team, but it’s Evey’s quest, which is prompted by her brother Jonathan’s meddling, and the whole gang would be incapable of making it out alive without the only person who really understands what’s going on, Ardeth Bay. It’s a group effort, which could have easily been an improvement on Indy’s girl-of-the-month and sidekick-per-country style in the long run.

Still, the film is far from perfect and mirrors many of Indy’s blunders, including cringeworthy racial stereotypes, not-even-remotely-accurate history, and ladies getting randomly stuck in their nightgowns during the film’s final act. But if anyone was looking for a movie that offers the same sorts of laughs, thrills, and early 20th century treks into the desert, this is definitely where it’s at.

It’s a shame that the sequels and spin-offs created afterward abandoned most of the strengths of the first film because it would have been a joy to watch a series that stayed true to the tone of The Mummy. (And they should have given Ardeth Bay his own spin-off.) There are certain movies that have tried to establish a similar brand with a twist; in a way, Pirates of the Caribbean is an Indy-style series that features pirates instead of archaeologists. And there’s the Dark Universe reboot, of course, but then we’re back to a modern setting, with a distinctly different aim in establishing a multi-title shared universe. But I’ll always miss the potential that The Mummy represented.

This article was originally published in February 2015.

Emily Asher-Perrin quotes this film a lot, and no one ever knows what she’s talking about. You can bug her on Twitter and Tumblr, and read more of her work here and elsewhere.


In the Old Country: American Gods, “A Prayer for Mad Sweeney”

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If nothing else, this was a bold choice for a penultimate episode of the season. I genuinely don’t know if I liked it or not. My opinion has vacillated all night between annoyance and delight. Perhaps when looking back on the season as a whole, this detour will make more sense. But right now and with only eight episodes this season, it’s hard to justify any time spent away from Shadow and Wednesday.

American Gods has been hinting all along that the show was bigger than Shadow and Wednesday—probably the biggest departure from the novel thus far—and last night solidified it. This is Laura’s journey as much as it is Shadow’s. What that means in the long run, who the hell knows. I mean, they have to get to House on the Rock in the finale, that’s a given, but at this rate it’s looking like they’re going to show up just in time for the closing credits. They still have to meet Easter (Kristin Chenoweth has been promo-ed extensively, so not much of a spoiler). In the book, Wednesday and Shadow visit her in San Francisco, but I can’t see that happening with so little time left. And, frankly, so much stuff happens in the House on the Rock that there’s no way one episode can cram all that in and also wrap up the season’s loose ends. So, newbies, I’m as lost as y’all are right now.

Laura and Mad Sweeney’s relationship is doomed, that much is obvious even if you haven’t read the book (not that it’s in the novel anyway). So the character that has to benefit the most from this episode-long “Coming to America” has to be Laura by way of Essie. While we learn about Mad Sweeney’s past, it’s really Laura we’re getting to know through her historical proxy. Like Essie, Laura is beautiful, intelligent, and ambitious. Both women started off in towns and jobs that were beneath them. Essie needed a bigger challenge than to be a scullery maid just as Laura was drowning as a card dealer at a casino. But when they got the things they wanted—Essie with her captain, Laura with her con man—they squandered the opportunity. For Essie, that blowback came in being sent back to America, where Essie MacGowan “died” and she was reborn Essie Richardson. Laura’s death and resurrection are literal rather than metaphorical, but the result is the same.

This episode marks the second time in less than a month when Laura is thrown through the windshield of a moving vehicle. Talk about bad luck. The reveal that Mad Sweeney killed Laura the first time is a heartbreaker. Good thing he just told that story about how he’s going to battle with Wednesday to make up for not going to battle when he was human or him saving Laura instead of leaving her dead might not make much sense. But this begs the question of why Wednesday wanted Laura dead in the first place. And, more importantly, why Wednesday needs Shadow in particular. What is it about Shadow that makes him so special? Other than that he can make it snow and can spy on Dead Wife from hundreds of miles away. Whatever Wednesday’s up to, it’s more than staging a battleground.

Since American Gods took a detour, I’m going to take one of my own in this review to talk about white privilege. Look at the difference between Essie’s forced immigration to the United States versus the African slaves from the second episode. The first time she sails to the New World, Ibis talks of the gripping hunger and being packed in tight, but unlike the enslaved Africans she still has food and room to move around. She has the option to sex her way out of imprisonment, where the mother of the man who summoned Anansi had no such choice, for when she refused she was killed and dumped overboard. On the first trip Essie gets as far as Carolina, one of the primary ports for the African slave trade. 10.7 million African slaves were brought to US soil, and 40% of those went through Charlestown. In Carolina, Essie meets Susan and thinks how cool it is that she has a new name and a new life in a new world. Susan, however, probably didn’t think it was so great. With “skin like a brick,” she was probably a slave and therefore wouldn’t have had any choice in her name. Slaves were often renamed when passed between plantations. They owned nothing, not even their name.

Think about the privilege inherent in Essie’s experience. Having privilege isn’t the same as having an easy life, but it does mean that the system is set up to benefit some at the disadvantage of others (and before you start in on the whole “Irish slaves” myth go visit historian Liam Hogan’s Twitter and get yourself some education). What Essie goes through as an indentured servant is very different from what slaves went through. Essie could work or sleep her way to freedom, options denied enslaved Africans. Essie could take a new name where Susan was likely given hers. Essie could build a life she wanted where Susan’s existence depended on the whims of her master. Essie could raise her own child alongside Richardson’s, whereas an enslaved wet nurse often left her children in the slave quarters and tended to them only in the wee hours of the night.

Now think about that privilege in the context of a story being told by an Egyptian god brought to the New World against his will. A story told by an old god living in Cairo, Illinois, a former thriving metropolis sunk into poverty and viciously segregated. The lynchings of Black residents and terrible race riots in the 1960s, coupled with the severe economic decline triggered by shifting capitalistic models, have conspired to bring Cairo to its knees. It’s a town undone by corporate scheming and political maneuvering as much as its own internal discord. The town is forgotten and abandoned just like the two old gods who live there.

Even after all this hemming and hawing, I still don’t know how to feel about “A Prayer for Mad Sweeney.” The thematic elements—the cyclical nature of Essie and Laura’s stories, the reuse of characters (not just Emily Browning and Pablo Schreiber but also Fionnula Flanagan as both Essie’s gran and grandma Essie), and the hints at the uniqueness of American mythology—are all great. But to see this episode at this point in the season…why? What’s the point? What have we learned that we absolutely had to know before the House on the Rock? No matter how much grumbling I do, however, I trust showrunners Bryan Fuller and Michael Green implicitly. They know what they’re doing, and even when they don’t, they do it with such flair that it works anyway. I just need the finale to be a little tighter than this. Tangents are great, but they still need to lead somewhere.

Music

Final Thoughts

  • “You are an unpleasant creature.”
  • “Unfortunately, the more abundant the blessings, the more we forget to pray.”
  • Writer Maria Melnik also wrote on one of my all-time favorite shows, coincidentally also on Starz: Black Sails.
  • Whoo boy, that red wig on Emily Browning, that’s some Americans level terrible. Rip that baby off and burn it.
  • Wonder if that white rabbit is connected to Easter? She’s supposed to turn up this season…
  • I highly recommend reading this haunting photoessay on Cairo.
  • And while you’re thinking about white privilege built on Black bodies, consider that most of the songs playing over Essie’s story are Doo Wop or Uptown Soul, both subgenres of R&B.

Alex Brown is a teen librarian, writer, geeknerdloserweirdo, and all-around pop culture obsessive who watches entirely too much TV. Keep up with her every move on Twitter and Instagram, or get lost in the rabbit warren of ships and fandoms on her Tumblr.

Imagining Space Horse Culture: Stallion Security Forces and Badass Mares

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Last time on SFF Equines I talked about the logistics and mechanics of a spacefaring equinoid race. Commenters were extremely helpful in recalling examples from the genre, though it was generally agreed that intelligent equinoids, as opposed to centauroids, are rare in science fiction. Probably the most intelligent equinoids of all appear in classic satire, the Houyhnhnms of Swift’s Gulliver’s Travels. Which may be science fiction in its way, but it’s very much of this Earth.

I have to say I liked the suggestion about prehensile tails for allowing equinoids to perform fine manipulations, build machines, and so on. As for equinoids who partner with other species to do this—either primates or insectoids—and how they would communicate with their symbiotes, I’ll point out that spoken language on the human model is not the only possibility. Telepathy might be an option, but there’s also subtle modifications of movement and body language (compare the language of bees), some form of writing or exchange of symbols, and even combinations of sounds, though equines aren’t constructed for the intricacy of human speech. There might be something done with arrangements of objects, combinations of colors, a sort of Morse code tapped out with hooves—and since horses can understand other forms of communication than their own, including human speech, a sort of macaronic conversation might be possible: equinoids tapping or dancing, symbiotes speaking or clicking or rubbing their wings together. The possibilities are endless.

What about the culture behind whatever language our equinoids might speak (dance, perform, tap, write, draw)? What kind of people would they be?

If we’re basing them on terrestrial horses, the first thing we’ll be sure of is that they’re herd animals. They’re also prey animals, but we can figure that if equinoids are highly intelligent, they’ll be the (or a) dominant species, which means that they’ve found ways to avoid or control predators.

They probably won’t build cities or fortresses. Nomadism makes more sense, between the equine diet, which consists primarily of grass forage, and the equine digestive system, which needs a certain amount of bodily movement in order to function properly. Horses do have their set ranges, and will, absent pressures from other horses, predators, weather changes, wildfires, and so on, stay there as much as possible, moving through the range as the grazing waxes and wanes.

But if they’re going to end up in space, they will need some forms of stationary settlements. Manufacturing centers for sure, and probably trade hubs. Mines, maybe, unless they go in the direction of biological technologies.

Which they well might. Maybe they’ll grow their ships instead of building them from inorganic materials. Their biotech might grow out of their agriculture, especially if they’re using symbiote species as surrogate hands.

What about culture? Herd animals may be vegetarians—mostly—but they aren’t pacifists. Their social order is built around a fluid hierarchy with the senior mare in charge, her favored seconds keeping order, and the herd stallion serving as security force, sometimes assisted by his own second who will breed the superior’s mother and daughters. Outside stallions will raid the herd and try to draw off mares, plus there’s the need to contend with predators as well as rival bands moving in on the same territory.

There is war, and it can be ferocious. Mares get into raging fights, mostly involving kicking (a horse kick is a powerful thing—just ask my dog who caught a glancing blow and now has a plate and three screws in his elbow). Stallions will wage full-on battles with battering hooves and tearing teeth.

Strangers may or may not be welcomed into existing herds. A mare might be brought in by the stallion, especially if she’s the daughter of another herd stallion. Males are not welcome. Outside of the stallion and his very young sons and possibly a second, the unattached stallions (from about yearling age onward) get together to form bachelor bands.

Bachelor stallions would be the first line of space explorers, I would imagine, with the herd stallions taking charge of the military and defense, and the senior mares running things both on planet and on the ships. But knowing how young mares think, I wouldn’t be surprised if there was an early and forceful campaign to send these into space as well, perhaps as officers in charge of the headstrong young males. Stallions are quite aggressive and assertive, but they learn from birth that mares rule. Anything a stallion does, it’s because the ladies allow it. The young mares would be a definite check on the foolhardiness of the stallions.

The fact that mares cycle through estrus monthly during warm weather—mostly they shut down in winter, though there are plenty of mares who keep on going—could be useful in a number of ways. Equinoid birth control would focus on suppressing estrus. Well-socialized males would be much less distracted by females out of estrus, allowing them to work together with minimal sexual tension. And since horses are polygamous, most males wouldn’t expect (though they might hope) to mate; a lot of the nonsense humans have run into might not be an issue for equinoids.

Equinoid spaceship crews would consist of bachelor males with female officers, an older male security commander, and an older female captain. Scout ships would not include breeding stock, though they would be extremely large by human standards—horses need their room to run. I could see a living ship, hollow in the center, growing its own feed in fields where the crew takes its exercise. Command works out of the brain or nerve center. Life support revolves around the central fields. Nonessential crew might travel in stasis, or dart off on expeditions in scout ships.

Major-class starships would be actual generation ships. Moons and asteroids adapted into ships, maybe. Or asteroid-sized living ships with a full complement of breeding mares and working stallion. Senior mare is captain. Satellite ships staffed like scout ships. Foals as they mature will move out to the scout fleet, then back in if female. Males will either remain bachelors or go off on their own to win mares off established ships—either taking over the ship from its existing stallion in combat (which might be virtual rather than physical) or negotiating a ship of their own with surplus mares.

Mares would make the decisions here. Stallion can ask, but mare has to agree. A strong secondary mare might go along with an outside stallion in order to run her own ship, especially if she’s her home stallion’s daughter or sister.

What about non-equinoid invaders? Predator species? Equinoids with starships would most definitely equip them with suitable weaponry, and both sexes would have no hesitation about using it. A healthy adult horse can face down just about any predator; it’s the weak, the young, and the old who fall to the wolves and the mountain lions.

Spacefaring predators will have to work to bring down equinoid ships. If it comes to outright war, the herd instinct will mean that the equinoids will pull together, put the young and the weak in the middle, and present a perimeter of hooves and weaponized teeth. Gentle plant eaters they are not. They can and will fight to protect each other.

Dang. Now I want to see how this works in a story. The psychology of a horse is not the same as that of a human, though there are some similarities. Herd structure is different from pack structure, and there’s a level of cooperation that isn’t quite so easy or straightforward for humans. Not to mention the subtlety of horse body language and the tropism toward moving in groups.

Equinoids on the move in a spaceport would be an interesting thing to watch. Badass biker gang, and the boys may be tough, but the girls are downright deadly. You don’t want to mess with either one. But if they decide you’re all right, they’ll take you in wholeheartedly, and fight off anyone who tries to mess with you.

Judith Tarr is a lifelong horse person. She supports her habit by writing works of fantasy and science fiction as well as historical novels, many of which have been published as ebooks by Book View Cafe. Her most recent short novel, Dragons in the Earth, features a herd of magical horses, and her space opera, Forgotten Suns, features both terrestrial horses and an alien horselike species (and space whales!). She lives near Tucson, Arizona with a herd of Lipizzans, a clowder of cats, and a blue-eyed spirit dog.

Mapping Fantasies Into a Single Multiverse Through Seanan McGuire’s “Wayward Children” Series

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portal worlds

Seanan McGuire’s Wayward Children series returns on June 13 this year with Down Among the Sticks and Bones (then again in early 2018 with Book 3, Beneath the Sugar Sky!) expanding on the origin of “portal fantasy” children Jacqueline and Jillian. (Also known as Jack and Jill.)

The Wayward Children series explores how to deal with real life once the portal to your own personal magical world has closed, but it also gives readers a rough guideline for how all of these different portal worlds—like Narnia, Oz, Wonderland, and so on—relate to each other.

Every Heart a Doorway explains:

Here in the so-called “real world” you have north, south, east, and west, right? Those don’t work for the most of the portal worlds we’ve been able to catalog. So we use other words. Nonsense, Logic, Wickedness, and Virtue. There are smaller sub-directions, little branches, but those four are the big ones. Most worlds are either high Nonsense OR high Logic, and then they have some degree of Wickedness or Virtue built into their foundations from there. A surprising number of Nonsense worlds are Virtuous. It’s like they can’t work up the attention span necessary for anything more vicious than a little mild naughtiness.

We saw that and wondered…could we use the series’ guidelines to map ALL of the different portal worlds in fiction into a single multiverse?

It took some doing. “Portal worlds” are only as knowable as their author/creator allows them to be and the aspects of some of them change over the course of the story in which they are featured. In addition, the four main axes—nonsense, logic, wickedness, and virtue—are themselves subjective on a personal and cultural level: One person’s estimation of High Virtue can easily be another person’s estimation of Wickedness.

Thankfully, McGuire’s Wayward Children novellas give us a few different portal worlds that serve as examples of various degrees of the aspects known as nonsense, logic, wickedness, and virtue. With these in hand, we were able to form subjective gradations that could encompass all of the guidelines and examples presented by McGuire, allowing us to place all magical portal worlds into a precise grid (our “multiverse”) while remaining generalized enough to allow those worlds to move around the grid without conflict.

 

Here’s How The Grid Works:

y axis = Virtue 3, 2, 1, 0, 1, 2, 3 Wickedness
x axis = Nonsense 3, 2, 1, 0, 1, 2, 3 Logic

The below grid has two axes based on the four Aspects noted in Every Heart.

The y axis (up and down) starts in the north with High Virtue. Worlds become less virtuous the further south on the axis you go, until they’re High Wicked. There are three gradations of Virtue and three gradations of Wicked, with a null (zero) state in between them. This means our portal world multiverse is 7 rows tall.

The x axis (right and left) starts in the west with High Nonsense. Worlds become more logical as you head east, until they’re High Logic. There are three gradations of Nonsense and three gradations of Logic with a null (zero) state in between them. This means our portal world multiverse is 7 columns wide.

How Nonsense Is Your Favorite World?

It’s one thing to say that Eleanor’s portal world in Every Heart is “Nonsense 2” but what does that mean? Here’s how we’re defining the three gradations of every Aspect:

  • Nonsense 3 = Environment completely pliable and redefinable. Change motivated by personal whim. Near-chaos. Examples include: The Dreaming from Neil Gaiman’s Sandman.
  • Nonsense 2 = World on the tipping point between fantastical chaos and realistic environments. Examples include: Oz.
  • Nonsense 1 = Reality is pliable through wish fulfillment, but cause and effect actions are still most effective. Examples include: Neverland from the Peter Pan tales.
  • Nonsense/Logic 0 = Stasis, no change occurs in world.
  • Logic 1 = Most things follow rules of cause-and-effect but there is still doubt as to how many things follow rules. Examples include: Lyra’s world from The Golden Compass.
  • Logic 2 = Everything can be explained eventually, but there will always be unique exceptions. Examples include: Our own world!
  • Logic 3 = Everything can be explained, no exceptions to rules. Examples include: Narnia, and most any other world where its god/creator has a direct influence.

How Virtuous Is Your Favorite World?

  • Virtue 3 = Pure and providential, world provides everything you need. Is in an “ideal” state. Examples include: Narnia once Aslan’s control is restored.
  • Virtue 2 = Overriding harmony in world, active championing of human/being rights, but still threatened. Examples include: L. Frank Baum’s Oz, after the Wicked Witch and Wizard are taken out of power.
  • Virtue 1 = World provides for its denizens but in a limited capacity, passive promotion of human/being rights. Could be seen as only slightly better than our own world. Examples include: UnLunDun, from China Mieville’s book of the same name.
  • Virtue/Wicked 0 = Balance between virtuous and wicked desires, but not harmony. Examples include: The Dreaming from Neil Gaiman’s Sandman.
  • Wicked 1 = Unbalanced. Passive or secondary limiting of human/being rights. Examples include: Our own world!
  • Wicked 2 = Overriding disharmony. Active limiting of its denizens. “Crapsack World” but livable. Examples include: Narnia when the White Witch is in power.
  • Wicked 3 = Actively malevolent, apocalyptic, near-unredeemable, near-unlivable. Examples include: The Dark Tower.

 

OMG Just Let Me See the Grid Already

Here you go! Design credit goes to Jamie Stafford-Hill.

Every Heart a Doorway Portal Worlds multiverse infographic

 

Hey You Have Narnia On There Twice

That’s because we discovered something really interesting when plotting out this portal world multiverse. Worlds move over time. They slide into Wickedness or correct into Virtue. Check it out:

Every Heart a Doorway portal worlds infographic over time

This means that worlds in a multiverse don’t just have spatial “x, y” coordinates, they have an additional “t” coordinate for the moment in time that you’re measuring them within! Magical worlds float, drift, move…they have vectors, velocity, they insist on being fourth-dimensional! Portal worlds–those magical places we are drawn into–fizz around us like soda pop.

Interestingly, the worlds we chose to depict on the grid only move along the y axis, between Virtue and Wickedness. We couldn’t think of a world that moved along the x axis, which suggests that the Aspects along that axis are more intrinsic to the definition of a world, comprising the core of their reality’s structure.

You’ll also notice that fictional worlds tend to group in certain quadrants and gradations. Worlds don’t really like being in that High Virtue / High Logic space, for example, but that’s probably because we don’t like telling stories about those kinds of worlds. Perfect, happy places where everything is tended to and everything makes sense are a goal, they’re not a story.

 

Hey You’re Missing…

Oh yes. We stuck to sci-fi/fantasy books mostly, because the multiverse is VAST and full of terrors and we couldn’t make an infographic big enough to contain everything we’ve read. (There are hundreds of portal worlds in comic books alone!)

Really, we can only show you the way.

It is time, perhaps, to chart your own journey through your favorite magical worlds…

Portal Worlds grid map blank

(A printable PDF version is available here.)

Adam West’s Five Best Bat-Moments

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A pop-culture giant has shuffled off this four-color coil. Adam West, who played the title role in the 1966 Batman, and later reprised the role in voice and physical form more than once, has died of leukemia at the age of 88.

Having just spent a year and a half revisiting West’s most famous role for this very site, I now present the five best Bat-moments West had in his run on television wearing the cape and cowl:

 

1. The Bat-usi

Batman Batusi

Actually, the entire scene in the bar that leads up to Batman doing that magnificent dance in “Hi Diddle Riddle,” the first episode of Batman to air, is pretty much vintage West Batman. We start with him entering the discotheque and refusing the offer of a table, instead going to the bar because he doesn’t want to draw attention to himself. Reportedly, that scene was the one West read for his audition, and one of the reasons why he got the part was that he played that line 100% straight rather than wink at the camera or be a goof about it. Perhaps the best thing about West’s portrayal was that he took it completely seriously. He refused to stoop to the joke, which is why little kids (like me!) could watch the show unironically and view Batman as a hero who did good. We took him seriously as a hero because he took himself seriously as one.

Even when it was totally ridiculous. Like trying to be inconspicuous while walking into a discotheque while wearing a brightly colored skintight outfit and a big blue cape. And dancing a silly dance, though the latter was after they put a mickey in his fresh-squeezed orange juice.

Oh yeah! He goes into a discotheque alone, because Robin is underage, and then orders fresh-squeezed orange juice. Bliss.

 

2. Batman and Robin strike a blow for art

Gotham City was regularly a substitute for New York City, with establishing shots of NYC subbing for Gotham, and place names riffs on locations in the Big Apple: Spiffany’s, Short Island, the United World Building, and so on, not to mention the mayor and governor (Linseed and Stonefellow) being riffs on the contemporary officeholders in New York (Lindsay and Rockefeller). In “When the Rat’s Away the Mice Will Play,” the climactic fisticuffs with the Riddler are held in the torch of the Queen of Freedom monument, which has an art gallery that includes a simply hideous painting of Batman and Robin.

In order to make a dramatic entrance, Batman and Robin burst through the painting in the spots corresponding to where their images are. This has the dual effect of looking cool and utterly destroying that bloody awful painting. So win-win.

 

3. Batman unmasks a criminal via his parking habits

False Face was a frustrating villain for the Dynamic Duo to deal with because he was a master of disguise and so could appear as anyone. At various points, he poses as both Commissioner Gordon and Chief O’Hara, thus providing Neil Hamilton and especially Stafford Repp with a chance to act outside of their characters’ usual range of “fawning over Batman.” At one point, Batman and Robin see an armored car, and Batman quickly deduces that one of the armored car drivers must be False Face because he notices that the armored car parked in front of a fire hydrant!

Only a criminal would callously park in front of a hydrant like that, Batman announces, and False Face is exposed! You gotta love the bat-logic. (For the record, I can’t remember the last time I didn’t see an armored car parked illegally while it was making a pickup……)

 

4. Bruce Wayne exposes himself to art

In “Pop Goes the Joker,” the titular villain opens an art school for millionaires as a cover for a kidnapping scheme. At this point, Joker has already become the darling of the art world with his abstract work. As Bruce Wayne, Batman decides to take the class to see what the Joker is up to. Most of the time, West only got to be Bruce long enough for Alfred to tell him the bat-phone was ringing, and he took advantage of this particular opportunity to engage in a delightful battle of wits with the clown prince of crime:

JOKER: That’s terrible—terrible, Wayne! Why even a three-year-old could do better than that. Here, let me show you.

[Joker mushes the sculpture to make it more abstract.]

JOKER: There! That’s more like it!

BRUCE: Yes, I see what you mean, that’s about the level of a three-year-old.

JOKER: I do the jokes around here, Wayne.

BRUCE: I’d say that’s one of your better ones.

 

5. Milk and cookies

In the comics, Bruce Wayne has always been portrayed as a womanizer and playboy. It’s part of the “disguise” of Bruce to keep people from even considering the notion that he’s really Batman. Because Batman was designed to appeal to all audiences, this particular aspect was downplayed heavily (though hints of it came out in Bruce’s interactions with Barbara Gordon, a.k.a. Batgirl, in the third season). Amusingly, though, it did get used as a plot point twice, and both times it was when West was acting opposite Lee Meriwether. The first was in the 1966 Batman movie, where Julie Newmar’s lack of availability forced them to re-cast Catwoman with Meriwether. In the film, Catwoman pretends to be a Russian journalist who flirts outrageously with Bruce, and Bruce responds. They even smooch!

But that’s nowhere near as much fun as when Meriwether returns in “King Tut’s Coup”/”Batman’s Waterloo” as Lisa Carson, the daughter of a multimillionaire, who is taken hostage by King Tut and whom the villain believes is the reincarnation of Cleopatra. At the end of the episode, Bruce walks her home and she invites him in for “milk and cookies.” Bruce accepts, as man cannot live by crimefighting alone and milk and cookies is the best-ever euphemism for getting laid you guys!

 

Honorable mention: Beware the Gray Ghost

Andrea Romano has been responsible for the casting of much of Warner Bros.’ animated releases over the decades, and she’s the best in the business. On the 1990s Batman: The Animated Series, she pulled off many a casting coup (particularly Kevin Conroy in the title role, who remains the definitive Batman voice), and for the episode “Beware the Gray Ghost,” she pulled off her best. For the role of Simon Trent, an actor who played the hero the Gray Ghost in an old TV series that Bruce Wayne watched as a boy, and who was now old and broke due to being typecast, she cast Adam West. He nailed the role, a wonderful love letter to West’s Batman that acknowledges his inspirational role as a hero, and also was a good commentary on how typecasting can ruin an actor’s career, but you can make it work if you embrace it instead of rejecting it.

Kinda like what Adam West did.

Rest in peace, old chum.

(Please feel free to provide your favorite West moments in the comments. I could easily come up with another five as it is…….)

Keith R.A. DeCandido reviewed the entirety of Batman 66 in the “Holy Rewatch, Batman!” feature on this site from September 2015 to May 2017. He’s also written about Star Trek, Doctor Who, Stargate, Marvel’s Netflix series, and Wonder Woman here. His 53rd novel, Marvel’s Warriors Three: Godhood’s End (Book 3 of the “Tales of Asgard” trilogy) was released last month, with two more due out this year: Mermaid Precinct, the next book in his fantasy police procedural series, and A Furnace Sealed, the first in his new urban fantasy series.

War Never Ends: Raven Stratagem by Yoon Ha Lee

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Yoon Ha Lee’s debut, Ninefox Gambit, made history last year when it joined a small handful of novels to earn prestigious nominations for the Hugo, Nebula, and Arthur C. Clarke Awards. Ann Leckie’s tour-de-force, Ancillary Justice, did the same in 2014, winning all three awards, which puts Lee’s accomplishment into perspective. (And that’s not the only similarity between the trilogies, but we’ll get to that later.) Lee was already well known for his terrific short fiction, including his 2013 collection, Conservation in Shadow, but Ninefox Gambit put him on the map in a big way. Fitting nicely into the vacuum left by Ann Leckie’s Imperial Radch trilogy, which concluded with Ancillary Mercy in 2015, Ninefox Gambit was a skilled mix of “military SF with blood, guts, math, and heart.”

Ninefox Gambit is a book everyone seems to love, yet it’s also dense at times, and difficult to get into. In my review, I complained about the novel’s early chapters, which I struggled to get through, let alone enjoy. “I found the world confusing, the action gruesome,” I said, “and the pace difficult to keep up with. I could recognize that novel’s quality, and the originality that Lee is known for, but other books beckoned, and there was an easy, lazy whisper at the back of my head.” But I did push on, and was rewarded by one of 2016’s richest novels. The complexity of Lee’s story, both from a worldbuilding and plotting perspective, rivals rocket science, but the intricacy of the relationship between the novel’s two central characters—Kel Cheris, a soldier and genius mathematician, and Shuos Jedao, a psychotic undead general—was masterful.

Its sequel, Raven Stratagem, arrives with a lot of hype, but that also brings baggage. After Ninefox Gambit, could Lee repeat his success? Thankfully, Raven Stratagem not only meets the expectations set by its prequel, but, in many ways, exceeds them, and is a more well-rounded novel.

Unlike its predecessor, Raven Stratagem requires no warming up period. Very little of the narrative in Raven Stratagem is bogged-down by incomprehensible infodumps about “calendrical rot.” In comparison, it feels open and airy. Through Cheris and Jedao, Lee proved his ability to create complex and interesting characters, and this time around he throws the doors open by introducing several new point-of-view characters, all of whom are engaging in their own way. From the crashhawk Brezan, who’s on a mission to take Jedao down, to General Kel Khiruev, who is reluctantly beholden to the undead general after he commandeers her swarm, to Shuos Mikodez, leader of a faction of assassins, each of the major players has their own well-defined and compelling part to play in Raven Stratagem‘s overall narrative. They’re all damaged and dangerous, full of regrets, but they are also vulnerable and likeable in a way that allows readers to connect with them on the right emotional level.

Most surprising, perhaps, is being afforded a peek into the mind of Mikodez, who is full of witticisms:

“Very flattering,” Mikodez said demurely, “but while Jedao has demonstrated that his solution to a man with a gun is to shoot it out of his hand—the kind of idiot stunt I tell my operatives to avoid attempting—my solution is not to be in the same damn room to begin with.”

Amidst all the complex worldbuilding, blood, and guts, one of Ninefox Gambit’s most surprising assets was its sense of humour. It’s even more prevalent in Raven Stratagem. Lee knows just when to diffuse a situation with a dark joke, but he also uses humour as a window into the personalities of his characters. It’s not so much belly laughs, but sly side-eye smirks.

Brezan functioned indifferently as part of a composite, one of the reasons he had expected to land at a boring desk dirtside instead of here, but he conceded that that sense of utter humming conviction, of belonging, was addictive. At least things weren’t likely to get worse.

As it turned out, things were about to get worse.

He can make you laugh, but, god damn, he can also make you cry.

Mother Ekesra let go. The corpse-paper remnant of her husband drifted to the floor with a horrible crackling nose. But she wasn’t done; she believed in neatness. She knelt to pick up the sheet and began folding it. It was also one of the few arts that the Andan faction, who otherwise prided themselves on their dominance of the hexarchate’s culture, disdained.

When Mother Ekesra was done folding the two entangled swans—remarkable work, worth of admiration if you didn’t realize who it had once been—she put the horrible thing down, went into Mother Allu’s arms, and began to cry in earnest.

Lee is able to tap into humanity’s full spectrum, pulling out its most heart-wrenching sadness, its most wicked humour, its most sadistic greed. The way he juggles these facets of humanity, portraying them in the least expected places, from the mouths or actions of the least expected people, is one of the reasons I fall so deeply in love with his novels, despite so many other elements being anathema to what I normally enjoy reading. He is writing stories that no one else is writing, that no one else could write.

Ninefox Gambit and Raven Stratagem are queer-friendly, and very liberal in the handling of their characters gender and sexuality. Lee is never on the nose about it, but, for instance, characters will refer to other people by a gender-neutral pronoun if they do not know that person’s gender with certainty. This is just how it is in Lee’s vision of far-future humanity. Characters range from asexual, to bisexual, to straight, but there is never a big deal made about this. Consider this conversation between Mikodez and Jedao (who is “anchored” to a woman’s body at the time):

“At some point when you’re done walloping the Hafn, you ought to take some time off and try sex with someone who isn’t a Kel. I hear some people find it fulfilling.” Istradez always laughed whenever he heard Mikodez giving this particular advice. But Jedao’s discomfited expression made the whole conversation worth it. “Unless you have some archaic problem with being a womanform?”

“Shuhos-sho,” Jedao said patiently, “I haven’t had a dick in four hundred years. I got over it fast, promise.”

Sex is important to some characters’ plots, completely irrelevant to others’. It’s as mature, forward-thinking, and delicate a handling of gender and sexuality as I’ve seen in science fiction, and other writers would do well to study how Lee accomplishes it so effortlessly.

Even as Lee’s worldbuilding becomes less complicated, the scope of the story continues to expand in Raven Stratagem. War is looming, big battles are fought, Jedao’s strategic brilliance is on display. But, while this is happening, many of the novel’s most interesting conflicts are tight and personal, especially those that explore Jedao’s lost humanity, his myriad contradictions, and his murky morals.

“Shuos-zho,” Jedao said, in a voice so pleasant it was poisonous, “it’s no secret that I’m one of the hexarchate’s greatest monsters, but I draw the line at rape.

“That’s fucking hilarious considering whose body you’re walking around in,” Mikodez observed.

Jedao’s face was recovering some of its colour. “Kel Cheris had already died,” he said. “I didn’t see any harm in wringing some final use out of her carcass. The dead aren’t around to care.”

“You’re one of us, all right.”

“Tell me,” Mikodez said in exasperation, “what the hell would you do if there wasn’t a war on?”

Jedao faltered. For a moment, his eyes were wrenchingly young. “I don’t know,” he said. “I don’t know how to do anything else.”

Which meant, although there was no way that Jedao was ready to admit it to himself, that he’d start a war just to have something to do.”

Like Leckie, Lee is most interested in examining the way people act during times of war, in exposing the depths of humanity and revealing it on the table for all to see. Raven Stratagem—like Ninefox Gambit before it, and Leckie’s Ancillary Justice—is full of mind-melting SFnal ideas, a humanity among the stars that is at once familiar and nearly alien, but never forgets what makes us tick.

Raven Stratagem certainly shows symptoms of Middle Book Syndrome—with the bulk of the novel made of of political maneuvering required to set up the following novel—and some readers might find its shift from Ninefox Gambit’s more frenetic and action-packed plot to something slower and more philosophical a tad disappointing. It worked for me, however, and I thought that Lee found a nice sense of balance between big SF and personal conflict, which was rather precarious during Ninefox Gambit. As any good sequel does, Raven Stratagem doubles down on what made Ninefox Gambit so great, and polishes away its imperfections.

Without a doubt, Raven Stratagem is proof that Yoon Ha Lee sits next to Ann Leckie atop the podium for thoughtful, intricate, and complexly human science fiction.

Raven Stratagem is available from Solaris.
Read an excerpt from the novel here on Tor.com.

Aidan Moher is the Hugo Award-winning founder of A Dribble of Ink, author of Tide of Shadows and Other Stories and “The Penelope Qingdom”, and regular contributor to Tor.com and the Barnes & Noble SF&F Blog. Aidan lives on Vancouver Island with his wife and daughter, but you can most easily find him on Twitter @adribbleofink.

The Theme of Orphan Black’s Final Season is Protest

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Orphan Black 5x01 "The Few Who Dare" television review Delphine Cosima Cophine

For the past four seasons of Orphan Black, the Clone Club has encountered Neolution in all of its mutations and side evolutions: the ominous Dyad Institute monitoring Project Leda, the religious Proletheans battling what they saw as the sins of science, and everything from the body-modification Neolution club to the creepy eugenics of the BrightBorn fertility clinics. But now, the premiere of the fifth and final season purports to cut all of that away to get to the true heart of Neolution: Revival, a secretive and highly controlled remote community devoted to improving the human species—beginning with prolonging the lifespan. But is this the answer to all of the Clone Club’s questions from the last five years, or just another detour on a season being billed as The Final Trip?

Spoilers for Orphan Black 5×01 “The Few Who Dare”

I have to admit, Orphan Black is one of those TV series where the big-picture stuff drops out of my head at the end of every season. My favorite aspects of the show are all the little moments between the clones, and the everyday-but-heightened plots about Alison’s production of Jesus Christ Superstar or Cosima’s research. Be that as it may, here’s where we left off with everyone at the end of last season:

Cosima joined Rachel and Susan Duncan on this strange island to create a cure for the disease killing Project Leda clones. But after she discovered said cure, Susan betrayed her, then Rachel betrayed her mother and went a bit psychotic, stabbing Susan as well as Sarah, who had come to rescue her sestra. Cosima and Charlotte made it to a remote village on the island, where a weakened Cosima was reunited with Delphine. Sarah was bleeding out somewhere on the island, on the phone with Mrs. S, who with Kira was being held at gunpoint at the safe house by Ferdinand, who had defected to Neolution at Rachel’s behest. And Rachel was en route to what we now know is Revival, about to meet P.T. Westmoreland, the 170-year-old founder of Neolution.

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

Revival is immediately intriguing: the yurts, members with names like Mud and The Messenger, an odd mix of agency and secrecy—its members are handpicked for how they can contribute to the overall goals of the community and will share in the overall success, yet Cosima is not allowed to talk to any of her sisters. Also, what exactly are they reviving?

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

The most interesting phrase associated with Revival is “The Fountain”—that’s what a mother and her young daughter came all the way from Afghanistan for, they tell Delphine in Revival’s clinic. Delphine’s face says that this Fountain may not actually exist, and for some inexplicable reason she hides the girl’s file rather than keep it in the clinic for whoever her superior is to parse through. But there must be something that provides longevity, considering Westmoreland’s situation.

Yet despite Rachel getting to meet the impossibly-old man behind Neolution, viewers have yet to get a glimpse of him; indeed, he uses Rachel—looking like Effie Trinket fresh off drinking the kool-aid—as his new mouthpiece, imparting his latest message to his “children.” Could there be a reason that we haven’t seen Westmoreland yet—something to do with adverse effects of this supposed Fountain? Eternal life may not mean eternal youth, nor may prolonging a life be the same thing as saving it.

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

Or maybe that’s whatever half-man, half-beast attacked Sarah in the woods. The showrunners won’t say much about what’s out there, stressing that in the premiere “Sarah saw what you saw there.” Of course, she was delirious from blood loss and kept almost passing out if not for dreams of Kira urging her to wake up. I’m going to call it now that Kira, who we didn’t see this episode, psychically sensed Sarah’s distress and was calling out to her, because each of those moments came very well-timed in saving Sarah from getting added to this creature’s collection of hanging furs and gutted wolves. It is worth noting that the creators consistently refer to The Island of Dr. Moreau as a touchstone for this season, so it would stand to reason that whatever’s out in the woods is some sort of failed experiment.

Poor Sarah: She makes it to Revival and catches Cosima alone in the clinic, only for the latter to insist that she has to stay at Revival. Mostly because Delphine, who was cruelly torn away to do Westmoreland’s work in Sardinia, whispered to Cosima to “follow the crazy science” before she left. And can we briefly talk about how wrenching it was to see Delphine dragged away on secret work and she and Cosima having a mere ten minutes together? But before she leaves, she reveals the information that ensnares Cosima: her nearly-healed bullet wound, thanks to Revival’s mystery science. Despite knowing that Rachel is now chummy with Westmoreland and privy to enough information to make her even more formidable of a foe to the Clone Club, Cosima wants to see where this science goes. But the Revival people hunting for Cosima in the dark after she slips out of her yurt unauthorized is a reminder of how much of a prisoner she is. And once Sarah, who doesn’t even get enough time to properly dress her wounds beyond her excellent tampon hack, goes back on the run, she quickly becomes a prisoner, too—Rachel’s prisoner, to be exact.

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

It’s always a fascinating game to unpack the episode titles, but this one proved baffling at first. My initial search turned up an oft-reblogged/pinned inspirational quote: “Be amongst the few who dare to follow their dreams.” It seemed an odd choice for the Orphan Black writers, but it certainly fit Rachel and the rest of Revival’s self-chosen members, as well as seeming convert Cosima. By the end of the premiere, she’s found the last syringe of the cure (her dream), and is willing to trust Rachel and these Neolutionists, at least to see what this Fountain is all about. And perhaps even Sarah could be lumped into this group, though it seems her participation in Revival might be involuntary.

But then I googled the first three episode titles provided, and look what I found: “Protest,” Ella Wheeler Wilcox’s poem-turned-Women’s Suffrage anthem. (Bolding mine.)

To sit in silence when we should protest
Makes cowards of men. The human race
Has climbed on protest. Had no voice been raised
Against injustice, ignorance, and lust,
The Inquisition yet would serve the law
And guillotines decide our least disputes.
The few who dare must speak and speak again,
To right the wrongs of many. Speak! Thank God,
No vested power in this great day and land
Can gag or throttle; press and voice may cry
Loud disapproval of existing ills,
May criticise oppression, and condemn
The lawlessness of wealth-protecting laws
That let the children and child bearers toil
To purchase ease for idle millionaires.
Therefore I do protest against the boast
Of independence in this mighty land.
Call no chain strong which holds one rusted link;
Call no land free that holds one fettered slave;
Until the manacled, slim wrists of babes
Are loosed to toss in childish sport and glee;
Until the Mother bears no burden save
The precious one beneath her heart; until
God’s soil is rescued from the clutch of greed
And given back to Labor; let no man
Call this the land of Freedom.

Now that’s more like it! Sarah and her sestras have already promised that this season they will fight those who have hunted, imprisoned, and abused them. I love the idea of protest as the guiding force, of the women of Project Leda reclaiming their bodily autonomy and their rights. “The few who dare” clearly points to Sarah, who has over the past four seasons had to “speak and speak again”—sometimes literally, as she confronts Dyad or Topside or Neolutionists, but also figuratively through her sheer force of will in staying alive, this episode no exception.

Rachel seems to embody “the clutch of greed,” though her motivation seems to be more nuanced considering her surprisingly tender final scene with Cosima. Considering that she stole the stem cells and Leda cure in the season 4 finale, one would have expected her to knock the remaining syringe out of Cosima’s hand or intentionally waste it to torture her. But instead, she injects Cosima with the cure, telling her that Westmoreland wants her to be part of whatever “this” is. There may not have been a Clone Swap in this episode, but Tatiana Maslany playing these two hesitant allies against one another was masterful, in Rachel’s calmness that’s nonetheless hiding something versus Cosima’s warring mistrust and hope.

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

Following “the few who dare” means that a lot of the Clone Club felt sidelined this episode; or, at least, their relevance to the plot is so far unclear. Alison, Donnie, and Helena got flushed out of the woods, which felt mostly like plot mechanics for the point of getting them back to civilization. These scenes carried the episode’s highs and lows, from Donnie and Helena communicating in loon calls (a perfect example of the series’ undaunted goofiness) to Helena getting stabbed in the stomach (!!) by a branch after saving Donnie from a Neoluti0nist thug. Could “Beneath Her Heart” (next week’s episode) be about the fate of her babies? (Gonna call it now, I don’t think one of the twins will survive.)

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

Alison of course had the best line of the episode: “Helena was out murdering God’s creatures, and my husband abandoned me.” Bringing her into the same space as Art was a great choice, as both care deeply for their families, to the point that they’re used as pressure points. You have to feel for Art, who’s gotten so mixed up in the Clone Club that him finally getting a new partner is just another Neolutionist plant. Maddie, with her shark eyes and spitting, looks more than a little unhinged.

Speaking of family, all we get of Mrs. S and Kira is the former gripping a corkscrew between her fingers, presumably to have a little chat with Ferdinand. And Felix, unfortunately, got caught as the middleman for most of this episode, coordinating via phone call to make sure nobody stupidly put themselves in danger… which of course they did. And when he tries to grab Kira’s laptop to find MK somewhere in Minecraft, he’s got his own Neolution agent waiting for him.

Orphan Black 5x01 "The Few Who Dare" television review

Photo: Ken Woroner/BBC America

It seems as if every character has at least one Neolutionist on their tail, the worst odds we’ve seen since the beginning of the series. As The A.V. Club points out, the Clone Club has been so successful at evading their enemies so far through sheer scrappiness, but now they very much seem to be on Neolution’s radar. I’m hoping that the addition of Revival, which the showrunners have described as “the top of the pyramid,” “the seat of power at Neolution,” will provide a new dimension as to the future of Project Leda.

Every year Natalie Zutter thinks she should have rewatched all of Orphan Black before the new season, but it’s slowly coming back. Share your final-season theories with her on Twitter.

Rereading the Vorkosigan Saga: Brothers in Arms

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This week, the Vorkosigan reread embarks upon Brothers in Arms, a book that I remember as being a madcap screwball comedy. Brothers puts Miles in the unusual position of having to switch back and forth between his roles on short notice, while also dodging the Cetagandans who are out to assassinate him in his persona as Admiral Naismith. This is one of the places where the differences between reading order and writing order are very obvious – after Cetaganda, the Cetagandans really should be capable of spotting Lieutenant Lord Miles Vorkosigan in the wild. But of course, Cetaganda was years away, unless they know some of the things that Miles is about to learn. Brothers also introduces two characters who will go on to play enormous roles in the rest of the series – Mark and Galeni.

This reread has an index, which you can consult if you feel like exploring previous books and chapters. Spoilers are welcome in the comments if they are relevant to the discussion at hand. Comments that question the value and dignity of individuals, or that deny anyone’s right to exist, are emphatically NOT welcome. Please take note.

The book’s first two chapters take us back to the end of “Borders of Infinity.” The Dendarii fled Dagoola IV with the Marilacan POWs who would form the nucleus of the Marilacan resistance. The Cetagandans pursued, calling for Naismith’s head. Barrayar’s role in the prison break is known only to a very small number of people, as it came very close to constituting an act of war. The Dendarii need safe harbor to repair equipment, get medical treatment for their wounded, and collect their pay. Accompanied by Elli as his bodyguard, Miles checks in at the Barrayaran embassy in London. The embassy wasn’t expecting him, and they can’t write him a check for eighteen million marks to cover the Dendarii’s payroll and expenses, so they add him to the embassy staff and wait for further orders.

We knew that Elli was infatuated with Miles from Ethan of Athos, where her feelings were so obvious that even Ethan noticed. Miles’s feelings about Elli have not been explored as thoroughly. In “Borders of Infinity,” Miles fell for a Marilacan prisoner. In “Labyrinth” he hooked up with Taura. In the Borders frame story, Elli is waiting for Miles at Vorkosigan Surleau, but that happened after Brothers in Arms. As this book opens, Miles is deeply smitten and is questioning his commitment to his professional boundaries.

My favorite cover for Brothers in Arms is the Alan Gutierrez version.

Gutierrez puts Elli front and center, looking audacious and confident. It’s clear that whatever is going on in this book, she and Miles are in it together, and it’s going to be a darn good time. Their body language speaks mostly of their longstanding friendship, while also hinting towards their growing romance. Gutierrez does a better job with Elli here than he did with Elena on the cover of The Warrior’s Apprentice, and I love that painting too. I’m not even going to complain about Miles and Elli’s uniforms being the wrong color. They look great in black leather, which, although I’m almost positive this wasn’t the artist’s intention, reminds me of the cat blanket they will buy in chapter three.

Other artists tended to de-emphasize Elli and the romantic elements of the story. The NESFA press edition is mostly blue, which is usually my thing, and it focuses on a pivotal moment near the London sea wall. Some of the major players in the more dramatic, completely unromantic, moments are arrayed like the cardinal points of a compass. Elli is peripheral to the action, back to the viewer, rappelling ungracefully down the wall. I feel vaguely offended on behalf of Elli’s rappelling skills.

The Kindle edition offers up more of its trademark glorious abstraction, using silhouettes to create a mystery about who the titular brothers are – is the line of soldiers Dendarii or Barrayaran? But I’ve read the book, so I know that this is a red herring and this image isn’t grabbing me anymore.

For the Croatian edition, Esad Ribic went with spaceships.

Elli is a little bit in the background of the first couple chapters of the book as well, as Miles settles into life at the embassy. Ivan is on hand to offer cousinly mentoring on embassy life, and company for two-a-day workouts at the gym. Galeni, Miles’s current CO, is a terse, professional presence. Miles is sympathetic to the problems he would encounter if Miles let the Cetagandans kill him on Galeni’s watch, but has bitten back a crucial question, “Whose son are you?” Miles’s tendency to see his keen investigative instincts as bad manners is going to present a lifelong struggle.

Next week – the impecunious Dendarii set fire to a liquor store! And Miles meets with his accountant.

Ellen Cheeseman-Meyer teaches history and reads a lot.


Tomorrow’s Kin

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The aliens have arrived… they’ve landed their Embassy ship on a platform in New York Harbor, and will only speak with the United Nations. They say that their world is so different from Earth, in terms of gravity and atmosphere, that they cannot leave their ship. The population of Earth has erupted in fear and speculation.

One day Dr. Marianne Jenner, an obscure scientist working with the human genome, receives an invitation that she cannot refuse. The Secret Service arrives at her college to escort her to New York, for she has been invited, along with the Secretary General of the UN and a few other ambassadors, to visit the alien Embassy.

The truth is about to be revealed. Earth’s most elite scientists have ten months to prevent a disaster—and not everyone is willing to wait.

Tomorrow’s Kin is the first book in an all-new hard SF trilogy based on Nancy Kress’ Nebula Award-winning Yesterday’s Kin. Available July 11th from Tor Books. The following excerpt is from the second half of the novel, which picks up the story of Yesterday’s Kin and may contain spoilers

 

 

CHAPTER 12
S plus 2.6 years

Marianne stood in a small storage room somewhere in the DeBartolo Performing Arts Center at the University of Notre Dame, waiting to go on stage and staring at eight mice.

They were, of course, dead. These eight, however, looked unnervingly lifelike, superb examples of the taxidermist’s art. Why were they here, meeting her gaze with their shiny lifeless eyes from behind the glass of a tiered display case? Had they been moved to this unlikely venue from another building, to sit among cardboard cartons and discouraged-looking mops, because someone could no longer bear to be reminded of what had been lost?

Sissy Tate, Marianne’s assistant, stuck her head into the room. “Ten minutes, Marianne. Are those mice? Wow, it’s stuffy in here.”

“No windows. What about the—”

“They should have put you in the green room! Or at least a dressing room!” Sissy shook her frizzy cherry-red curls, which leaped around her head as if electrified. Two weeks ago the curls had been the same rich brown as her skin. Today’s sweater, purple covered with tiny mirrors, glittered.

Marianne said, “There’s a concert setting up in the big hall. No space.”

“That’s not the reason and we both know it. But at least you don’t have to worry about the storm—this one is going to miss South Bend. No problem.” Sissy’s head disappeared, and Marianne went back to contemplating mice.

Eight representatives of what had been the world’s most common herbivore, now existing nowhere in the world except for a few sealed labs.

Mus musculus and Mus domesticus, their pointed snouts and scaly tails familiar to anyone who ever baited a mousetrap or worked in a laboratory.

A deer mouse and a white-footed mouse, almost twins, looking like refugees from a Disney cartoon.

On the second glass shelf, the shaggy, short-tailed meadow vole and its cousin, the woodland vole.

A bog lemming, its lips drawn back to show the grooves on its upper incisors.

And finally, a jumping mouse, looking lopsided with its huge hind feet and short forelimbs.

“Hey,” Marianne said to the jumping mouse, of which no specimens had been saved. “Sorry you’re extinct.”

“You talking to a mouse?” a deep voice said behind her.

Marianne turned to Tim. “I didn’t hear you come in.”

“Yeah, well, I came to say we might have a problem.”

“But Sissy just said—”

“No, not the storm. Your speech. But first—were you talking to those mice?”

At Tim’s grin, Marianne felt herself flush. He often had that effect on her; she knew it; she was profoundly grateful that Tim Saunders did not. He lived with Sissy, he was fifteen years her junior, and he was not all that bright. To be so affected on a visceral level by someone so inappropriate was deeply embarrassing to Marianne. The powerful lean body, mahogany hair, bright turquoise eyes that made her feel as if she stood in a blue spotlight—none of this should set her hormones on high alert, not at her age. She was a grandmother twice over, for chrissake. And she lived with Harrison Rice, contentedly.

Contentedly but not passionately, said the rebellious part of her that was still seventeen. Marianne, a long way from seventeen, was appalled at that part of herself. Surely by now all adolescent fogs of desire should have evaporated from her emotions, from her mind, from her—

“I was not talking to the mice,” she said with what she hoped was dignity.

“Sure looked like it.” Another too-masculine grin. Damn, damn, damn. If she had to still feel the fog, why for such an obvious, even clichéd, pretty boy? Not that Tim was only that.

She said, “What’s the problem with my speech?”

“The crowd for it. They look nasty.”

Marianne frowned. Notre Dame was not supposed to be one of the nasty crowds. A noted research center, the university was pro-science, and although still Catholic-conservative on a few issues, had a socially liberal faculty and, mostly, student body. The university had even reimbursed her travel expenses, which few of her speech venues did. “How nasty?”

“Can’t tell yet. But I’m on it.” Tim left.

In the last two and a half years, Marianne had given over five hundred speeches for the Star Brotherhood Foundation, which she and Harrison had founded almost as soon as the alien ship had lifted off, taking Noah and nine other Terrans with it. The foundation’s purpose was to convince the world that a spaceship should be built, using the plans that the aliens had gifted, to take to humanity to the stars.

At first, the foundation had gone well. The spore plague had been mild, with fewer Americans than expected getting sick, fewer still dying. The world’s physicists, engineers, visionaries had all agreed with her. Humanity was going to the stars! Public opinion had been sharply divided, but Marianne and Harrison had been hopeful.

Then two things happened. First, morbidity and mortality reports came from Central Asia. Some anomaly in a genome common to that part of the world caused far more deaths from R. sporii than anywhere else. Horrific deaths, gasping for air, drowning in fluids in their lungs. There was still neither vaccine nor gene therapy for R. sporii, and the spores were apparently going to be present on Earth forever, affecting each new generation. Harrison’s team had developed a postinfection treatment for the disease, but it was expensive and distribution in Russia and her neighbors was sporadic and spotty. Already beset by ethnic unrest, the countries of the former Soviet Union attacked each other with irrational blame. Hard-liners took leadership in half a dozen countries. Hatred of Denebs, skillfully fanned for political purposes, flourished in Russia, in Ukraine, in Kazakhstan and Turkmenistan and Uzbekistan.

Simultaneously, eight species of mice died.

Who knew that the loss of a bunch of rodents could collapse the world economy? Certainly Marianne hadn’t known, but like everyone else, she learned rapidly. An ecology, as Ryan had been telling her for over a decade, was a fragile construct. Alter one major element in it, and everything else was disturbed. Those common and ubiquitous mice were—had been—a major element.

Without the mice, predators from hawks to bears did not have enough to eat. Some died; some shifted to eating such alternate prey as snakes. The snake population shrank, and their prey, such as rats and lizards, flourished. Rat-borne diseases were now rampant. Arctic wolves starved.

Without the mice to eat their seeds, some wild plants went unchecked, growing completely out of control and choking off their less hardy neighbors, which further affected their ecosystems.

Without the mice to disperse their seeds, some flora began to disappear.

Without the mice to eat insects, some species flourished, including cockroaches, some caterpillars, some beetles.

Without the mice, which in some parts of the world had eaten huge amounts of cultivated grain, farmers suddenly had bumper crops. The supply glut caused prices to plummet. Whole economies tottered.

Every market on Earth had been affected. Conspiracy theories thrived like kudzu: The Denebs were a fiction and the spore plague spread by WHO to neutralize the Russians in world politics. No, the aliens were real and were agents of the anti-Christ—see Revelations if you don’t believe me! No, they were part of an interstellar cartel crushing Earth because we would be trade competition. Sometimes the Jews were part of this cartel, sometimes the Illuminati, sometimes the Russians or Chinese or Arabs. Accusations grew more bitter, small wars broke out, and the third world struggled, often unsuccessfully, to survive.

Marianne kept giving speeches. Harrison now worked with a research team at Columbia, desperately trying to genetically alter the few surviving mice into breeds that could survive in a world where R. sporii lay dormant in every meadow, every river, every rooftop. “But,” Marianne urged over and over, “the aliens did not cause the spore cloud! Denebs are indeed human, our genetic brothers. Their intentions during their year on Earth had been good and their mistakes accidental. A ship should be built using the plans that the aliens had gifted to humanity, taking us to the stars.

But the Denebs and the spore cloud had arrived more or less together, and for a huge number of Americans, that was enough to “prove causation.” At a speech three months ago, in Memphis, she and Sissy had been pelted with eggs and tomatoes. One rock had been thrown. After the community organizer had hustled them to safety, Marianne had learned that some of the pelters had been armed with more than rocks, although no weapons had been fired.

“You need a bodyguard,” Sissy had said. “I know somebody. We can trust him.” The foundation had stretched its miniscule budget to hire Tim Saunders as her bodyguard. Ex–Special Forces, he owned a small arsenal and was licensed to use it. A week later, he moved in with Sissy.

Marianne said to the stuffed Mus musculus, “ ‘Not a creature was stirring, not even a mouse.’ ” It didn’t answer. Mus, she remembered, had once been nonnative to the United States. An invasive species.

Behind her, Sissy said, “You talking to those mice?”

“No,” Marianne said.

“Well, it’s time. Dr. Mendenhall’s here to escort you on stage.”

Marianne went to give her speech.

* * *

The Decio Mainstage Theatre held 350 seats, and all of them were filled. Marianne walked onto the stage, which featured a gorgeous proscenium arch, and stood quietly near the lectern while the dean of Sciences introduced her. The theater’s excellent acoustics carried Dr. Mendenhall’s words throughout the beautiful, high-ceilinged space with its polished, curving balustrades. Marianne, accustomed to much shabbier venues, wondered how the university could afford to maintain the theater so well. Their endowment must be enormous.

The students were too quiet. Many of them did not look like students.

The house lights had been left up. As she began to talk, the students neither stirred nor changed expression. She covered her three main points: The aliens were indeed human, our genetic brothers; all the scientific evidence confirmed that. Their intentions during their year on Earth had been good, their mistakes accidental, and they had not caused the spore cloud. The spaceship should be—

A girl’s voice, clear and ringing, called from the balcony. “You might not think it was such an accident if your uncle died of spore disease!”

A boy stood in the third row and said, “Isn’t it true the Denebs pay you to advertise this so-called spaceship?”

“Let her finish,” someone else called, and the boy sat down. Marianne hoped it would still be all right, but from the corner of her eye she saw Tim standing in the wings, tense and alert.

“Finish us, is what you mean,” someone shouted—an older voice, deep with maturity and disgust.

Dr. Mendenhall appeared beside Marianne and grasped the mic. “This university will treat its guests with courtesy. So whether you are a member of the student body or of the visiting public, you will let Dr. Jenner complete her remarks.”

They did, but Marianne could feel their anger, rising in the lovely space, a noxious gas. People murmured now, an almost infrasonic drone like a muted drill. Her words didn’t falter, but they sped up.

“In conclusion, let me just say that—”

Someone called, “How do you feel about your son Noah going with the aliens to World? Isn’t that the real reason you’re so desperate for us to go there, and why should the taxpayers fund your little family reunion?”

Mendenhall said, “Dr. Jenner has not—”

“No, I want to answer that,” Marianne said. But the background drone did not stop. She raised her voice.

“Yes, my son accompanied the Denebs to their home planet, along with nine other Terrans—as I’m sure you all already know. My family, too, has been affected by the aliens. But two points need to be made here—must be made here. First, had the Denebs not come to Earth, many more families would have been tragically stricken than actually were. Without the work that Worlders and Terrans did together aboard the Embassy, we would not have had the postinfection treatment for spore plague, a treatment that saved many. Second, we should fund the spaceship to go to World not because I want to see Noah— although of course I do—but because humanity can benefit tremendously from the kind of free exchange of ideas that have already enriched our scientific understanding of—”

Enriched!” The voice in the balcony was almost a shriek. And yet it seemed to Marianne that it also held a forced note, like a mediocre actor. “You think the aliens left us enriched, lady? My family’s farm lost everything!”

“My father’s stocks are gone!” From a seat to her left.

“The economy’s in the toilet and none of us will get jobs when we graduate, because of your fucking aliens!”

“My apartment’s overrun with rats!”

“Did you yourself ever see anybody die of spore disease?”

People were on their feet now. Some looked bewildered, students and faculty taken by surprise. Others reached into purses and bags and backpacks, and eggs and rotten fruit began to rain onto the stage. Marianne stood her ground; this had happened before. She cried, “We cannot get—” at the same moment that an outraged Dr. Mendenhall shouted, “People! People!”

The lights went out.

A shocked, disoriented moment. Then it all happened at once. Marianne heard bodies shoving, steps running toward the stage, and the sound of gunfire. Screams. Tim was on her, covering her body with his own, pulling her relentlessly to one side. He knew where he was going, even in the dark; he’d have made sure earlier of the exits. In thirty seconds Marianne was in the wings, through a fire door, hustled down a set of steps.

She gasped, “I can’t just leave Dr.—”

“Forget him,” Tim said grimly, “it’s you they want. Come on, Marianne!”

She was out another door, she was outside, she was running across a parking lot, bent low and shielded by Tim’s arm. Then she was in the car and Sissy was driving away as the first of the police cars raced toward the arts center.

“You okay?” Tim said.

“Yes, but—”

“Fucking amateurs.” He was smiling: adrenaline pumping, taut body alive. “Didn’t even block the exits. Not a clue how to organize a riot.”

“Good thing for us,” Sissy said tartly, her red curls bobbing in the rearview mirror. “Marianne, you want to go make a police report?”

“Yes,” she said. “That… that hasn’t happened before. Not so very… that hasn’t happened.”

“Folks are riled up,” Tim said, without rancor. He was still grinning.

Marianne turned away and stared at the darkness rushing past the car window.

She had never seen a person die of spore disease. Only mice.

* * *

One speech in Ohio and one in Pennsylvania, neither violent. The three of them took turns driving the Ford minivan back to New York. Somewhere near Harrisburg, Marianne was at the wheel, Sissy beside her, Tim folded up in the backseat, asleep even though it was only late afternoon. Thin April sunshine cast long shadows on empty fields beside the turnpike. One long stretch was littered with downed trees; a tornado had come through here a few weeks ago. April was the start of a robust tornado season in a state that, once, had seldom experienced them.

Sissy said quietly, “You don’t like this.”

“April? No. I never did.” Kyle had died in April, which every year brought grief not that her alcoholic husband was dead of cirrhosis, but that her main emotion had been relief. Surely a long marriage—any marriage—deserved more than that.

“Not April,” Sissy said. “You don’t like giving speeches. But you were a teacher.”

Marianne smiled, grimly. “I lectured mostly to graduate students who were eager to hear me. Or if not eager, at least resigned—not like these speeches. Nobody in Bio 572, Theories of Punctuated Evolution, was armed.”

“But you do it because you think it’s important. That’s really brave, Marianne.”

Tears blurred the road; immediately Marianne blinked them away. Why couldn’t Ryan or Elizabeth see it like that? Elizabeth, now transferred to Texas, blamed the Denebs for wrecking the economy. And Ryan… Marianne did not want to think about what Ryan said, or had done.

Sometimes she imagined that Sissy was her daughter. That brought more guilt; it seemed a slight to her actual daughter. But Sissy gave Marianne more understanding, more warmth, more support than anyone else.

They had met a year ago when Sissy had walked into the tiny office of the Star Brotherhood Foundation office and said, “You need me.”

Marianne had been having a bad day. She looked at the fantastic figure in front of her: a small black woman with purple curls that looked fresh from a Van der Graaf generator, tight jeans, and a tee sewn densely with beer-bottle caps. She snapped, “No, I don’t.”

“Yes, you do. I’ve been at your last three speeches. You were late for one because you packed in too many appointments—you told the audience that. You got hoarse at one because you didn’t bring a bottle of water and nobody supplied you. The PowerPoint didn’t work right at one because nobody checked it. And look at that pile of papers on your desk—your filing system must be shit, if you have one at all. My name is Sissy Tate and I’m a top-grade administrative assistant. Here’s my résumé and references. I don’t care if you can’t pay me much because I believe in what you’re doing.”

Marianne stared at Sissy. An infiltrator from one of the hate groups? It had been tried before. “Who do you work for?”

Sissy gave her a thousand-watt smile. “For you, Dr. Jenner. And brotherhood with Denebs. What’s wrong with people that they cain’t see how huge it is that we ain’t alone in the universe?” When Sissy got excited, her correct English slipped into something else. Her intelligence and idealism, however, were unwavering. Even before the exhaustive background check, Marianne knew she would hire her. This girl had something. This girl was something.

Sissy had proved as efficient as she claimed. Their friendship, however, crossing generational and racial and educational lines, had nothing to do with Sissy’s job.

In the backseat, Tim stirred. “We there yet?”

“No,” Sissy said. “Go back to sleep. You’re amazing, the way you sleep anywhere.”

“Wish I didn’t. Sleep’s a waste of time.”

“But how else will you dream of me?”

Tim laughed. “Pull over—my turn to drive.”

They all changed places. City lights shone by the time they reached New York. The Holland Tunnel was no longer safe; the city had limited money for infrastructure repair. The Lincoln Tunnel now closed at 10:00 pm. Tim drove over the George Washington Bridge and headed south to Columbia University.

“God, I’m tired,” Marianne said.

Sissy turned to smile at Tim. Neither of them looked at all tired. Sissy was thirty-two, Tim thirty-seven. Marianne caught Sissy’s half-lowered eyelids, her hand creeping toward his neck. “Marianne, we’ll drop you first and bring the car back in the morning, okay?”

“Sure,” Marianne said brightly. Jealousy of the night ahead of them was stupid, juvenile, contemptible. She felt old.

Harrison was awake, waiting for her in their apartment in the security-fortified area near Columbia. He sat sipping scotch and frowning at something on his tablet. “How did it go?”

“Fine. Some trouble at Notre Dame, but nothing Tim couldn’t handle.” She said it lightly; Harrison didn’t like Tim, although he had never said so. But Marianne knew, and knew why. Harrison was the most intelligent man Marianne had ever met, decent and kind. But he was fifty-nine, spent his days in a lab, and was losing his hair. Tim was thirty-seven, worked out two hours a day at the gym, and had hair that hung thickly to his shoulders.

Nobody was above jealousy.

Moved to affection, she sat on the arm of Harrison’s chair and hugged him. “I missed you. What happened here?”

“Some disturbing data.” He pulled away from her, and she removed herself to another chair.

“What data? On the mice?”

“No. This study in Nature. Karcher is the lead researcher.” He held out the tablet.

Marianne didn’t take it. Nature was one of the most respected multidisciplinary peer-reviewed journals in the world, and James Karcher was a Nobel Laureate in medicine. But she was tired, and Harrison’s tiny rejection hurt. There would be no sex tonight. Like most other nights.

More guilt. She only felt juiced up because of Tim’s disturbing, utterly forbidden presence. “Tell me what Karcher says.”

“It’s a statistical analysis, so I suspect his postdocs did it and his name is on it mostly so it will be noticed. Which it should be. It’s about a significant increase both in reported agitation and in hearing problems among children born since the spore cloud. We knew about the hearing issues, of course, but nobody has quantified the data and related it to infant agitation.”

“How is that related to R. sporii?”

“Well, that’s the point, isn’t it? We know hardly anything about its genetic effects on fetuses. It’s only been two and a half years, and very few infants have brain surgery or MRIs.”

“Why are you especially interested?”

Harrison put the tablet onto a side table and poured himself another scotch. Marianne was startled. Harrison seldom drank more than one, and never when alone. Was this his second, or more?

“Two reasons I’m interested,” he said. “First of all, Sarah is pregnant. Second, while you were gone, two more P. maniculatus were exposed.”

Sarah was Harrison’s daughter, as difficult a child as Elizabeth, and nearly forty. A dozen deer mice, Peromyscus maniculatus, were among the precious plague-free specimens salvaged by Columbia. In the years since, they had been bred in their negative-pressure pens; there were now plenty of mice for research. Not that it had helped much. If the mice were given spore disease, they died. If not, they lived. Nothing so far had altered that. But Harrison’s tone was serious. She said, “Go on.”

“It was tricky. We got two does pregnant, let them carry partway, and exposed them to R sporii. We let the pregnancies continue until the mice showed symptoms, then took the fetuses before the mothers died. So did all but three of the pups, and we only got a viable three because the gestation period is so short. We put them to nurse with another mouse. Communally living females will do that, you know. One of those died and we autopsied it. Really difficult, on such a small and incompletely developed brain.”

“So I should imagine.” Despite her tiredness, Marianne was fascinated. Between speeches she served as lab tech for Harrison, but as a theoretical geneticist, she had nothing like his polymath skill in biology. “What did the autopsy show?”

“Again, hard to be sure. But certain parts of the cortex seem enlarged. Sue is preparing slides. And the two surviving pups are just hanging on. They nurse, which is good, but they also seem agitated and edgy.”

“How does a tiny mouse seem agitated?”

Harrison smiled. “The same way Sissy does. Twitchy unfocused energy.”

This was unfair; Sissy’s great energy was very focused except when she didn’t have enough to do. Those times, she danced in place, snapped her fingers, sang off-key. Marianne had learned to keep her busy all the time. But she let Harrison’s remark go; he was genuinely upset.

She said gently, “Twitchy mice don’t mean that anything will be wrong with Sarah’s baby. Some kids are just born very reactive, like Connie’s youngest. How far along is Sarah? Has there been an ultrasound?”

“Four months, and yes. The ultrasound looks normal. I’m going to bed, Marianne. But I’m glad you’re back.” He drained his scotch and went into the bedroom.

But I’m glad you’re back.” That “but” said it all: I’m glad you’re back, but I have too much on my mind for sex. Well, she already knew that.

She checked her e-mail, giving Harrison time to pretend to be asleep. Nothing interesting except the latest photo from Connie of Marianne’s two grandsons. They stood side by side in the backyard in their little red parkas, beside a bare-branched sapling no taller than Colin. Jason’s arm was around his little brother. Jason smiled; Colin looked ready to burst into tears. Only thirteen months apart—what had Connie been thinking? The boys didn’t look alike. Jason was slim and brown-eyed. Colin was a little Ryan, short and round, his two-year-old face pudgy around huge gray eyes.

Ryan pulling Noah on a sled, both of their faces red with cold and excitement: “Come on, let’s slide down again!” “Mommy, I love this so much!”

Marianne closed the e-mail and turned on the news. Tornados in Oklahoma and Kansas. Building of the US spaceship still halted; a conservative Congress had been arguing over funding for two years. The private firms trying to build spaceships did not give interviews, or release pictures, not since the NCWAK, No Contact with Alien Killers, had blown up Richard Branson’s effort. Starvation in Africa, war in northern China, dead zones in the ocean…

She turned off the wall screen, poured herself a glass of Harrison’s scotch, and picked up his tablet to read the article in Nature. She couldn’t concentrate. After a while she lay down on the sofa, put her hand between her legs, and tried to not think about Tim Saunders.

 


CHAPTER 13
S plus 2.6 years

Some people had more smarts than sense. Not that Sissy Tate hadn’t known that before she went to work for Marianne.

Look at Marianne now, bent over her messy desk, reading yet again that printout about the kids that cried all the time. Sissy had tried to read it because her sister Jasmine had just had another kid. Not that Sissy wanted to ever see Jasmine again, but word about the baby had reached Sissy through Mama. The article had been full of statistics and equations and terms that Sissy didn’t understand—she’d only gone through a secretarial course—but she’d gotten the gist, which was that everybody was fucked all over again by the spore cloud. Babies cried, sure, but they only started crying all the time and never smiling if they’d been buns in the oven since the spore cloud hit.

Marianne understood the article, though. She typed some numbers from it into her computer, whose screen was already full of different numbers, and started running some program on them. The back of Marianne’s head showed gray hair along the roots—Sissy would need to nag her into another appointment at Subtle Beauty. Some people didn’t make the most of what they had without somebody else nagging at them all the time. Marianne was bat-shit lucky to have Sissy taking care of her.

Not that Sissy didn’t know that she herself was the lucky one. She had this job, which paid about as much as flipping burgers at McDonald’s but which actually accomplished something important in the world, something she could believe in. She had gotten out of the Bronx and got some education, even if (she knew this now, after visiting real colleges with Marianne) it wasn’t a very good education. She had sweet, sexy Tim. And she had Marianne, who’d turned out to feel more like family than her own family ever did. And fuck anybody who said different.

Sissy sat at her own desk, whose polished surface had on it one laptop and one piece of paper, and finished making the online travel arrangements for the next speech. They’d fly, and the sponsor was even paying for three round-trip airline tickets. Tim didn’t like the venue, a high-school football stadium, because it would be hard to keep Marianne safe. They expected a really big crowd. The sponsor wasn’t a college this time but a pro-spaceship lobbying organization, Going to the Stars. Sissy had investigated it online. It looked legit, and not too crazy.

Not that “crazy” would stop Marianne. She was going to give her speeches no matter what. She spent three days a week in this tiny office, writing and reading science. Ecology, mostly. Which was another thing that was fucked, pretty much everywhere, and not just because of the mice. Sissy’d been reading about all the droughts in the Midwest because everybody had mismanaged all the crops.

“Damn!” Marianne said.

“What?”

“Here’s an article—an autopsy report, actually—on a two-year-old who died in a car crash. The father donated the brain to—”

“He let somebody cut out his kid’s brain?”

Marianne turned in her chair to look at Sissy and said gently, “The child was dead.”

“I don’t care! I wouldn’t let anybody cut up my dead kid!”

“Sissy, you’re a mass of contradictions. You admire science; this is how science advances. That father did a wonderful thing.”

Did he? Maybe. Sometimes Sissy couldn’t tell how the ideas from her old world and the ideas from her new world should line up in her mind. But the important thing was to learn all she could. Sometimes since she’d come to work for the Star Brotherhood Foundation, she felt like a flower opening up to the sun for the first time. Other days, new things felt like cold rain. She said belligerently, knowing that her belligerence was a cover for confusion, “What did the autopsy show?”

“Well, it’s more what it seems to show, which is either enlarged or deformed primary auditory cortex, with unusually dense neural connections to the midbrain and brain stem.”

Sissy seized on the part of this she could understand. “What do you mean, either that thing is enlarged or it’s deformed? Can’t they tell which?”

“Not really.” Marianne swiveled her computer chair to face Sissy. “We don’t know much about the parts of the brain that process sound. It’s really complex, and to make it more complex, no two human cortices are the same. This might mean nothing. But Harrison’s mice…”

“What about Harrison’s mice?”

“I don’t know yet. I just don’t—I need to do a lot more reading. What else is on my schedule for today?”

“Fund-raising dinner in Tribeca.”

“Damn. Can’t I—”

“No. You have to go. This lady has money and she’s willing to give us some.”

Marianne glanced at her computer screen, back at Sissy, back at the screen. “How much money?”

Sissy decided to be honest. Not that she wasn’t usually honest with Marianne. “Probably not that much, but—”

“Tell them I’m sick and reschedule.”

“But Tim says it’s important you show up so nobody thinks you’re scared off because of that attack at Notre Dame.”

“I am scared.”

“I said ‘scared off.’ Anyway, it’s too late to reschedule.”

“You’re a hard taskmaster, Sissy Tate.”

“Tim is going to pick you up in an hour at your place so you better go home and get ready. You aren’t going to wear that, are you?”

“No. I’m going to wear sackcloth and ashes and mourn my reading time.”

“Little lady, you’d look good even in that rig-out and that’s just the God honest truth,” said a voice behind them. Sissy whirled. How had anybody gotten in here and was he armed and— But Tim stood beside the intruder, and Tim was grinning.

Sissy felt her insides draw up and back, like a rat getting ready to fight. She knew who this was. She’d seen him just yesterday on the news.

Jonah Stubbins was even taller than Tim, and about 150 pounds heavier. He was dressed in what Marianne had once called Full Sunbelt: yellow shirt, khakis, white belt and shoes, bolo tie. He seized Marianne’s hand. “Dr. Jenner, I’m real glad to meet y’all!”

Sissy saw that Marianne was holding her breath. Stubbins saw it, too. He laughed. “Aw, I ain’t wearing none of my product, Doc. Y’all are perfectly safe from… whatever. Unless a’course you don’t wanna be!”

Marianne freed her hand and said icily, “I don’t understand why you are here, Mr. Stubbins. Tim—”

“Sure you understand. You and me, little lady—may I call you Marianne?”

“No.”

“All right. But we got interests in common. You already knew that, din’t you?”

“I—”

“Don’t say nothing till you hear me out. You Eastern types allus too quick to get to jawin’. I’m here to make y’all a donation. A real big one, that you don’t expect. That’s why your bodyguard showed me up here.”

A donation. From Jonah Stubbins. Sissy looked at Marianne, who said, “I don’t think so.”

“Then think again. Just hear me out, little lady, that’s all I ask. Right now, anyways!”

“I am not a ‘little lady.’ And you are not a viable donor to the foundation, however much you might think our interests align. Lastly, I’m not fooled, not amused, and not charmed by your folksy presentation. You have an MBA from Harvard, for God’s sake, which you have misused to criminal levels.”

Sissy caught her breath. She’d never heard Marianne be rude like that.

Stubbins did not leave. Instead he altered his body, somehow becoming less mountainous, less looming, less gaudy. He said, “That’s a great relief. I do get tired of my business persona, you know. But it’s even more of a relief to realize I wasn’t wrong about you. You have the backbone to perhaps succeed at your foundation’s mission, to sway public opinion by inches, until it reaches the tipping point. Because our interests do align, Dr. Jenner. We both want a starship built. However, I know the government can’t, or won’t, get the job done. No surprise there—I’m a Libertarian and we Libertarians know that government can seldom get anything right because responsibility is diffused and unaccountable. So I’m getting it done, even if it takes my entire fortune.”

He waved his hand like the fortune was right there in front of him, and somehow Sissy could see it: piles of gold and diamonds and rubies like in a storybook.

Stubbins continued, “Now, you don’t want to accept my donation because first, you don’t like my products. That’s irrelevant. Second, you’re afraid that I’ll want something from you, that there are strings attached to my donation. There aren’t. I only want you to go on doing what you’re doing. And third, you think that if you’re associated with me, your cause will suffer. Well, it won’t, because my donation will be completely anonymous. Not even the IRS can trace what I don’t want them to.

“You know and I know—the whole word knows—that if environmental conditions on Earth trend the way they are now, with ocean pollution and superstorms and desertification, in three or four generations this planet will be almost uninhabitable. Escape from Earth is humanity’s strongest hope for survival. I know you agree with me on that—your speeches quote Stephen Hawking and Freeman Dyson and Paul Davies on the subject. People like me are the only ones getting the job done. So take my anonymous donation and add your bit to a private lifeboat for humanity.”

Sissy felt dazed. Some of those words were straight from Marianne’s speeches. Marianne looked dazed, too. Was this devil using one of his products on them? Sissy wanted to move closer and sniff, but then the perfume might get her, too.

Marianne said, “How can I be sure your donation will really be anonymous?”

“Because I’ve made them before, to other groups working in my interests. You know some of the recipients.” He pulled a piece of paper from a pocket. “Ask them, privately and in a place you’re sure isn’t bugged. Here, take the list, it’s going to erase itself in a few minutes.”

Marianne took the paper. “I can’t give you an answer now, Mr. Stubbins. I need to consider.”

“Of course. My personal phone number is at the bottom of the list. It won’t erase. Only ten people in the world have that number. You’re the eleventh. Also, here is the figure I’m prepared to donate anonymously to your foundation. Call me. Good-bye, Dr. Jenner. A pleasure.”

He lumbered out and Tim locked the door. When he turned back to face Sissy and Marianne, his blue eyes shone like lighthouses. “It’s a lot of money. You gotta take it, Marianne.”

No,” Sissy said, and it came out almost a shout. Not that she didn’t feel that strongly about it. But she lowered her voice. “I don’t trust him.”

Marianne gazed down at the list. Sissy, not good at reading upside down, saw only that it held six or seven names and some numbers before the names abruptly vanished and Marianne crumpled the paper in her fist.

Tim said, “Fuck me! How did it do that? Marianne, we gotta take his money.”

“No,” Sissy said. And again, “No.”

* * *

Jonah Stubbins was an unlikely multibillionaire in a high-tech electronic age, more like P. T. Barnum than Bill Gates or Mark Zuckerberg, although Stubbins’s fortune now rivaled Gates’s. Stubbins had been born country-shucks poor, in the hills of Appalachia, which he’d hated enough to hike out of on the day he turned sixteen, bringing with him nothing but clothes, a rifle, and an untutored brain. Still, the meth labs of his violent kin had imbued him with three things: a hatred of poverty, a respect for chemistry, and a light regard for the law.

The next few years of his biography were murky, defying even journalists to discover where, how, and with what he had survived. But at twenty-two he enrolled in a third-rate college, tested out of most subjects, and emerged a year later with a degree in chemistry. By that time his good-ol’-boy façade was firmly in place, and he kept it through Harvard, which he attended on scholarship. He had already founded his fledgling company, and the applications committee was impressed. Nobody at Harvard liked Stubbins, not the legacy babies nor the brilliant nobodies nor the faculty. Nobody understood why he kept up his pose of illiteracy, despite stellar grades. In fact, nobody understood anything about him. But by the time he had his MBA, everybody knew who he was.

His company, like many start-ups, began in a garage. The garage belonged to the first of his many wives, who’d received it in the divorce from the first of her many husbands. The product was perfume.

“Perfume?” Carla Mae had scoffed. “What the fuck do you know about perfume?”

“Nothing a’tall,” Jonah had said. “But it ain’t regulated by the FDA, and the industry’s going about its job ass-fuck wrong. You don’t want to make people smell like flowers or fruit or beaches. You want to make ’em smell like sex. Or like what suggests sex.”

A year later he brought out, in tiny cheap bottles, a musky oil called Sleep With Me. The equally cheap advertising campaign promised that wearing it would induce desire in whoever smelled you. Unlike every other perfume ad that ever existed, this one told the truth. Developed from a secret formula that Stubbins’s genius for chemistry had based on human pheromones, Sleep With Me created desire as effectively as ecstasy combined with Viagra. The desire was not irresistible, of course, human beings still having enough free will to overcome lust if they really wanted to. Legions of smellers did not want to.

The second year, the company went public. The third year, it brought out a perfume that induced a desire to obey—very subtle, perhaps no more than the same effect created by an authoritative stance in a charismatic personality. But most people were not charismatic. I’m In Charge Here was just as big a success as Sleep With Me. The lawsuits began, and Stubbins hired the best lawyers he could find. So far, neither the government nor class-action suits had succeeded in getting any of his four products off the market.

Sleep With Me. I’m In Charge Here. Ain’t We Got Fun! Trust Me. All patented, all ravenously bought and used and then bought again because who wouldn’t want to be desired, obeyed, delighted, or trusted? Whether the “perfume” actually affected the person who smelled it or altered the natural body chemistry of the wearer was not conclusively proved, despite many attempts by scientists and many outraged articles by journalists. Perhaps the whole thing was a mass-hysteria placebo effect multiplied by a brilliant ad campaign. The public, even in a depressed economy, didn’t care. They bought the small, expensive, distinctively green bottles with the outrageous names.

Stubbins put his MBA to good use, shrewdly diversifying and investing. When the spore clouds wrecked the global economy and entire countries went bankrupt, his personal economy dipped only a small amount. That was due in part, persistent rumor said, to bought congressmen and illegal lobbying and ruthless dealing with would-be competitors. Jonah Stubbins merely grinned at the allegations, and shuffled his feet, and made yet more enemies. He was forty-six years old and he owned the world.

And this was the man who now wanted to donate to the Star Brotherhood Foundation! Marianne sat at that evening’s fund-raiser, which would net at most donations of a few thousand dollars, and made mechanical conversation with overdressed women and their mostly preoccupied husbands. She gave her brief after-dinner speech without really hearing her own words. Jonah Stubbins! His spaceship, constructed according to engineers’ interpretations of the plans left by the Denebs, was the furthest along since domestic terrorists had blown up Branson’s ship. Stubbins was serious about this. And the figure he had written on the erase-o-paper was staggering. The foundation could create TV and Internet spots, pay for ads, hire another speech-giver.…

She sat down to polite applause. Conversation resumed. That man at the next table, leaning in so eagerly toward that woman—was she wearing Sleep With Me? Were either of the two women at the end of her table, who appeared to be discussing a business deal, scented with Trust Me or I’m In Charge Here? Did any of that stuff actually work? Well, yes, Sleep With Me did, there was independent-lab verification for that, but sexual-arousal hormones had been researched and studied for decades. The others might just be smoke and mirrors.

But Stubbins’s money was real.

“Well,” she replied to whatever it was that her host had just said, “that is interesting. Tell me more.”

* * *

Marianne sat in the front seat of the rented minivan beside Tim, who drove too fast north on Route 87 from New York to Tannersville. The college where Marianne had taught was there, and so was Ryan’s home. Colin had turned two a month ago and, finally, there was to be a family celebration.

“I can drive myself,” Marianne had said. “Or take the train.”

“Amtrak isn’t reliable,” Sissy had said, “especially north of Albany. You know that, Marianne. Look what happened when you tried to get to Pittsburgh for that speech.”

“Pittsburgh isn’t north of Albany.”

“Tim’s driving you,” Sissy said. “That’s what a bodyguard does, he guards people. Am I right, Tim?”

“Always,” Tim said, not looking up from the videogame on his tablet.

Sissy snorted. “Yeah, right. But I’m right this time, Marianne. Tim should drive you. Why wouldn’t you want him to?”

Tim raised his blindingly blue gaze from his tablet. Sissy stared at Marianne. Danger, danger. She loved Sissy like a daughter. Tim’s long legs sprawled across Marianne’s office in black jeans and boots. He smelled of leather and masculinity.

Marianne had made herself shrug. “No reason. Okay, Tim, you drive.”

Now she sat beside him, hunched over her tablet as the slowly greening spring landscape slid past. She concentrated on Harrison’s research notes, and only on that.

If only mice weren’t so damn tiny! Adult Mus weighed on average half a pound. As far as Harrison could tell, and it wasn’t very far, the brains of sacrificed mice showed the same abnormal tissue growth as those of the deer mice. Which might or might not have been the same as the autopsied child, which in turn might or might not have anything to do with Karcher’s statistical analysis of increased agitation among children born since the spore cloud. Many, but not all, of these children were deaf, and deafness did not ordinarily increase infant agitation. The data simply did not yet yield enough correlations.

Marianne looked up from her tablet and rubbed her eyes. Elizabeth was flying up from Texas for the birthday party. It would be the first time they had all been together since the Denebs left.

No, not all together. Noah was gone. Every time Marianne thought that, it was as if for the first time. She would never see Noah again. Was he happy, out there on an alien planet, with an alien wife? Probably Marianne would never know.

Tim said abruptly, “You should take the money.”

The interruption was welcome. “Stubbins’s money?”

“Yeah. We can use it. And who cares if he makes perfume? Money is money.”

Curiosity overrode prudence. “Have you ever used any of his scents?”

“Once I tried I’m In Charge Here, when I was Special Forces. It didn’t work too good. My CO didn’t believe I was in charge.” He chuckled, a low lazy sound that went straight to Marianne’s primitive brain.

She said, “I’m going to take the money.”

“Good. Sissy won’t like it, though.”

“I know.”

“It’ll be okay.” He began whistling, and Marianne went back to Harrison’s notes.

Was Ryan and Connie’s youngest, Colin, among the children with hearing problems? That was one of the things she wanted to find out at this family gathering. The other thing she wanted to know from Ryan, she could never ask. Maybe Tim’s presence would be useful, after all. With an outsider present, her family could not get too personal with each other. They had never done well with personal.

* * *

“Grandma! I’m three!” Jason held up three fingers of a candy-smeared hand.

“What a big boy!”

“And Colin’s two!” Two little fingers.

It would be okay. Ryan, Connie, Jason, Elizabeth—they all met her, smiling, on the porch of the little house. This was just a normal family gathering, and everything would be okay.

Within the hour, none of it was okay.

Colin, the birthday boy, cried constantly, a high thin wail. Marianne walked him; Connie fed him; Jason brought him toys. Only food quieted him, and then only briefly. He looked underweight. Elizabeth, who did not like children, asked Jason to show her his sandbox, just to get out of the house. Ryan, looking strained, dressed Jason in his jacket and sent him outside with his aunt.

“She shouldn’t have come,” Ryan said to Marianne as they stood in the hall. In the living room, Colin cried. “Already Elizabeth’s started that old drumbeat about law and order. Connie isn’t up to this.”

Marianne said carefully, “Connie looks really tired.” The hallway rug was stained, the walls bore crayon marks, a houseplant looked dusty and parched. Connie had always been a meticulous housekeeper.

“Of course she looks tired,” Ryan said. “She doesn’t ever get uninterrupted sleep. Colin just cries and cries. Jason wasn’t like this.”

“Every child is different,” Marianne said, and immediately regretted the fatuous truth. It was no help.

“Did any of us cry like this?”

“No. I guess I was lucky. Ryan, Connie looks like she’s lost a lot of weight. Has she seen a doctor?”

“She has an appointment next week. Colin, too, although the doctor appointments never seem to help.” He ran his hand though his hair, already going thin on top.

“If you need money for a night nurse or other household help.…”

“No. We don’t. And I know you don’t have any to spare. But thanks, Mom.”

He had always been like that, reluctant to accept help. “Me do it,” he’d said as a little child, never belligerently but as a statement of fact. Self-contained, self-reliant. And always, always secretive.

Ryan, did you do it?

Did you aid the organization that tried to blow up the Embassy? She could never ask him. If he had done it, he wouldn’t tell her. If he hadn’t done it and she accused him, the fraying tie between them might snap for good. Instead she said, “Jason is so excited about Colin’s birthday.”

He smiled faintly. “Well, three—an excitable age.”

“He seems to love being a big brother.”

“Yes. We haven’t seen any sibling rivalry at all. Jason constantly tries to console Colin.”

Something small to be grateful for. Sibling rivalry with Elizabeth and Ryan had made Noah feel he could never measure up, had set him adrift. Maybe Ryan and Connie were better parents than she and Kyle had been. Well—not a very high bar.

Everyone kept conversation focused on the children. Jason ate cake and helped Colin to open his presents. Colin cried. During one of his rare exhausted periods, Marianne held him on her lap. Tears stained his tired little face. She played a game of snapping her fingers to the right, to the left, above his head. Colin tried to grab them, until he again began to cry. Whatever his upset was, the baby didn’t have hearing problems.

During dinner, Colin blessedly slept. The adults, plus Jason in his booster seat, sat around the table, eating too fast, trying to get through the meal before Colin woke up. Tim had spent much of the afternoon prowling around the outside of the house, in the woods, and below the windows. Ryan and Connie were polite to him but basically uninterested. Elizabeth, however, kept glancing from Tim to Marianne. Marianne had made a big point of saying that Tim was her administrative assistant’s boyfriend. It did not stop Elizabeth’s glances. Conversation did not flow well.

Into a lull, Tim said, “I saw a wolf in your woods. Do you have a pack?”

“Yes,” Ryan said, “down from Canada. Just this winter.”

Connie said, “I worry about Jason every minute he’s outside.”

Jason, his mouth rosy with beets, mumbled, “Don’t worry, Mama.”

Tim smiled. “If there’s an adult with Jason, ma’am, then wolves won’t attack.”

Elizabeth said, “Are you a woodsman, then?”

“Was.”

“And you’re licensed to carry all three weapons you have with you.”

Tim’s eyes narrowed. “Yes, ma’am. But I’m curious how you know there’s three.”

Marianne hastened to blur the battle lines before they could harden. “Elizabeth’s with Border Patrol in Texas. And Tim’s ex–Special Forces.”

Elizabeth and Tim regarded each other even more closely, but with grudging respect. Ryan, however, frowned. Connie was still fixated on the wolves.

“Are you sure a wolf wouldn’t attack an adult? I saw ours, just last week, and it looked skinny and hungry enough to eat anything.”

Ryan said, “That’s because there are no mice for them to eat. In fact, I’m surprised wolves have survived at all.”

Tim said, “Wolves are survivors. They can make it no matter what happens.”

“Well, no,” Ryan said. “They almost didn’t survive humans. By 1940 there were only a handful of wolves left in the entire United States.”

“Don’t matter,” Tim said. “Like you said, they just retreated to Canada, ready to invade whenever the time was right. Biding their time. I hear other species do that, too. Can’t stamp ’em out, so you got to live with ’em.”

Ryan put down his fork and said evenly, “You’re talking about purple loosestrife.”

Tim said, “About what?”

Elizabeth said, “No, he’s not, Ryan—not every conversation is about purple loosestrife. He’s talking about Mom’s aliens.”

Tim said, “What’s purple loosestrife?”

Marianne said, “They’re not my aliens.”

“Sure they are,” Elizabeth said. “You helped make them welcome and now you want the ship built to go visiting.”

Ryan, for once his sister’s ally, said quietly, “She’s right, Mom. The Denebs were an invasive species, and now we’re reaping the consequences of having them here. You know that as well as anyone.”

Jason looked from his father to his grandmother. Marianne pressed her lips together and said nothing. Let the discussion die here. Connie, uncomfortable with friction of any kind, said brightly, “Who’d like more cake?”

But Tim said to Ryan, “Your mom’s right, you know. We should go to the stars. I mean—wow!”

Elizabeth said tightly, “No matter what the cost.”

“We already paid the cost,” Tim said. “So why not at least get what we paid for?”

“A great philosophy,” Elizabeth said. “The Children’s Crusade is already slaughtered, so why not have tea with the Saracens.”

“Who?” Tim said.

Ryan said, calmly but with a little too much emphasis, “An invasive species always disrupts an ecology. In this case, the ecology is the entire globe. It may end life as we know it. What, in your opinion, Tim, is worth that?”

Tim’s blue eyes glittered. “I didn’t say it was worth it. I said it was done. Take an even strain, man.”

Ryan said, “I’d rather you didn’t tell me how to behave in my own house.”

“Or more coffee!” Connie said desperately.

Elizabeth said, “The Deneb visit was a disaster. The follow-up is a disaster. Any return contact will be a disaster. That’s just the fucking truth, and you, Mom, won’t face it.”

Jason said, “Aunt Lizzie said a bad word!”

“Yes, darling, she did,” Connie said. “Elizabeth—”

“All right! I apologize for the word but not for the sentiments! Tim, you don’t know what you’re talking about. Come down to Texas and see what the Denebs’ ecological interference has done there. If you were anything but an urban New Yorker, you’d realize the full devastation.”

“I’m from Oklahoma,” Tim said. “Don’t patronize me.”

Marianne said, “The starship—”

“Will never be built,” Elizabeth said. “The plans are too different, too alien. Don’t you read about the difficulties human engineers are having in interpreting them?”

“Of course I do. Don’t patronize me, Elizabeth. Difficulties are not permanent impasses. Along with the advanced physics the Denebs gave us, we—”

“We what?” Ryan said. “Are farther ahead? The entire global ecology is becoming untenable. Invasive species—”

“We are the same species as the Denebs!” Marianne said. “The same species as Noah!”

She hadn’t meant to say it. It just burst out, driven by… everything. They all looked at her, even Jason, from wide eyes. The silence stretched and stretched, like taut cable. Before it could snap, Elizabeth murmured, “Let’s not discuss Noah. Connie, I will have more cake, thank you.”

Everybody reached for food, or resumed eating, or pretended to eat. Connie said to Jason, “You ate all your beets! Good boy!”

“I like beets,” Jason announced. “They’re red.”

“So they are,” Ryan said.

“Carrots are orange.”

“Clever boy!” Elizabeth said.

“Oranges are orange, too.” This struck Jason as funny; he giggled.

The adults exchanged strained smiles. Marianne avoided Ryan’s gaze. Did you? Did you?

In the next room, Colin began to wail.

* * *

All the way back to New York, after a night when Tim slept on Ryan’s sofa and Marianne barely slept at all, neither of them said a word.

Grateful for this uncharacteristic tact, Marianne dozed, or gazed out the window, or turned on the radio to a station of classical music, without words. She’d had enough words. Fields and towns and boarded-up malls flew by.

One good thing: between exhaustion and worry and disappointment, Tim’s nearness did not disturb her at all. Sometimes you had to be grateful for what you could get.

Excerpted from Tomorrow’s Kin © Nancy Kress, 2017

The Time for Peace is Ending: Revealing Dark State by Charles Stross

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We’re excited to share the cover for Charles Stross’ Dark State, a sleek and provocative techno-thriller set in The Merchant Princes multi-verse. Dark State ups the ante on the already volatile situations laid out in Empire Games, as Stross dives deep into the underbelly of paratime espionage, nuclear warfare, and state surveillance.

Check out the full cover and read an excerpt from the novel below!

Dark State publishes January 2018 with Tor Books and Tor Books UK. From the catalog copy:

In the near-future, the collision of two nuclear superpowers across timelines, one in the midst of a technological revolution and the other a hyper-police state, is imminent. In Commissioner Miriam Burgeson’s timeline, her top level agents run a high risk extraction of a major political player. Meanwhile, a sleeper cell activated in Rita’s, the Commissioner’s adopted daughter and newly-minted spy, timeline threatens to unravel everything.

With a penchant for intricate world-building and an uncanny ability to realize alternate history and technological speculation, Stross’ writing will captivate any reader who’s a fan hi-tech thrillers, inter-dimensional political intrigue, and espionage.

 


 

Moscow Rules

New London, time line three, August 2020

Rita Douglas’s head was spinning.

It had been scarcely twenty-eight hours since her reconnaissance mission to the time line codenamed BLACK RAIN had gone spectacularly bad, culminating in her capture and interrogation by the National Transport Police in the city of Irongate, near Philadelphia in time line two. The detention of a world-walker from the United States had ignited a firestorm of political maneuvering in the Commonwealth, as different agencies vied to capture her. Then the enigmatic Miss Thorold of the DPR had shown up in Irongate with a warrant and a helicopter to spirit her away to a secret meeting in the capital with a very senior politician—a woman who claimed to be her birth mother—which ended badly.

But now they were letting her go. It seemed almost too good to be true.

In the outer office they gave Rita a leather shoulder bag to hold the diplomatic letters and a DNA sample to prove the identity of her high-ranking contact. Then Inspector Morgan and Miss Thorold—her wheelchair pushed by her bodyguard—escorted Rita back out to the helicopter-like aircraft waiting on the pad behind the ministerial palace. There were no handcuffs or blindfolds this time. None were needed, for she was going home. She ought to have been happy, or at least relieved. Instead of facing further interrogation, she was going home to report to Colonel Smith. Instead of being buried in a prison cell she’d be able to sleep in her own bed, or her girlfriend Angie’s. She should have been happy, but instead her stomach was a pit of curdled despair. I fucked that up brilliantly, didn’t I? The look on the evil queen’s face when she said I was younger than you are now was going to haunt her dreams.

The guard helped Miss Thorold into the seat beside Rita. Rita accepted a headset as the aircraft screamed into mechanical life, small jets howling at the tips of each rotor blade. As they lurched into the air, she felt so mortified she half-wished the gyrodyne would crash. The moment passed. Then, a minute later, Miss Thorold poked her sharply in the fleshy part of her upper arm and spoke through her earphones. “Well done, kid. Very well done. I hope you’re proud of yourself.”

“Proud of what?” Rita said defensively. She wrapped her arms around the shoulder bag. “You set me up! You set us both up. And it’s true. She put me up for adoption. She abandoned me.”

“I see we have some issues to work through here.” Olga gave her a critical look. “She was twenty-three. Had it occurred to you that it might not have been a decision she made on her own? I’d tell you to ask her mother, but Iris died fourteen years ago.”

“My grand—” Rita made a fist of her left hand and jammed it against her lips to hold back the scream of frustrated anger she could feel building inside her.

“Iris was always good at manipulating Miriam,” Olga added after a while. “Miriam only really thrived once her mother was gone. This is a horrible thing to say, but Iris was a tyrant. Quite, quite ruthless, although she had her reasons—mainly her own mother. But as I understand things, Iris simply didn’t want to have a baby around in those days. Especially—in her eyes—a half-caste bastard whelped by a non-world-walker. Iris grew up in the Gruinmarkt before she ran away. It’s where I grew up, too. It leaves its mark on you: that’s how people there thought. Totally medieval. They were still having honor killings and multi-generational blood feuds when the USAF closed the book on them.”

“You’re telling me I, I—” Rita choked to a halt.

“Do your job and fuck off back to the United States,” Olga said tiredly. “They’ll debrief you, yell at you for getting yourself caught, then send you back here eventually. Because that’s easier than expanding their threat perimeter to marshal more world-walking assets. Which is all you are to them, frankly. Meanwhile, my advice to you, which you will probably ignore, is to think before you open your mouth again. I know Miriam. If you really don’t want to talk to her she’ll respect that, but if you want to hit the reset button and start over, I’m pretty sure she’ll listen. She likes to think the best of people. Just… try to get your facts straight before the next time you gut someone.”

Rita nodded, not trusting herself to reply. Then she reached up to the overhead console and unplugged her headphones. She brooded for the remainder of the hour-long flight, her emotional isolation enforced by the muffled thunder of the rotors. I already have a mother, she thought confusedly, thinking of her adoptive parents, Emily and Franz: what does Mrs. Burgeson even mean to me? But that led to other questions, starting with what do I mean to her?—questions that she had no answers for, which left her feeling increasingly queasy.

 


Boston, time line two, August 2020

Kurt Douglas paid no heed to the early morning rain shower as he shuffled slowly along a tree-lined path, searching for his wife’s headstone in the graveyard.

Greta had died more than twelve years earlier, of emphysema brought on by her lifelong cigarette habit. The echoes of her choking laughter haunted the empty corners of Kurt’s life as he rattled around like a dry pea in the clean-as-a-whistle house his son Franz had bought him, next door to Franz’s own home in Phoenix. Greta would have helped him fill it—assuming that she hadn’t hated it so much she insisted they live elsewhere. Soulless, he could hear her ghost tutting in the recesses of his skull.

Kurt shook his head. Droplets of water hazed the surface of the glasses he wore, misting the world around him with damp uncertainty. A normal man might have moved on by now. But Kurt couldn’t leave Greta’s memory behind as easily as he’d left her body in this Boston graveyard when he followed his son and daughter-in-law to Phoenix. The events of November 1989 had seen to that, shattering their shared life’s purpose. Everything since then had seemed like a bitter joke, until now.

Greta was not only his wife but his life-long co-conspirator. They’d come to the United States to perform a mission of vital importance, only for it to be deprived of all meaning by the collapse of East Germany. Now she was here, sleeping beneath the damp green sward of an alien nation she had never really approved of. And he was here too, brokenly ticking along like a clockwork man held upright by the rusting armature of a promise he’d made forty years ago. A Lutheran pastor he’d known in his youth had a way with words: You might not believe in God, the man had told him waspishly, but that does not mean God does not believe in you. Kurt no longer believed in the great work that had brought him to this shore, but it was the cracked and time-worn faith on which he’d built his life. Renunciation would be the final straw: an admission in his twilight years that his entire life had been meaningless.

Greta’s resting place resembled an arboretum rather than a cemetery. Tranquil and wooded, the discreet headstones and memorials of those buried here were set back from footpaths, beneath the shade of neatly manicured trees. It could almost pass for a public park, but for the scarcity of surveillance cameras. The dead were no longer under suspicion, sleeping beyond the reach of politics and intrigue. All but one…

He found her grave eventually. Greta’s remains lay beneath a simple stone, with no religious motif—she had detested all such, denouncing them irritably as superstition—but with a marble flower pot for decoration. Someone had recently mowed the grass around it, and a handful of lilies, only just beginning to wilt, suggested that the grave had been visited recently.

Kurt lowered himself to his aching knees, leaning one hand on the headstone. It seemed to him sometimes that the better half of his life lay buried here. After so many years his grief was worn as smooth as a pebble on a rocky lee shore. Without her acerbic humor at his side, he felt like a pallid ghost fluttering through a future he was neither trained nor briefed for. A future which had no need for his kind.

Until now.

He paused for long enough to compose himself, then carefully unwrapped the bouquet of red roses he had brought. Fumbling with the flower pot, he removed the lilies and set them to one side. They lay like the dead, a limp bundle gathered together by a rubber band. He arranged the roses at the foot of the stone, one by one. Then he carefully rolled up the wilted lilies in the sheet of paper he’d carried the roses in. Finally he heaved himself upright and went in search of a trash can.

The finger-sized aluminum cigar tube he’d found among the lilies felt like a lead brick in his pocket, full of dangerous secrets. Greta would have appreciated the irony. But then, she always had been a truer believer and a more dedicated player of the Great Game than he. She’d urged him to maintain the old disciplines, to keep the members of the spy ring they jointly controlled aware that they served a great purpose and had not been forgotten. To maintain the Wolf Orchestra against a time of need.

She would have wheezed herself sick with laughter at the sight of him using her grave as a dead letter drop. And he was certain she would have approved of the use to which he was about to put the Orchestra—even though it was purely by accident that they’d finally penetrated a first-rank target organization, a third of a century after the state they had served was absorbed by its enemies.

His granddaughter Rita was in trouble and he intended to defend her. And when Kurt rose and walked away from his wife’s grave, he bore in his pocket a shield and sword: the last legacy of a nation that no longer existed.

Cambridge, time line two, August 2020

Kurt’s first port of call after the grave of his wife was a car pound in the suburbs of Cambridge, to see a woman about a car. Buses and subway trains and trams were all surveilled these days, so out of a general state of cussedness he walked nearly four miles through the light autumnal rain to get there. The cigar tube rode in his jacket pocket, unseen but always felt, a focus for heightened awareness and curiosity. It was a familiar irritant of a kind he understood well, and he would resist the temptation to examine its contents until he could guarantee total privacy.

He was more curious about the woman he was on his way to meet. He was already aware of her as the granddaughter of an old comrade who had died some years ago, one of the tribe of true believers the Orchestra had been tasked with raising on this foreign shore. His adoptive granddaughter held the woman in some esteem, and Rita’s judgment in friendship had never given him cause for concern yet. That Rita was now holding him at arm’s reach was worrying, even in light of the identity of her employers. And that her (he hesitated to make assumptions, but the label appeared to fit) girlfriend was reaching out to him for help on her behalf, using the old contact protocols, was even more worrying: so Kurt answered the call promptly.

The mission planners of the Hauptverwaltung Aufklärung had carefully studied the followers of secret faiths in order to replicate the feat among the offspring of their agents on foreign soil. Marranos in Spain, vodoun in Haiti, thuggee in India: all groups who lived among their enemies while remaining loyal to a forbidden doctrine, passing their faith down the generations in secret. The HVA’s objective had been to raise a crop of East Germans in exile in America, able to pass the most stringent background checks with flying colors while remaining loyal to the cause. The mission had been rendered pointless by the end of the cold war and the absorption of the GDR by West Germany, but the training and the tribal loyalties had lingered. Kurt had taught Franz, and then Rita. His colleague Willy had passed on the hidden knowledge to his granddaughter Angela by way of his son, her father. There were other children and grandchildren. Their parents took care to arrange introductions and many of them became more than friends, marrying within the group: for this was how a persecuted religion persisted in the face of adversity. And so the last true believers of the Socialist Unity Party of Germany practiced their faith behind closed doors, a secret religious cult embedded within the United States of America.

There was a diner on a street corner in Belmont, sharing the block with a burger joint and an office sandwich carry-out. Kurt arrived around two thirty in the afternoon, during the slack hours between the end of the lunchtime rush and the first trickle of commuters grabbing a bag for the drive or train ride home. He ordered a coffee and a chicken sub, then slid into a booth with a view of the window and pulled out the burner phone he’d bought that morning in a CVS. Making a note of its number, he turned it on, placed a call to a voicemail address, listened briefly, then turned it off again. Content with what he had heard, he slid it back into his pocket and turned his attention to his lunch.

As he was approaching satiety (half the sub remained uneaten: age was slowly killing his appetite) a young woman with green-streaked blue hair opened the door and glanced around. He waved: she came over. “Are you Kurt?” she demanded.

He put the sub down and carefully wiped his fingers. “You must be Angela,” he said, standing and offering a hand. She shook, grip firm and emphatic.

“Angie,” she corrected, defusing it with a smile.

Kurt couldn’t help noticing there was meat on her bones. Black leather jacket, jeans, chunky emerald sweater and chunky silver jewelry: short hair, squared-off unvarnished fingernails, a half-healed scratch on one knuckle. “Angie, then. You are an electrician, I understand?”

“Yeah.” She sat down, unslinging a bulging messenger bag. He followed suit. “Rita asked me to get her car out of the pound, and I kind of hoped you might be up to ferry-driving it down to Philly with me tomorrow.”

“I can do that,” Kurt said. “It’s the Acura, yes? Franz’s old car?”

“Her dad’s? Yep. I’ve got the paperwork to spring it from the pound where it’s been parked up for six months, but I thought I should get it checked over before we bring it to her, and I need someone to drive in convoy with me in case it breaks down. I’ve got a hitch on the truck but I don’t want to tow it three hundred miles if I can avoid it.”

“Well”—Kurt gestured at his unfinished meal—“perhaps we can do that after lunch? I have a room in a motel, I’m sure we can park it nearby, and then we can start off early tomorrow.” He paused. “I will need to catch a train back to Boston.”

“I can give you a ride afterwards,” Angie offered. “My truck’s got an autopilot mode so I can sleep on the return leg. It’ll give us a chance to catch up.”

She had a smile like an arc-welder. Yes, I think I know what she sees in you, Kurt decided. He was too old and too honest with himself to run after pretty women, but it warmed his heart to see Rita doing well for herself. “I would like that,” he said gravely. “You and Rita met in the Girl Scouts, yes?”

“Yeah. Long story. Guess I should save it for the drive back, huh?” She gestured at his meal: “I need to get some food. Be right back.”

Kurt worked on his chicken sub while she ordered, silently contemplating her proposed course of action. Yes, it was plausible from an outsider’s perspective: a solid cover story. Grandfather helps girlfriend drive granddaughter’s car home for her, girlfriend gives Gramps a ride back to his hotel afterward and deadheads home. If anyone asked, of course Angie would want to get to know her partner’s favorite relative. And with gas under a dollar a gallon, it made sense to drive. A security officer paying attention to Rita’s social graph wouldn’t even blink. If Kurt wanted to visit Rita and sniff around her contacts, it was a perfect pretext: your parents asked me to check out your new friend…

He glanced at Angie as she paid for her food. The wolf cub had grown up into a fine specimen. I wonder how much operational doctrine your parents passed on to you? If she was a full initiate of the Wolf Orchestra, rescuing Rita would be much easier.

 


Philadelphia, time line two, August 2020

The mission to spring Rita’s wheels from automobile jail went smoothly enough. The guard at the pound was expecting Angie, the storage fees were all billed to Rita’s employers, and the Acura had been stored under a tarp. When Angie checked it over, the tires were low, but the self-inflation system worked, and after running the engine for five minutes they were all showing the correct pressure. “It’s probably going to fail its next emissions test,” Angie said, listening to the engine, “but I know a shop that’ll fix it cheap. Are you up to driving three hundred miles tomorrow, Mr. Douglas?”

“Of course. I need more rest stops than you youngsters, so you should allow five hours for driving and two more on top, but I can do that.”

“Great! Well, how about you take her car to your hotel overnight, then phone me when you’re ready to set off tomorrow morning?”

They parted company outside the pound. Kurt braved the Boston afternoon traffic with quiet stoicism. When he pulled up behind the hotel he was staying in, he rested his head on the steering wheel for a couple of minutes. Then, as calm returned, he climbed wearily out and went to his room.

Before he showered, Kurt closed the curtains then retrieved the cigar tube from his jacket pocket. Unscrewing it, he looked inside. A tightly-curled sheet of paper met his gaze. It was covered in a grid of hand-written letters, seemingly random. Attached to the bottom with Scotch tape was a neat row of chips: a tiny memory card, and no less than five phone SIMs. Kurt whistled quietly through his teeth, impressed despite himself. The FLASH request he’d sent out, asking the Boston Resident to conduct a roll call, had delivered far more than he’d expected. Neglected sleeper rings tended to decay over the years as agents became ill or infirm, died, or went feral. But of the eight families in this part of the United States, five had answered the call. Most of them were undoubtedly second or third generation descendants: it was possible some of them didn’t even know what the Orchestra was, or the purpose it served. But they’d each sent the number of a burner phone and a code word, and the Resident had set up a SIM for each of them. They’d only answer a call from a phone using the correct SIM, and would only respond to the correct code word, but Kurt now held in his hands the key to a ring of sleeper agents, all unknown to one another and (hopefully) the authorities.

Deciding what to do with it—or whether to use it at all—would have to wait until he’d spoken to Angie in private.

Kurt folded the paper and its precious cargo and inserted them in the middle of a paperback he was slowly reading and annotating—Judt on the history of Europe since 1945—then stashed his toothbrush in the cigar tube, placing it in turn in his toilet bag, where it would be just another old man’s foible if anyone searched for it. (Decrypting the message was best left until after his return to Philadelphia, indeed for as long as possible. The last thing he needed to be in possession of at an airport checkpoint was an incriminating plaintext message.) Then, for want of anything better to do with his evening, he watched a comedy movie, ordered in a pizza, and went to bed early.

The drive down to Angie’s apartment in the suburbs near Philadelphia went smoothly but boringly. Nevertheless, Kurt was light-headed and slightly shaky by the time he pulled into the lot and parked up beside Angie’s crimson pickup. He was old and no longer accustomed to driving such distances in a day, and although Rita’s Acura had once been comfortable it was now entering its twilight years, with well-pummeled seats, poor shock absorbers, and a collection of arthritic squeaks and rattles to rival his own. Angie materialized from the apartment doorway as he eased himself out of the driver’s seat. She looked concerned. “Are you okay?”

“I will be once I stretch these bones.” Kurt waved her away tiredly. “And then I must sit down for a few minutes.”

“We should go get some dinner. Then I can run you back up to Boston?”

Six hundred and fifty miles in a day. Kurt gritted his teeth: Don’t say you didn’t know what you were doing. “Dinner would be good,” he admitted. “Then we can talk.”

“I checked my truck when I stopped for gas. Didn’t find any new trackers.”

“They don’t need trackers to follow you unless you go off-grid. The truck itself reports—”

“I know. But mine only tells them what I want it to: I was looking for new passengers.”

Kurt sighed. “You won’t find them. They are subtle. The hands-free kit and in-cab entertainment system, they are all rooted these days. I could show you pictures from the old days, what passed for bugs in the GDR—they’re on the web—it is to weep! I knew technical guys, nerds you would call them, who must be rolling in their graves, green with envy for the shinies of the NSA. But all this is nonsense. We should check Rita’s car before we go—that is where you will find the extra bugs. There is a reason I had my son give her an old sedan, its systems lack the native intelligence to make a good informer.”

Angie frowned. “You really think they’ll be monitoring me proactively?”

“Yes, because you’re a known associate of one of their agents, and servers that can process speech to text are cheap. But you are probably safe, unless they know of the Orchestra, in which case we are both in hot water already.” He laid a finger on the truck’s passenger door handle. “Shall we eat?”

 


New London, time line three, August 2020

The Party headquarters within the walled royal capital of New London occupied the former Crown Prince’s palace on Central Avenue, which bisected the lower quarter of Manhattan Island. The chaotic maze of offices and departments (many of them organized after the new open plan mode, with fabric-covered partitions dividing up the floors of former ballrooms and state receiving suites like cells in a very busy beehive) provided accommodation to the heads of the apparatus of the Deep State. These were the bureaucratic structures created by the Radical Party during the revolution, to provide a supportive framework within which democracy was to take root and thrive. Naturally there were times when it seemed anything but democratic. And that afternoon, Erasmus Burgeson, the Minister of Propaganda and Communications, was running up against it in the person of some of his more obstructive colleagues.

“We have to face facts,” Commissioner Jarvis said mildly as he polished his spectacles on one end of his neck-cloth. “Adam is terminally ill, and when he dies the enemy—both without and within—will push as hard as they can to overturn the Party.” He referred to Adam Burroughs, the First Man and leader of the revolution seventeen years before that had toppled the monarchy and installed this time line’s first democracy, in the former New British Empire.

“Of course the reactionaries will come out of the woodwork!” Erasmus agreed vehemently. “Which is why, from a propaganda viewpoint, the course of action you’re proposing is a bad idea: it will play right into their hands. Everyone will expect a, a ham-fisted crackdown on dissent. It won’t win friends. In fact, purges are often interpreted as a sign of weakness. Consider the outcome of John Frederick’s disastrous crackdown in ’86 after his father’s assassination… All the polling my research department has done points to the inexorable conclusion that one conveys the appearance of strength best by acting as if one is already secure, rather than by issuing threats that invite defiance. The First Citizen secured the revolution when he allowed the Emperor to leave peacefully. Doing so was an assertion of power, not an admission of weakness. Similarly, so was his delegation of most of the powers formerly wielded by the Crown to the apparatus of the Party. If we clamp down in the wake of his death, we run the risk of making the Party look as if it has something to fear once the First Man is gone—”

“You are talking about appearances.” Commissioner Buccleugh’s diction was as sharp as ever, even though Erasmus harbored doubts about his mind—now more than ever, for the man was in his dotage. “But as Albert says we must face facts. Have you seen the foreign intelligence briefings? The Young Pretender is clearly cozying up to the Dauphin, and there has been an upswing in activity at home by the Patriot Societies, the so-called Royalist Party loons who would welcome the return of the jackboot and fetters in an instant—”

An extremely modern woman, one of the new generation of Party bureaucrats, approached their little circle of armchairs. They were off to one side of the cold fireplace in the Commissioners’ Dining Room, and so Erasmus was the first to see her approach. “Gentlemen, please?”

“Ah, a message for Commissioner Burgeson?” The staffer extended one gloved hand, bearing a sealed envelope. “Sir, if you need to reply—”

“A moment.” Erasmus slit the envelope open with the edge of one fingernail. He scanned quickly, then folded the letter away. “Gentlemen, I’m being called away. Fascinating as this discussion has been, I think we are going to have to agree to disagree—at least until we can put our heads together again for long enough to reach a consensus.” He eased himself out of the chair with a moue of pain. “After you, my dear,” he told the staffer.

She beat a hasty retreat from the dining room, with its forbidding ambiance of old man’s club: Erasmus followed her as fast as he could. His hips and knees weren’t particularly bad for his years, but he was of an age he had never consciously expected to reach, and was finding it full of unpleasant surprises. The constant low-level pain from aching joints and tendons were by no means the worst of it. As they passed through the doorway into the main corridor, he asked, quietly, “Where is she?”

“I left her in your office, sir. She appears to be distressed.”

The staffer looked at him with wide eyes. She can’t be more than twenty, Erasmus realized. Dark suit, blond hair with a permanent wave so tight it might have been lacquered into immobility. Divergent fashions aside, she was of a type he recognized instantly from the imported American political drama shows his wife watched at home when she needed to relax completely after work. (Which was all too seldom, these days.) “How distressed is she?” he asked gently.

“She borrowed my handkerchief, sir…”

Now worried, Erasmus sped up as best he could. Damn this warren, he thought: the marble floor took a toll on feet and knees. What can have happened? His wife was not, in general, given to melodramatic emotional meltdowns—especially not in public, wearing her Commissioner’s face. Hardheaded was an apt way of describing her. She hadn’t even cried at her mother’s funeral.

He found Miriam in her inner office, wearing a face more suited to news of a friend’s passing. “Leave us,” he said gently, and shut the door before the staffer could enter. He crossed the carpet to meet her. She leaned into his embrace hard, almost driving the breath from his ribs as she hugged him. She was shaking: “What is it?” he asked.

“The bastards. The bastards.”

“Hush.” Her shoulders were rigid with tension. They didn’t relax as he stroked her back. “Take your time. You’ve got time, I take it?”

“I’m due in front of the budget select committee in half an hour to discuss next year’s requirements, and then I’ve got a briefing on the teacher in-placement program—” She stopped. “I ought to cancel everything. I can’t focus.” She slowly relaxed her grip on Erasmus, but kept her chin on the crook of his neck and shoulder. She sniffed, betraying a passing congestion.

“What bastards? What did they do?”

“The US government. I’m convinced”—her bosom pushed against him as she inhaled deeply—“it’s deliberate. They knew, or guessed, that I’d survived. That’s why they sent her.”

“Her? This is the DHS illegal everyone was talking about yesterday?”

“Yes.” She let go of him, reluctantly. “Ras, if you learned that Annie—you said she died in childbed, in one of the camps—what if you learned that your child survived? And had been raised by Crown loyalists? What would you do?”

He felt sick to his stomach. “That can’t be…” He fell silent in the face of her expression.

“You know I had a daughter twenty-six years ago,” Miriam said quietly. “Not a world-walker. My mother pushed me into giving her up for adoption. Or maybe I half-wanted to do that anyway: or my first husband, back when we were dating… it’s hard to remember. My little accident. She was right here, where you’re standing now, just half an hour ago.”

“They—how did they find her?” Erasmus stared at her. His wife looked ashen.

“They’ve got the Clan breeding program records. Hell, we’ve got the records Iris copied from Dr. ven Hjalmar’s computer. My people had her on a hands-off watch list for years, keeping an eye on her via social media from a safe remove. A resident agent in Italy, something like that. Anyway, nobody really noticed until the day before yesterday—when the transit cops picked her up, and Olga scrambled to catch up—but her Facebook updates turned oddly anodyne nearly a year ago. It looked like she was posting entries but she wasn’t friending or unfriending anyone or joining new apps, there was just a thin layer of Astroturf covering multiple month-long gaps in her time line. She’s my girl, Ras, I’m sure of it. We don’t have a DNA match yet—the best our people can come up with will take another couple of days to come back from the lab—but she’s got her father’s looks and she was born on the right day in the right hospital. They made her into a world-walker, Erasmus, they worked out how to switch on the gene or whatever it is in carriers, and she, I think she hates me…”

She reached blindly behind herself until she found one of the visitor chairs and sat down heavily. Miriam did not weep easily: nor did she sob loudly. But the tear tracks on her cheeks told Erasmus everything.

“You think they knew you were here, and they deliberately sent her?” he asked, pulling up a chair and sitting next to her. He fumbled for his handkerchief and passed it to her; she took it gratefully and mopped at her face.

“Either that, or they guessed there was a high probability I’d be here. They knew about me back then, after all. They had a profile of the Clan leadership, of their presumed enemies. I can’t see what else it could be…”

“Miriam. How old are the other carriers your people were tracking? I thought you said they were all teenagers? Your daughter, how old is she, twenty-six? It might simply be that she was the oldest and best-trained.”

“Maybe.” She sniffed, and looked at him bleakly. “But there are other implications. She’s a world-walker. We have witness reports.”

“Could they have shrunk the gadget, whatever it is they use… ?”

She shook her head. “If they did, the arresting officers couldn’t find it on her person. Also, they applied the world-walker containment checklist and report that her reactions were exactly what you’d expect. Finally, she admitted it under questioning. The Department for Homeland Security absorbed the old Family Trade Organization, and that’s who she’s working for. They’re tasked with protecting the United States from threats from parallel universes—sound familiar? She even mentioned an old-timer who sounds like that Air Force colonel Mike Fleming worked for. It’s the same people, love, playing the same fucking head games with us. Only this time it’s personal.”

 


Philadelphia, time line two, August 2020

Less than an hour after her inconclusive conversation with Miss Thorold, Rita was in a secure office with Colonel Smith. Smith’s boss, Dr. Scranton, had been notified and was on her way. The rubberneckers from head office had been peeled away and sent to a waiting area to cool their heels. And the guards who had nearly machined-gunned her when she jaunted into the middle of the secured transit area had been dismissed. “They’re idiots,” Colonel Smith fumed. “‘Secure the area in case the opposition send us a whoopee cushion,’” he mimicked, fingers waggling in air quotes. “At least now I can tell them to get lost next time they try to stick their noses under the tent flap.” He looked as if he hadn’t slept for the entire duration of her trip. “How did it go wrong, Rita? Sitrep, please.”

“It was a mess,” she said faintly. “’Scuse me.” She sat down in the visitor chair. Smith looked more concerned than angry. He nodded silently as he waited for her to open up. “They caught me.” There, I said it. “There’s some sort of power struggle going on. The railroad police got me first, and asked lots of questions. They knew exactly what I was: they kept me in cuffs and blindfolded until they got me on the top floor of a high-rise.”

Smith swore quietly. “And?”

“They grabbed me almost as soon as I arrived and questioned me pretty much continuously until this morning. No sleep deprivation or violence,” she added hastily. “Also—they knew about world-walking, but they didn’t seem to know anything about the United States. I mean, at one point I got into this crazy loop trying to explain where Seattle is… Anyway, then a woman in a wheelchair turned up, acted like”—her eyes narrowed—“Dr. Scranton. Seriously, she had a bodyguard and issued orders and the police tripped over their own feet getting out of her way. She sprang me from police custody, said she was one jump ahead of a rival group from the secret political police. So then she hauled me off to New York in a helicopter—”

“New York?”

“That’s where their capital is. There’s, uh, there’s no D.C. in their time line. Anyway, she took me to see”—Rita swallowed—“my birth mother. Who is something—”

A snapping sound made her look up. The Colonel shook his head. “Continue,” he said, carefully placing the broken halves of his fountain pen beside the legal pad he’d been jotting notes on.

“—She’s something in their government, extremely high up. She, uh, she gave me a sealed letter for you—”

“Fuck.” Smith looked pained. “Excuse my French. Go on.”

“—Said she wants, her faction wants, to open diplomatic negotiations. To stop us nuking them, or them nuking us. Colonel, they’re in the middle of a cold war! She said, said they’ve got nine thousand H-bombs pointed at, at France? The French Empire? They want to talk. And she gave me a set of times and coordinates that are safe at their end—that is, her people will be waiting if I or, uh, some other world-walker, goes through to deliver a message.”

“I see.” Smith looked at her, frown lines forming a furrow across his forehead. “What else did you observe? Impressions? Technologies?”

Rita swallowed. The past day was all fading into a jumbled mass of impressions, swirling around the maelstrom of darkness that was her conversation—mere minutes—with the woman in the office. “They’ve got helicopters, sir. Big military-looking things, like a Black Hawk. Cars, trucks, buildings. They don’t go in for skyscrapers like we do, but there’s plenty of concrete and elevators and men in uniforms with machine guns. She said they’ve got nuclear power—”

“We already knew they’ve got nukes,” the Colonel said flatly. “Did the woman who said she was your birth mother have a job? Where was she?”

“They took me to see her in a big, uh, a big neoclassical building. Instead of downtown Manhattan they’ve got a bunch of palaces, former royal palaces. She was introduced as the, uh, Party Commissioner in charge of the Ministry of Intertime Technological Intelligence. Like it’s a big deal…”

Rita trailed off, dumbstruck. She’d never thought of the Colonel as a man prone to emotional outbursts or demonstrative behavior. To see him lower his head and rest his face in his hands was profoundly disorienting.

After a moment he looked up. The bruised skin under his eyes lent them the appearance of slowly rotting fruit. “This letter, Rita. Give it to me. And the other papers.”

“Uh, I can’t, the security detail took—”

“Jesus wept.” Smith picked up his desk handset and barked angrily: “Gomez, Colonel Smith here. Agent Douglas returned half an hour ago and there appears to have been a mix-up. You will personally locate all the clothing and items that were removed by the reception crew, I repeat all of them, everything, and bring them directly to my office. In particular, there’s a, a—”

“—A leather document case—”

“—You are looking for a leather document case. If anyone opened it, have them arrested and bring them here. If it’s open and the contents have been removed, find them and bring it. If it’s disappeared, notify me at once then put the site on lockdown and arrest everyone who might have handled it. If it’s still sealed, keep it that way when you bring it.”

He listened for a few seconds, then put the phone down and stared tiredly at Rita. “I’m going to start recording now, Rita. I want you to talk me through everything that happened, and then we’re going to go through it again when Dr. Scranton gets here. In minute detail. Take your time, but I want you to get everything out. Do you understand?”

“I—I understand. I fucked up,” she said hollowly.

“That remains to be seen. We generally apportion blame to the officer who issued the orders, not the hands that carried them out, and in this case Dr. Scranton’s orders came from the Oval Office by way of the National Security Council.” He picked up the wreckage of his pen, which appeared to be quite an expensive one, and rolled the broken barrel between his palms. “You seem to think we expect perfection. That’s not true. We just expect you to do the best you can. We’re not omniscient, we’re not super-intelligent. Everyone in this business is muddling along in the dark, concocting plans and executing them then revising when the outcomes don’t match what they expected.

“And in any case, there are very few rules for conducting the kind of mission we’ve been sending you on—very few indeed. Moscow Rules, maybe. So.” He put down the pen and moved his fatphone into the middle of the desk and tapped at its screen. “Testing… good. Colonel Smith, first debriefing of Rita Douglas after return from Phase Three. Rita, in your own words. What happened to you when you arrived in BLACK RAIN?”

 


Cambridge, time line two, August 2020

Boston, at four o’clock in the morning: a SWAT team was moving in on an enemy of the state.

They’d called in support from the Boston PD and the state troopers, cutting off access to the apartment building where the target lived on her own in a second-floor condo. Drivers trying to take that particular street would find their vehicles under police override, diverted into a nearby parking lot for inspection. Manual cars and trucks—not that there were many at this time of night—would be waved down by the state troopers. Papers would be demanded, DNA samples taken, trunks searched.

Overhead, a pair of silent drones kept infrared cameras trained on the block. Celldar—secondary radar that stitched together an image using the reflections of the pervasive cell phone and wi-fi carrier signals—filled in the blind spots. More recondite backup enforced the blockade. The neighborhood cell stations and wi-fi hot spots were all under government override, calls and Internet connections diverted, the locations of every phone and television and computer pinned down to within inches. Smart gas and electric meters monitored for signs of anomalous power spikes. Some of the more modern wireless routers, equipped with phased-array antennae capable of beam-shaping their wall-penetrating emissions, scanned buildings and mapped the location of human bodies. Webcams in tablets and laptops in every apartment came to life, activated without a betraying indicator LED: game consoles in dens and living rooms leapt to attention, repurposed as vigilant motion-sensing security guards. A translucent 3-D model of the building assembled itself in the team’s war room, every object accurately mapped to within millimeters, right down to the nails and wiring embedded in the walls.

The enemy of the state was asleep in her apartment bedroom. Spyware injected into her phone that night, masquerading as a software update, had boosted the sensitivity of the device’s twin mikes. The phone had heard the traitor awaken an hour earlier and shuffle to the toilet for a late night piss. It had listened as she returned to the bedroom, yawned, and burrowed back under her comforter. Breath came uneven at first, then slowed, falling into a tempo indicative of sleep. Analysis software now indicated that she was probably in stage II sleep, moving toward REM sleep within the next five minutes: dreaming deeply, her muscles paralyzed. In a control room on the far side of the city, the officers in the war room put their heads together and came to a consensus. It was time to move.

Five minutes to contact:

The front door to the apartment building obligingly unlocked itself for the SWAT team. Simultaneously, e-locks and fingerprint readers throughout the complex turned quisling. The front doors of all but one of the apartments in the complex sealed themselves shut, securing the residents inside, save only the targeted front door. That one silently unlocked.

Four minutes to contact:

The target’s phone, sitting in a cradle on the bedside table, had a front-facing camera. The target was lying on her side, facing the device. While the light level was sub-optimal, variations in specular reflection from her closed eyelids suggested rapid eye movements. Meanwhile, breath analysis confirmed ongoing deep sleep. The fire team now assembled on the second-floor landing outside the apartment. Their HUDs updated, showing them an exact map of the interior as they took up their positions.

One minute to contact:

The target was still asleep as a quadrotor drone spiraled down to hover in position thirty feet outside the bedroom window. Curtains hid the occupant from direct view, but the drone’s active teraherz radar could penetrate concrete and drywall and glass, confirming the accuracy of the map created by the rooted wi-fi routers. The UAV moved closer, motors whining as it lined its payload up on the window.

Fifteen seconds to contact:

Answering the press of a distant button the suppressed shotgun in the drone’s chin turret coughed, propelling a breaching round through the upper half of the window, shattering glass and ripping the curtain away from the opening. The target twitched, began to spasm: then the shotgun fired again, this time aiming at the sleeper. The slug it fired was a fearsomely complex machine, half air bag and half Taser. Exploding to boxing-glove dimensions just before impact, it punched the target down onto the mattress and drove wired barbs through her skin, then unloaded its capacitors through them.

Contact:

The bedroom door burst open and the overhead lights came on. Armed men filled the room, guns pointing, shouting orders. The target moaned in pain, but lay supine as the DHS antiterrorist team zip-tied her wrists, ripped bedding aside to tie her at knees and ankles, then gagged and bagged her in a cocoon-like transporter threaded with biomonitors and a shock belt to enforce compliance. The rendition protocol was designed to minimize risk for the arresting officers, to take by surprise even a hardened assassin, lying sleepless with gun in hand. The target this time was a fifty-two-year-old single white female: unarmed, untrained, and unprepared.

Contact plus two minutes:

The SWAT team carried the pick-up downstairs and out to the waiting prisoner transport. Behind them, the apartment door locked itself, awaiting the arrival of the CSI team when regular office hours rolled around. As the arrest wagon rolled away behind its escort of cruisers with flashing lights, the security perimeter shut down. Cell and Internet services reverted to normal, traffic diversions cleared themselves, state troopers took calls and moved on to the next appointment of the night.

And by dawn, the only remaining sign that Paulette Milan had disappeared into night and mist would be the gaping hole in her bedroom window.

 


Philadelphia, time line two, August 2020

Dinner was Philly cheesesteak with fries for Kurt and a big crab salad bowl for Angie. Kurt allowed himself a large glass of wine with his food, and was in an expansive frame of mind when they left the restaurant and climbed back into Angie’s crew-cab.

Angie drove cautiously until they hit the interstate. Then she put the truck on autopilot and turned to face him across the center divider, which she had rigged as a mobile office. First she flipped a concealed switch under the dash. Then she opened one of the office cubbies and removed a padded chiller bag. She shook the bag out, then slid her phone inside and gestured for Kurt to follow suit. Once the phones were zipped away behind layers of muffling insulation, her shoulders slumped slightly. “The entertainment system’s powered down hard: I’m pretty sure we can’t be overheard. Rita hasn’t been back for two days,” Angie explained. Her voice quavered with worry. “I called her boss—she’d given me a number—but I got the brush-off. Kurt, what do you know about this thing she’s been dragged into?”

Kurt finger-flicked a brief acknowledgement. “Firstly, you must be clear on this: my son and daughter-in-law adopted Rita. We learned—much later—that her birth mother, and her mother (who arranged the fostering) were fugitives from the world-walkers. Did Rita tell you any of this?”

“That they tried to kidnap her? Or that the DHS said they did?” Angie’s scowl made her suspicions clear. “Yes, she told me about it. I know she’s not a, not one of the terrorists. But she didn’t tell me what they wanted her to do. Only that they’d worked out how to activate her ability to travel to other parallel Earths.”

Outside the windshield, in the darkness, the traffic flowed hypnotically. The truck indicated, then pulled out into the left lane to overtake a tanker.

“They want her for a spy,” Kurt said gently. “Quite ironic, is it not?”

Angie looked at him sharply. “Yes! Speaking of which… who set the Orchestra up, originally?”

“That’s ancient history.” Kurt stared at the lane dividers as they strobed past, gradually curving, the truck following the road by itself. “How much do you know about it?”

Angie hesitated. “My parents are part of it. So was Grandpa. I don’t remember when I first knew: I think after I came back from the second summer camp I guessed something, but there were games when I was a kid, stuff I barely remember. Papa teaching me a special kind of hide-and-seek in the mall when I was twelve. Socials with friends from the old country, and party games none of the other kids at school knew. A play-set polygraph when I was fifteen, and tricks to defeat it. The special Girl Scouts camps where everyone seemed to have parents who worked for the government and the merit badges were all about cryptography and tradecraft. I didn’t realize it was the real thing until I enlisted, during my clearance. They never told me explicitly. But I knew we were different and had to hide it.”

She kept using the correct personal pronoun, Kurt noted. He remembered a movie, decades ago: that word you keep using, it does not mean what you think it means. “There are two ways of looking at the Orchestra,” he said slowly. “Let me give you the children’s story first. Once upon a time there was a magic kingdom, which had been conquered by an ogre. And the ogre was unpleasant and bad-tempered and suspicious, and from time to time he ate people. The ogre thought people outside his kingdom were plotting against him, so he took some of his people and sent them abroad as spies. And, you know, there was a little truth in this: the ogre’s kingdom wasn’t popular, after all it was ruled by an ogre. But then a handsome prince—or maybe she was a princess—slew the ogre and freed the people. The spies were torn: if they went home, the new king, or queen, would not look on them favorably, for supporting the ogre’s regime. The people of the lands they now dwelt in would be angry if they admitted what they were! So there was nowhere for them to go but underground, hoping to live out their lives in anonymity.”

“Yeah, I got that early. Caused a few raised eyebrows when I came out with it in first grade, you know? But it sounded Grimm enough that the school counselor dropped it after a head-to-head with Mom.” Angie took a deep breath. “So I guess you’re not big on the workers’ paradise and the dictatorship of the proletariat?”

“I grew up there.” Kurt reached for his water bottle. “The ogre wasn’t all bad, but he was still an ogre: nobody sane would want to re-create his kingdom just for the healthcare coverage and the guaranteed employment.” A big road sign on a gantry hung overhead, closing fast. Kurt stared at it morosely. “On the other hand, there’s plenty wrong with this country, too. Sometimes it seems as if I haven’t moved very far at all.”

“But you said there’s another story—”

“Yes. The other way of looking at things—forget the allegory we teach our preschoolers, let me give you the grown-up version—is that Colonel-General Markus Wolf established the last great Communist Bloc spy ring on western soil during the sunset years of the GDR, in the 1970s through late 1980s. The Orchestra’s job wasn’t to spy, but to raise a generation of children in situ on American soil, natural-born Americans with perfect cover identities and enculturation, but loyal to the cause. The plan was that some of them would get jobs in government, as spies or agents of influence. But then the wall came down, and the controllers burned their files—starting with the most sensitive, those of the overseas illegals like your grandpa and me. We were cut loose, with nobody for aid but one another. We have no mission but survival, Angie. The nation we served is gone: it disintegrated nearly a third of a century ago. The irony is that my granddaughter, without even trying, has achieved an espionage coup—she has inadvertently penetrated a top-secret American HUMINT operation! The comrade general must be laughing in his grave. If the GDR was still around it would be the intelligence coup of the century.”

“But what does it mean?” Angie asked.

“What does what mean?” He raised an eyebrow: “It means fuck-all, unless you want to invent a meaning for it! It certainly means I am guilty of conspiracy to act as an agent of a foreign government without notifying the US Attorney General, contrary to the Foreign Agents Registration Act of 1938. The country for which I trained as a spy no longer exists, but that won’t help my defense. It means your grandfather and parents are guilty also. But the spying is not so serious: at worst a couple of years in federal prison. More serious is that to talk about helping Rita—you must be very clear on this—makes you a party to a conspiracy to interfere with a federal agent. These people do not mess around, Angie, and I fear that to them Rita is disposable. But I want you to think very hard before you commit to helping her. There could easily be terrorism charges. Everything is terrorism these days: downloading, uploading, jaywalking with intent to cause fear. Terrorism has become a meaningless word, our version of anti-Soviet hooliganism, but for all that, accusations of terrorism are not the worst risk we run. What they’re using her for, this game of empires… if we’re caught meddling they might even try and make a treason charge stick. We could be executed.”

Angie swallowed. “I got that,” she said, and took the water bottle from his fingers.

“It boils down to this: are you to your friends and family loyal first, or to your nation? Or are you loyal to the people who say they are the government of your nation—do this! do that!—are you loyal to those who claim to rule? Because you were born here, and even if you are the child of illegals, this is your nation, and in any case the ogre is dead.”

She looked at him sidelong. “You know she means the world to me?”

Kurt was silent for a while. “I’m not blind, or bigoted.”

“I’d marry her if I could. When they repeal the Defense of Marriage Act.”

“Well, good for you,” he said, so drily that she stared at him for a few seconds, unsure whether to parse his words as support. “I mean it: you made your choice. Did you know, you could marry her tomorrow if you were in Berlin? Your father can claim German citizenship by descent, and so can you. You were never in the HVA’s files: there’s no dirt to stick to you, or Rita. You and she could run away from the kingdom of the Ogre’s Son—this America—” He shrugged. “It’s up to you.”

“I’m certain they won’t let her go.” Her words were heavy with conviction. “I think they attach too much weight to her birth mother. She’s a world-walker to them, a tool not a citizen.”

“Do you know, back in the GDR ‘citizen’ was an insult? It meant something like ‘subject.’ Here, I think they’d say ‘civilian.’”

“Stop trying to distract me.” She crossed her arms. “What are we going to do?”

“A certain Herr Schurz, a Prussian politician, once said: ‘My country, right or wrong; if right, to be kept right; and if wrong, to be set right.’ Your choices—if Rita comes back, which I may remind you is not settled—are to look to your own well-being, or stay and fight to set things to rights here. Assuming you consider yourself to be a loyal American?” He saw the tension in her shoulders, the wrinkling of her brow: “But you won’t have to try and make that choice on your own. If you love her, talk to her. Then tell me what you want to do. Whether to fight or flee. And then I will see what the Orchestra can do to assist my granddaughter and the woman who wants to marry her.”

Excerpted from Dark State © Charles Stross, 2017.

A Sort of Fairy Tale: Victor LaValle’s The Changeling

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The Changeling by Victor LaValle

When I was a child I read every folktale and myth available to me. I loved Goldilocks and Baba Yaga, Br’er Rabbit and Cú Chulainn and Thor and Anansi. I loved them all, and held them all as equally important. I loved their adventures, and I figured they might as well all be real. (I still do.) I imagined myself into their adventures, and if that meant hopping over the barrier between male and female that’s what I did, and that’s how I learned that that barrier was an illusion. I was able to have those adventures in my mind, and it was fine. But what if I had been faced with one of those adventures in life, in corporeal flesh, where people would look at me and make assumptions because of the shape my flesh took? What if my adventure was, repeatedly, interrupted by others’ assumptions about me?

Victor LaValle’s new novel The Changeling is a horror story, a fairy tale, an epic myth, and a modern, urban fiction. It’s about parenthood, and toxic masculinity, and internet privacy, and a horrific world of magic hiding behind a veneer of civilization, and it’s one of the most New York books I’ve ever read. But most of all it’s about what happens when a Black man is the hero of a fairy story. What happens when your quest requires you to venture into a dark forest…but that forest lies beyond a tony white neighborhood patrolled by racist cops? What if your quest means that you must do prison time? What if your quest ends up broadcast on NY1? What if even the most terrifying monsters aren’t as tough as simply surviving in America?

What does it mean for a small Black boy to read folklore and myth and discover as a man that none of those stories were for him? What does it mean to be raised on stories of white people being heroes, to discover the when the call to adventure (finally!) comes, he is not allowed to step up?

LaValle has engaged with this question directly in The Ballad of Black Tom, when he wrote about Tommy Tester, a young Black man who finds himself in a Lovecraft story. Just as Ballad’s Tommy Tester is warned to get out of Flushing before dark, a matching pair of paternalistic cops suggest that The Changeling’s Apollo head on out of the nice part of Forest Hills. Hell, they’re nice about it. They even give him a ride to the bus stop.

In the back of the squad car.

I don’t want to spoil the intricacies of the plot, just know that this book is vast and contains as many multitudes as fellow New York outsider Walt Whitman himself. Apollo Kagwe, the son of an African mother and a white Upstate New Yorker father, becomes one of the few Black “book men” in New York. He deals in used books, ranging from the deepest Bronx up to Connecticut estate sales, all in search of first editions and rare signed copies to sell online. His one real friend is the only other Black book man he knows, an Army veteran named Patrice.

Apollo’s own obsession with books began with a Maurice Sendak book, Outside Over There, which his father read to him nightly before he vanished from his son’s life. Outside Over There is the story of a changeling. Big sister Ida isn’t watching the baby, and goblins come and replace her with ice. This sends Ida on a quest to retrieve her sister and prove herself to her father, who expects her to be the baby’s caretaker while he’s away at sea. (If this sounds like Labyrinth, it’s because the film was inspired by Sendak’s tale.) Apollo, grown into manhood, recites passages of the book to himself as a mantra, along with the phrase “I am the god, Apollo” when he needs to bolster his confidence. It’s necessary often, because it turns out many white people are immediately mistrustful of young Black men trying to sell books. He is kept waiting in vestibules, forced to sort books in driveways under the watchful eyes of estate owners, denied the use of the bathroom—and that’s after he’s endured the suspicion of the neighbors.

He recites the book, and his mantra, when he dates Emma Valentine, and while their son Brian is born, and during the many adventures that follow as their lives turn into a fairy tale. Not a Disney-fied “happily ever after” fairy tale, but an old school, Eastern European, bloody, serious-as-death-itself fairy tale. As if all that isn’t enough, he also gives us a corrective to the young male hero who stars in most of these stories—Emma Valentine is just as central to the action as Apollo, and her struggles as a mother and triumphs as a person are, in some ways, even more important than Apollo’s arc—but again, to say much more about the plot would be to spoil the adventure. Obviously there are clues to the story right there in the title, but it’s so much more than that. Because LaValle, as he did in Ballad, has created a truly modern fairy tale that calls to mind nothing as much as American Gods, or The Fisher King.

How do you follow the rules of a fairy tale in New York City? How do you appease gods and monsters when you have to find a way to navigate the East River and the A train? LaValle has threaded his story through the realities of life in this city. Traffic on the FDR; the kids who barge onto a train announcing “It’s showtiiiiime!” at the most inopportune moments; waiting for a bus in an outer borough; how freaking long it takes to get to Queens, no matter what mode of transport you choose—it’s all here. If you’ve lived here, you’ll love it, if you’ve ever wanted to live here, you might just be able to read the book instead, and if you hate this city this book could serve as a form of therapy for you. (Personally I love this city more every day I live here.)

This is also one of the rawest, most honest accounts of new parenthood I’ve ever read. I’m not a parent, and don’t plan to have children myself, but LaValle (who is a parent) captures both the exhaustion and the joy that I’ve seen my friends go through. Apollo and Emma are realistically wrung out by full-time parenthood, Emma has to go back to work immediately, and breaks down crying on her walk to work, then revels in being an adult with other adults again. Apollo posts dozens of blurry baby pictures on Facebook, and then checks to make sure all of his friends have shown their awe of his son in the form of likes and hearts. As I said, this is fully a modern story. But when we fall into the fairy tale, LaValle handles ancient rules and timelessness just as well as satirical commentary on brand new apps and Baby Bjorns.

LaValle dips into a whole world of story for this book. Myths both Greek and Norse, comics, the Rocky movies, children’s classics, To Kill a Mockingbird—all are put into the blender of his books and characters, and used in unexpected and gorgeous ways. He also tackles the most modern question of all: what the hell is our internet use doing to us? As several characters say, you used to have to invite vampires into your home, but now they can come in via your phone, your iPad, your Facebook account. Your whole life is served up like an exposed throat, and you don’t even give it a first thought, let alone a second. The trolls and hatemongers that feed on human spectacle, misery, terror are only to happy to exploit this invitation while they hide behind absurd names and Twitter handles, and the fact that this element becomes so central to the book feels as inevitable as the constant threat of police violence.

I mentioned American Gods before because as I finished the book (after reading it in two breathless sessions) I realized that I had just read the heir to that classic. Neil Gaiman did a thorough job when he wrote a racially-ambiguous character, digging into how American racism affected Shadow Moon’s call to adventure. (The current TV show is, to my mind, doing an even better job.) But there’s still a distance between imagination and empathy and lived reality, and LaValle is able to excavate wounds that may have scabbed over, but sure as hell haven’t healed. This is the first book I’ve read in years that engages with age-old myth in a way that feels as vital as Gaiman’s best work, but it’s even more alert to the ways race, class, and prejudice can infect every aspect of a person’s life. The Changeling is an instant classic, and if I had the funds and an inexhaustible supply of shoes, I would be selling this sucker door-to-door.

The Changeling is available now from Spiegel & Grau.

Leah Schnelbach really really really wants to lead a walking tour based on this book. You can find her in the dark and mysterious forests of Twitter!

Sleeps With Monsters: Love and War in Wonder Woman

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I don’t have high expectations for superhero films. (Before now, I felt that two were good films that succeeded within the constraints of the genre and also as films in their own right, and neither Thor nor Captain America: Winter Soldier came from the DC stable.) Nor do I have high expectations for action films starring women: Hollywood frequently falls into the trap of making films which, while ostensibly about the lead woman, are actually all about the men in their lives, and thus deform the narrative arc of the film by not trusting a woman to carry its emotional weight.

Patty Jenkins’ Wonder Woman doesn’t do that. It does something entirely different, something I’ve never actually seen a big budget Hollywood film do before. It tells the story of a woman’s coming of age, both as an adult and a hero—mirroring the heroic coming-of-age stories we’ve seen for so many men, but with Diana of Themiscyra in the central role.

Patty Jenkins is not, thank all the gods of film, an “action director.” This gives her approach to both the emotional beats and the visuals of Diana’s story a delightful freshness. Jenkin’s previous feature-length film, the critically acclaimed Monster, was about serial killer Aileen Wuornos, and she brings some of the intensity of that film’s interest in unhealthy relationships to an examination of the relationships and human frailty in Wonder Woman.

Wonder Woman is Diana’s origin story. But it is also a story about war and the consequences of war on people and their relationships with each other.

Light spoilers for the film follow.

The first half of the film is dedicated to Diana’s childhood and youth on Themiscyra, island of the Amazons. We see young Diana—the only child on the island—and her determination to learn how to fight, and her mother’s determination to protect her from fighting for as long as she can. For this is a society without war, but one that lives with the memory of war and with the constant fear of its return.

Diana’s mother, Queen Hippolyta, tells her the story of the Amazons’ origins to impress upon her the idea that war is not something to look for. The Amazons were born of war, war with men and war between the gods. We can read into Hippolyta’s reluctance to face her daughter’s talent for fighting (and Diana’s desire to learn) the lingering trauma from that long-ago war, just as we can read into General Antiope’s dedication and that of her warriors a lingering cultural trauma, one matched by the Amazon senate’s refusal—once Steve Trevor’s arrival brings the outside world and the Great War to their doorstep—to either permit him to return or to send any help to aid in bringing the war to an end. They live with the memory of war and the fear of it, and they do not want to involve themselves in the wars of men.

In the world outside, Diana encounters people who are themselves scarred in various ways by the Great War, among other wars, and by the world’s injustices. And she confronts the fact that war is not a simple evil, and cannot be slain by killing a single being. But she still chooses, in the end, to believe in her power to change the world. To believe that love can change the world—and the film makes it clear that she does not mean romantic love alone, but love for and belief in humans and human potential, and in the platonic and romantic love of people for each other.

This is a powerful statement, and it retrospectively casts the entire film in a revolutionary (and religiously-inflected) light. Diana’s life is full of love: her mother’s love for her. General Antiope’s love for her as niece and student; the love of the entire Amazon people for their princess, who was the only child on the island. She leaves this love behind her, in a place to which she might never return, because she loves the world—loves her people and people in the abstract—enough to want to make it better.

The film is thematically unified by this orientation towards love—although the pacing sags towards the middle, and the actions of the villainous German general make no very great deal of sense. (And certain elements of the history of Themiscyra can only be explained by “because magic, okay.”)

The film loves and admires and believes in its main character—and the Amazons, for that matter. The most striking images in Wonder Woman are Amazons training; Amazons charging on horseback across a beach into the teeth of German guns and winning; Diana setting forth across No-Man’s-Land, bullets ringing from her shield and gauntlets, because she met a local woman who told her of the suffering of the local people and those people needed her.

And some of the most striking moments in the film are those in which Diana utterly confounds Steve Trevor, either because she trusts her judgment of her capabilities a lot more than she trusts his, or because what’s normal for her is outré for him. My personal favourite of these moments is their quiet conversation on a boat, in which Diana reveals she has read all twelve of Clio’s “treatises on pleasure”—and offers pretty firm canonical support for the queerness of the greater part of the Amazon nation, likely including Diana herself. (Steve looks pretty poleaxed.)

Wonder Woman is a much better film than I expected it to be. More than that, though: it’s a good film. It’s got heart and bottom to it.

It’s not perfect—when it comes to race, as usual, the side has been Seriously Let Down—but goddamn, as a film, it’s actually good. (Could have been longer. I wanted more Amazons, dammit—and more Etta Candy.)

Here’s to Patty Jenkins, and a Wonder Woman film that’s actually pretty wonderful.

Liz Bourke is a cranky queer person who reads books. She holds a Ph.D in Classics from Trinity College, Dublin. Her first book, Sleeping With Monsters, a collection of reviews and criticism, is published by Aqueduct Press this year. Find her at her blog, where she’s been known to talk about even more books thanks to her Patreon supporters. Or find her at her Twitter. She supports the work of the Irish Refugee Council and the Abortion Rights Campaign.

Rereading Frank Herbert’s Dune: Dune Messiah, Part Three

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Dune Messiah Cover

We’re going to be present for the use of a stone burner. Which is actually awful? But awfulness is kind of something you should expect at this point, right?

Index to the reread can be located here! And don’t forget this is a reread, which means that any and all of these posts will contain spoilers for all of Frank Herbert’s Dune series. If you’re not caught up, keep that in mind.

Summary (up until “He has gone from Alia…”)

Scytale goes to talk with Edric, which the steersman thinks is a mistake. The Face Dancer is adamant that the plan is in danger from Alia, and wants Edric to prod their ghola into action more quickly. Edric insists that he cannot do that and Scytale realizes that their conspiracy is weaker than he would prefer. Edric does not seem to understand the difference between toppling a religion and toppling a religious government, which is the thing that makes taking down Maud’Dib far more difficult.

Paul is practicing combat training when Chani storms in; she has learned about Irulan’s contraceptives and wants to kill her. Paul tells her that she cannot, knowing that while Chani’s anger is fair, the contraceptives have prolonged her life according to his prescient visions. He refuses to tell Chani this, and she turns her attentions on Hayt, the ghola, saying that she does not trust him. Paul talks a bit with Hayt, showing Chani that there are pieces of Duncan Idaho underneath that he hopes to unearth, and that this is why he has chosen to keep the man. Chain’s pregnancy is accelerated because of the contraceptives, and she needs to eat constantly to cope with it. She is frightened by it, and so is Paul.

Scytale comes to Paul disguised as Otheym’s daughter Lichna. Paul recognizes that Face Dancer, but allows the thing to take its course, knowing this is part of his vision of the future. “Lichna” has message for Paul, that her father must see him, and that Paul must go to meet him in his home. She tells him to bring Chani, and Paul realizes that Fremen are truly part of the conspiracy against him. He tells her that Chani cannot come due to her pregnancy. Lichna explains that her father is suspected by the Fremen of betraying their conspiracy, which is why he could not come himself. The information he means to give Paul is in a human distrans. Paul goes, walking the streets and seeing a religious rite that Alia presides over. He finds himself moved by the display, even knowing what they have built this faith themselves. Alia is in a bad mood as she answers the questions of pilgrims.

Paul is taken to Otheym’s home and it is clear that the man is poor and ill from a sickness that he caught during the jihad on another world. He has a dwarf named Bijaz (from the Bene Tleilax) who speaks in riddles, but is the distrans Scytale spoke of. Paul is disturbed because he did not see this dwarf in his visions, but Otheym tells him that Bijaz has the names of all the Fremen conspirators. One of Otheym’s wives Dhuri shows disdain for Paul and is clearly upset that Paul has not kept track of his Fedaykin. Paul realizes that Bijaz has some form of prescience and that he’s growing concerned that they should leave, but Paul needs the whole situation to plays out as he saw or risk consequences. Finally everyone says the words he needs to hear and leaves with Bijaz. Shortly after, a stone burner goes off in Otheym’s home.

Everyone nearby is blinded, but Paul can still see by means of his prescience. Stilgar is astounded by this, and Paul demands that all the men blinded here be fitted with new eyes rather than cast out into the desert. The men are shocked that Paul can somehow still see. He commands that the makers of the stone burner be discovered and heads back to Chani.

Commentary

The threads weave tighter and the overall arc of this story is made clear; it is mired in issues surrounding the combination of religion and government, the difficulties associated with prescient ability, and questions of free will in a universe where these abilities are possible. While Herbert himself was determined to show the danger in a rule of someone such as Muad’Dib the overall resonance of Dune Messiah is utterly religious.

One of the primary concerns of this book is showing the difficulty of dismantling a religious government, as Scytale rightly puts it. The Guild and the Bene Gesserit, they believe that because religions have been subsumed before, this is something that they recognize and can handle with the appropriate pressure. But Scytale is aware that the refusal to separate “church and state” in this instance leads to something far more entrenched and sinister. Dismantling a religion can be difficult enough, but when people with power believe that this power comes from any sort of divine right, the process is an entirely different one.

Scytale is also adamant that this process is not Paul’s fault to bear alone; he is aware that Muad’Dib would have stopped all the slaughter if he could, that once the idea of him morphed into something beyond a mortal man, he could barely control what occurred in its wake. Again, we hit on this idea that humanity’s desire to put their stock in saviors and legends and singular figures is one of our greatest failings. Billions have died, countless worlds have been subjugated because Paul Atreides tipped the balance of power and had a few very flashy abilities. He had no desire to become this man when all is said and done. Yet there’s nothing that can divert the path.

Which is where we come to the questions of free will posed in this story, and the strangeness of how they are answered. To take this story at face value, you would assume that it does not place much stock in the concept of free will. But of course, that is part of the trap itself. Paul does not know how to do anything but align with what he has already seen. His perception that deviation from the path will lead to something far worse is something that the reader is likely to believe because we have been aligned with Paul and his perspective this entire time… but there’s always that niggling question of how much more (or differently) Alia might see, hence Scytale coming back to her in his discussion with Edric. And then there’s the question of prescience as a trap, which the book will delve even further into as it closes out.

There are more practical concerns, such as the speedy nature of Chani’s pregnancy (which sounds awful, truth be told), and has a certain parallel to the stories of mythical pregnancies. Almost as though Chani were actually having a child by a god, and she gets all the misfortune that comes with that. And then there’s the constant suggestion that Duncan Idaho’s person is lurking somewhere underneath Hayt’s shell. The concept of personhood and the potential for a “soul” or something of that nature is one that could do with some more work in this story, I think. Characters here believe the Duncan exists in Hayt, but they do not spend much time asking what that means for the work the the Bene Tleilaxu do, only suggest that Duncan is special in this case. Why?

There’s the introduction of Bijaz, which is irritating as these books are frankly remiss in how they handle any notion of disability. Of course the only time we see a person of Bijaz’s stature he is essentially a “magical” device, a character that speaks in riddle and exists to serve at the whims of others. Now, the story does address this ever so slightly, the fact that he is called a Bene Tleilaxu “toy” with all the awfulness that implies. But if a group in this universe are abusing beings to this end, that is something that deserves more consideration and commentary. Why would they do this to someone like Bijaz, and how does it play into their maneuvering? Does anyone in this universe care about these sorts of things at all? Muad’Dib’s wars aside, there must be some people in this universe who have a care for human rights, but we hear very little about that. It is one aspect of politics that could actually use a great deal of expansion.

If there is one thing that Dune Messiah captures beautifully, though, it is the difficulty found between people who cannot turn over to the new ways when the world upends. The Fremen who supported Paul are finding that many of them want no part in this order he’s created (through no desire of his own, but it is still his doing). They have “seen the sea” as it has been put already, and found that it gave them nothing that they wanted. This has been true across the world, in many different eras, and still occurs to this day. People are offered new faiths, new systems, new ideas, and some embrace them while others reject it outright. The people of Arrakis are never portrayed as wrong for refusing to accept this change; if anything, the Fremen are portrayed as right to hold onto their culture and their way of life. It’s a portrayal that is fascinating in its sensitivity to the ideas of colonization and imperial power. No one is truly better off for Paul’s rule because that was never the purpose of his success—it was simply the only road he saw.

Unfortunately, nothing adds to a man’s mystique quite like being able to “see” when physically blinded. We will get to that particular shift in the next and final section of the Dune Messiah Reread.

Emily Asher-Perrin has always been sort of mesmerized by the term “stone burner” as horrific weapon. You can bug her on Twitter and Tumblr, and read more of her work here and elsewhere.

Gwenda Bond and Lois Lane Save the Day

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Lois Lane has always been a bit of a personal hero of mine. Not being a DC comics reader as a child, I didn’t meet her until the wonderfully cheesy Adventures of Lois and Clark. Teri Hatcher’s Lois was gutsy, feisty, and the queen of the eyeroll. She was a woman who didn’t hesitate to do what was right no matter what and who bulldozed right on past Dean Cain’s Clark like the small town farm boy he was. A few years later my love of Lois Lane deepened with Superman: The Animated Series. She was even tougher and more defiant, a journalist who took on danger with a laugh. She wasn’t a Strong Female Protagonist or an Action Girlfriend, but she was independent and intelligent.

These Loises were everything Amy Adams’ (or should I say Zack Snyder’s) Lois isn’t. They weren’t reduced to sex object or damsel in distress. It breaks my heart to see Lois brought so low by the DCEU. Fortunately, Gwenda Bond has the cure for my Lois Lane blues.

Arriving in Metropolis after a childhood spent on the move (thanks to her father’s high-level military job), Lois finds herself in wholly unfamiliar surroundings. New city, new home, and a new school beget new friends, a new job as a reporter, and a new romance with a boy she only knows online. Lois intends to stay out of trouble for once, but when she takes on bullying in Fallout, she ends up in way over her head. In Double Down, Lois’ next journalistic breakthroughs come in the form of a mad scientist experimenting on innocent civilians and James’ father and disgraced former mayor trying to clear his name.

By the time Triple Threat rolls around, the bad guys are coming at her from all fronts by sending superpowered teenage runaways after her. Throughout all this, Lois and her kinda sorta online boyfriend SmallvilleGuy (yep, exactly who you think he is) are trying to protect the mysterious “flying man” from capture by her father.

When Gotham first premiered, I was pretty excited about it. What sounded like an intriguing exploration into pre-Batman Gotham through the eyes of a young Jim Gordon ended up being a Batman prequel without any of the things that make Batman or his villains interesting. Gordon is sidelined in his own show by wee Bruce, a boy who lacks the compelling qualities of older Bruce or the drama of Batman. Gwenda Bond steers clear of Gotham’s pitfalls. Where the show forgot to include the elements that make up the soul of a Batman story, Bond makes sure to keep Lois true to the character, even if she is only a kid.

Think of Bond’s Lois Lane series not as canon but instead like officially sanctioned fanfic. It’s more “what if” than “Origin Story™.” And as someone who reads a preposterous amount of fanfic and often prefers its unbridled creativity to the rigid limitations of corporate-sponsored canon, I loved nearly everything about this series.

Bond gets everything right about Lois. To Bond, our intrepid reporter is “tough, but she’s vulnerable. She’s smart, but she doesn’t always think about taking care of herself because she’s more interested in justice. She gets in trouble because she’s not afraid to get in trouble, which is what superheroes do.” In Bond’s hands, Lois Lane is Veronica Mars with a dash of Nancy Drew. She’s tenacious and headstrong with a romantic streak and an open mind. Bond buttresses the difficult moments with trust and respect, allowing Lois to fully experience, process, and learn from her emotions and situations.

Beyond everything there is to admire about Lois, the rest of the story is refreshingly light and the characters well-rounded. The adventures of Lois, SmallvilleGuy, and her Metropolis pals are like something out of, well, ‘90s television. The series is fun and engaging on all levels. It’s honest in its approach to teenagers, letting their foibles, contradictions, and irritations come to the surface while also pointing them out for what they are. Lois’ tempestuous relationship with her parents, her cautious connection with her friends, and her all-consuming budding romance with her beau are circumstances most teenagers can relate to.

And sure, the series isn’t perfect. While Bond is a talented writer, she falls back on too much telling and not enough showing. There’s a lot of superfluous descriptions that amount to little more than a longer word count, and the exposition can be pretty text-heavy. Add to that having not quite enough plot stitched together by too many contrived coincidences and the narrative flow can get bogged down enough to make the books feel slower than they really are. I’d also like to see more diversity in the main cast. But what lies beneath all that are stories of courage under pressure and characters with heart. The action is exciting, the plots twisty, the interpersonal relationships heartfelt, and the characters realistic. In short, I love this series. I can’t tell if a fourth book is in the works or not, but I hope to Hera it is. I need more of Gwenda Bond’s Lois.

I think what I love most about Bond’s Lois Lane series is what it offers young women. Here’s a girl hero their own age fighting for truth and justice and standing up to the bad guys. She fights with her strengths—curiosity, cleverness, and courage—and relies on the teamwork of her friends, family, and allies.

On the big screen girls have Wonder Woman kicking ass and saving the day, and on paper they have Lois Lane. Where Wondy has sheer strength and an unwavering sense of duty, Lois is fallible yet eager. Diana is what they can strive for, and Lois is learning to work with what they have. But both are inspirations. Imagine being a teenage girl growing up in a world with these kinds of women as your models.

The Lois Lane Series—Fallout, Double Down, and Triple Threat—are available from Switch Press.

Alex Brown is a teen librarian, writer, geeknerdloserweirdo, and all-around pop culture obsessive who watches entirely too much TV. Keep up with her every move on Twitter and Instagram, or get lost in the rabbit warren of ships and fandoms on her Tumblr.

Rebellious Acts of Kindness: C.L. Wilson’s Tairen Soul Series

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I grew up reading Harry Potter. I was eleven. Harry was eleven. Harry Potter was such a huge part of my childhood and my early adulthood. Some of my best friendships started because we bonded over Harry Potter. I don’t even date guys unless they’ve read Harry Potter. So you can imagine my surprise at twenty-eight years old when I read a book that rivaled my love for Harry Potter for the first time ever.

First, I freaked out. HOW COULD ANY BOOK RIVAL HARRY POTTER? And furthermore… WHO AM I IF HARRY POTTER IS NOT MY FAVORITE BOOK? It was actually pretty distressing. And in the end, I had to decide that Harry Potter was the favorite book of my childhood, but perhaps I could have another favorite book of my adulthood. And that book (or series rather) is the Tairen Soul Series by C.L. Wilson.

Someone recommended it to me on Twitter when I put out a call for great fantasy romance (which is my favorite thing to read). I bought the first book, but sat on it for a couple months because to be completely honest the cover didn’t really inspire confidence. Then when I finally got around to reading it, I hated myself for waiting so long. Because it was everything I wanted.

The Tairen Soul series is inspired by fae folklore, but it wasn’t predictable or like anything I had ever read. And the plot is epic and exciting. But the thing that took me from like to love was the characterization of the heroine—Ellysetta. At the beginning of the book, she’s sort of thrust into the story when a famous and powerful fae named Rain Tairen Soul who hasn’t been seen in a thousand years suddenly appears and claims she’s his mate. The only problem: the last time he had a mate, she died in battle, and Rain nearly destroyed the entire world in his grief. That’s a lot of pressure for a seemingly normal young woman.

Wilson doesn’t fall prey to the typical pitfalls of the fated mates trope—the pacing of the relationship is taken slowly and realistically, and we begin to love each character separately before we love them together. We discover that Ellysetta isn’t completely normal after all, and in fact may be part-fae. Warning: Spoilers ahead!

My favorite scene in the entire book is when she’s lured away from her home by what’s called a Dahl’reisen—which is a fae that’s taken too much life and his soul has gone dark. Every fae male knows such a life is probable for him someday. Each life they take in battle is a dark spot on their soul. When you live thousands of years and fight thousands of battles, those lives begin to add up. And once a fae turns dark, they’re exiled from Faerie forever. So when the most famous Dahl’reisen to ever live captures Ellysetta, things look bleak. He thinks she’s a spy from their mage enemies, and is determined to kill her.

Female fey have the gift of empathy and healing, and they’re so sensitive that it’s painful for them to even be near a Dahl’reisen. In a truly beautiful moment, Ellysetta not only endures the pain of being near the world’s darkest Dahl’reisen—she touches him and through excruciating pain, she actually heals his soul enough to bring him back from the dark side, to make him fae again instead of Dahl’reisen. The man who had just attempted to kill her then drops to his knee and pledges his life to her protection in gratitude.

I can remember reading this scene on my couch and openly weeping, not because the scene was sad, but because it was so vivid and moving, and I never wanted it to end. It creates incredible sympathy for Ellysetta and is such a beautiful way for her to hold her own as a character when surrounded by incredibly gifted, magical fae. And it introduces an incredible new character who has gone to the darkest point, and back again.

Everyone around Ellysetta is furious that she put herself through harm for someone as unworthy as a Dahl’reisen, but when she’s taken to meet the rest of the fey army, she meets a large group of soldiers who keep themselves separate from the rest. They’re all very close to turning Dahl’reisen. Just a few more deaths on their soul in the coming battle could turn the tide. Everyone tells her to stay away from them, but instead she slips out in the night and heals every single one of them. One by one, hundreds of soldiers feel their souls made new, and they in turn pledge their life to protecting Ellysetta. So many pledge their blades that there’s just this huge pile of weapons at her feet.

I cannot explain how epic this moment is in the book. You MUST read it. But I think perhaps the best part of it all is that the most badass moment in the entire book doesn’t come in battle. It’s not crazy complicated magic, or a dangerous fight scene. It’s a woman showing empathy to people who aren’t supposed to deserve it, and enduring incredible pain to help strangers. THAT… was definitely awesome, and it sealed her spot on my list of all time favorite heroines.

So, if you haven’t read the Tairen Soul series by C.L. Wilson yet…

DO IT. Seriously. Do it now.

Cora Carmack has done a multitude of things in her life—boring jobs (like working retail), fun jobs (like working in a theatre), stressful jobs (like teaching), and dream jobs (like writing). Raised in a small Texas town, she now lives in New York City and Texas, and spends her time writing, traveling, and marathoning various television shows on Netflix. Her first book, Losing It, was a New York Times and USA Today bestseller. Her latest novel, Roar, is available from Tor Teen. Visit her online at her website, on Twitter @CoraCarmack, and on Facebook at CoraCarmackBooks.


A Madcap Debut: The Prey of Gods by Nicky Drayden

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The first thing you should know about Nicky Drayden’s wildly imagined debut is that it’s really, really fun. You’ll bounce from tormented more-than-besties Muzi and Elkin’s first sexual experience (under the influence of a hallucinogen that unlocks their inner dolphin and crab selves, obvs) to a demigoddess moonlighting as a nail tech who plans to destroy the human race to a robot uprising to a young lady who is More Than She Seems to a global superstar and impossible diva whose friendly neighborhood drug dealer is the only person who knows her Dark Secret to an aspiring government official with a very overbearing mother and a secret life as a charismatic transgender pop star. And that’s just the first few chapters.

Spinning between the perspectives of multiple main characters, the seemingly divergent storylines of The Prey of Gods soon begin to intersect in—spoiler alert—unexpected and often delightful ways.

Set in the just-slightly-future South African city of Port Elizabeth, The Prey of Gods is about—well, okay, it’s hard to explain exactly. An evil and ancient demigoddess is really tired of doing rich ladies’ nails for a living so decides to arrange a catastrophic event that will restore her ancient powers! A new drug allows users to access their inner animal selves (and dormant psychic powers)! A lot of different people don’t know it yet but the fate of the world rests on their shoulders! Muzi is totally head over heels for Elkin and terrified to tell him and thanks to the aforementioned hallucinogen has realized he has the power to control people’s minds! Also there are a whole bunch of murders, a genetically engineered dik-dik plague, about fourteen different simultaneous conspiracies, Xhosa folklore, tragic sacrifices, an epic street battle, and lots of dirty jokes.

But the novel is much more than just a series of madcap events; in between demigoddess/manicurist Sydney’s periodic snacks on any person unfortunate enough to cross her and Muzi and Elkin’s witty banter, Drayden tucks in ongoing themes of family—birth and chosen—memory, heritage, and loss. Muzi struggles with his grandfather, Papa Fuzz, whose commitment to his Xhosa heritage strikes Muzi as old-fashioned, and who Muzi is certain won’t exactly be overjoyed at the news his favorite grandson is gay. Politician-slash-transgender lounge singer Stoker is trying—and failing—to reconcile the secret life she’s desperate to live with the ambitions of her family. The robots are learning that an insurrectionist uprising is a lot harder than it looks. Magic is complicated in Drayden’s world, and although the magic-has-a-terrible-price trope can often wear thin in other novels, here she uses it to explore her characters’ often-painful pasts and complex bonds with one another in ways that feel entirely new. Even Sydney, as hilariously (and sometimes frighteningly) terrible as she is, serves as a framework on which Drayden builds many-layered lessons about what exactly it means to be human. For all its wild subplots and deeper messages, the novel never collapses into (unintentional) camp or heavy-handedness, but underneath the propulsive action is a fleshed-out cast of living, breathing characters whose journeys are as vivid as their costumes.

The skill with which Drayden pulls off her fully realized world, bananas plot, and multivocal narrative is so impressive it’s hard to believe this is a debut novel. And on top of her nearly supernatural ability to juggle something like thirty-seven balls at once, she’s also an inventive and delightful stylist with an eye for the novel metaphor and snappy turn of phrase. She can build a fleshed-out character in a handful of paragraphs, make you (well, sometimes) root for a demonic ancient evil who eats people in order to fit into her party dress (it’s complicated), and move you even as you can’t stop laughing. Though she’s pulling from sources as diverse as folkloric origin stories and Terry Pratchett, she balances the disparate elements of her story beautifully. And while there are moments in the story that, shall we say, defy plausibility, by the time she wraps up her own magic show you won’t care. The Prey of Gods is a remarkable debut; I can’t wait to see what Drayden does next.

The Prey of Gods is available now from Harper Voyager.
Read an excerpt from the novel here on Tor.com.

Sarah McCarry is the author of three novels: All Our Pretty Songs, a Tiptree Award honoree; the Norton award-nominated Dirty Wings; and the Lambda award-nominated About A Girl.

The Secret Maps Buried Beneath the “Choose Your Own Adventure” Books

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“Choose Your Own Adventure” was a groundbreaking book series that prepared many of our child minds for the internet…or for keeping track of all the endnotes in Infinite Jest if you’re into that sort of thing. But did you know that each twisty, unforgiving story in the CYOA series has a map? The good folks over at Atlas Obscura have dug into the books and the maps they’ve generated.

The series original ran from 1979 to 1998, but since 2004, Chooseco, the company founded by one of the CYOA author, R.A. Montgomery, has re-released classic volumes and included the maps that are created by all the possible choices in each book! The official maps keep things fairly clear-cut. Pages are shown by an arrow, circles represent the choices the book offers its readers, each possible ending is represented by a square, and the dotted lines show the links between choices.

The maps show the variety in the series, with some having dozens of endings, like By Balloon to the Sahara:

While others, like Mystery of the Maya, employ time travel to send readers back to the same page over and over again.

The maps are all fascinating—to see more, turn to Atlas Obscura!

eyes I dare not meet in dreams

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Undead girls begin re-entering the world of the living, emerging from refrigerators.

 

The staring. A leaf alone in the horrible
leaves. The dead girl. The staring.

—Joshua Beckman, “[The dead girl by the beautiful Bartlett]”

At 2:25 a.m. on a quiet Friday night on a deserted country road in southeastern Pennsylvania, the first dead girl climbed out of her refrigerator.

So the story goes.

 

We never saw the refrigerators. Eventually we gathered that they were everywhere, but we never actually saw them until the dead girls started climbing out of them. Holes in reality, some people said. Interdimensional portals, real Star Trek shit. There’s a tear between these parallel universes and something falls through, and next thing you know there’s a refrigerator in the middle of the road, or the sidewalk, or someone’s lawn, or a football field, or in the bottom of a dry swimming pool, or on the seventh floor balcony of a five star hotel. On the steps of a museum. Basically anywhere.

Later, watching a shaky video taken on someone’s phone, of a refrigerator on a long, straight line of train tracks. Train not far, nighttime, lights blinding. The blare of the thing sends the sound into an angry buzz of distortion. The fridge, just lying there on its side like a coffin. You can’t even tell what it is, except that it’s a box. Or something like that.

It opens. Kicked. Out climbs a broken doll girl, hair stringy and wet, head lolling to one side. Can’t see her face. Don’t need to see her face to know that she’s fucking terrifying. The train somehow looks terrified but physics is a thing, even now, and it can’t stop. She stands there, broken doll head on a broken doll neck, and over the heavy buzz you hear someone screaming holy fucking shit holy shit holy shi—

Even filmed on a shitty cell phone, a train derailed by a dead girl is quite a thing to see.

 

Okay: the official story goes that the first dead girl stood on that deserted country road on that quiet Friday night for quite some time. She stood motionless, listening to the pat-pat sound of her own blood dripping onto the blacktop. Not listening for her heartbeat, which was not there, nor for her breathing—which was not there either. She was listening to other things: wind, leaves, owls, fox scream, sighing of distant cars. It was a quiet night. That’s the story.

The story goes that the dead girl palmed blood out of her eyes and looked down at her sticky fingers, as if considering them carefully—in their context, in their implications. In the slick undeniability of what was still flowing out of her, like inside her was a blood reservoir which would take thousands of years to run dry. Like she was a thing made only to bleed.

And the story also goes that at some point, after studying the fact of her blood to her own satisfaction, the dead girl dropped her hands to her sides and started to walk.

 

We never would have believed, before the dead girls started climbing out of their refrigerators, that people could be literally resurrected by sheer indignation.

Probably it should have been obvious. People have been brought back to life by far more ludicrous means and for far more ridiculous reasons.

 

The story also goes that no one saw the first of the dead girls. The story goes that when they came they came quietly, unannounced, no particular fanfare. The dead girls did not—then—demand witnesses. They weren’t interested in that.

They wanted something else.

Later the dead girls were emerging everywhere, but the first dead girls climbed out of the dark, out of the shadows, out of the lost places and the hidden places and the places of abandonment—out of the places in which one discards old useless refrigerators. Out of the places in which one discards things which have served their purpose and are no longer needed.

The dead girls climbed into the light in junkyards, in vacant lots, in the jumble of shit behind ancient disreputable institutions one might kindly call antique stores. The dead girls climbed out in ravines and ditches and on lonely beaches and in dry riverbeds. Wet riverbeds. The dead girls climbed out into feet and fathoms of water. The dead girls climbed into the air but they also clawed their way out of long-deposited sediment and new mud, like zombies and vampires tearing their way out of graves. The dead girls swam, swam as far as they needed to, and broke the surface like broken doll mermaids.

This is how the story goes. But the story also goes that no one was present at the time, in the first days, so no one is entirely sure how the story got to be there at all. Or at least how it got to be something everyone accepts as truth, which they do.

 

First CNN interview with a dead girl. She’s young. Small. Blond. Before she was a dead girl she was definitely pretty and she’s still pretty, but in the way only dead girls are, which is the kind of pretty that repels instead of attracts, because pretty like that gives you the distinct impression that it hates you and everything you stand for. Dangerous pretty, and not in the kind of dangerous pretty that exists ultimately only to make itself less dangerous.

Dangerous pretty like a carrion goddess. You’ve seen that pretty picking over battlefields and pursuing traitors across continents. You’ve seen that pretty getting ready to fuck your shit up.

Small young blond pretty dead girl. Broken doll. She stands facing the camera with her head tilted slightly to one side. Her face is cut, though not badly. Neat little hole in her brow. The back of her head is a bloody crusted mess. It was fast, what made this dead girl a dead girl, but it wasn’t pretty.

But she is.

Looking at the camera—it’s somewhat cliché to say that someone is looking right into you, but that’s what this is like. The eyes of the dead girls aren’t cloudy with decay, or white and opaque, or black oil slicks. The eyes of the dead girls are clear and hard like diamond bolts, and they stab you. They stab you over and over, slowly, carefully, very precisely.

Can you tell us your name?

The dead girl stares. Anderson Cooper looks nervous.

Can you tell us anything about yourself? Where did you come from?

The dead girl stares.

Can you tell us anything about what’s going on here today?

Behind the dead girl and Anderson Cooper, a long line of dead girls is filing slowly out of the Mid-Manhattan Library, where approximately fifteen hundred refrigerators just came into material existence.

The dead girl stares.

Is there anything at all you’d like to tell us? Anything?

The dead girl stares. She actually doesn’t even seem to register that there’s a camera, that there’s Anderson Cooper, that she’s being asked questions. It’s not that she’s oblivious to everything, or even to anything; she’s not a zombie. Look into that diamond-point stare and you see the most terrifying kind of intelligence possible: the intelligence of someone who understands what happened, who understands what was done to them, who understands everything perfectly. Perfectly like the keen of the edge of a razor blade.

She’s aware. She just doesn’t register, because to her it isn’t noteworthy. She doesn’t care.

Can you tell us what you want?

The dead girl smiles.

 

What they didn’t seem to want, at least initially, was to hurt people. The train thing freaked everyone out when it hit but later as far as anyone was able to determine it hadn’t been done with any particular malicious intent. Mostly because the only other times anything like it happened were times when a dead girl needed to act fast in order to keep from being…well, dead again.

Dead girls wreaked havoc when they felt like someone or something was coming at them. So don’t come at a dead girl. Easy lesson learned quickly.

Dead girls have itchy trigger fingers. They hit back hard. You shouldn’t need to ask about the reasons for that.

 

Something like this, people struggle to find a name for it. The Appearing. The Coming. The Materializations. All proper nouns, all vaguely religious in nature, because how else was this going to go? By naming something we bring it under control, or we think we do—all those stories about summoning and binding magical creatures with their names. But something like this resists naming. Not because of how big it is but because of the sense that some profound and fundamental order is being altered. Something somewhere is being turned upside down. The most basic elements of the stories we told ourselves about everything? A lot of them no longer apply.

A bunch of dead girls got together and decided to break some rules with their own dead bodies.

So the mediums of all the media looked at this Thing, whatever the fuck it was, and they tried to attach names to it. Dead girls on the street, just standing, watching people. Dead girls in bars, in the center of the place, silent. Dead girls on the bus, on the train—they never pay the fare. Dead girls at baseball games—just standing there in front of the places selling overpriced hot dogs and bad beer, head slightly cocked, looking at things. None of them have tickets. Dead girls at the movies, at the opera, dead girls drifting through art galleries and libraries.

Very early on, a mass migration of dead girls to LA. Not all together; they went via a variety of transportation methods. Flew. Again, trains. Some went by bus. Some took cars—took them, because again: you don’t go up against a dead girl. Some—as near as anyone was able to tell—just walked.

Steady. Inexorable. The news covered it, because the dead girls were still always news in those days, and while even news made up of a wildly diverse collection of media and organizations usually adopts a specific tone for something and sticks to it, the tone for this coverage was profoundly confused.

Watching dead girls standing in the aisle of a jumbo jet. Refusing to be seated. Staring. Interrupting the progress of wheely carts and access to the tail-end restrooms. This specific dead girl is missing half her face. Blood oozes from the gaping horror. Flight attendants don’t look directly at her, and one of them gets on the PA and apologizes in a slightly shaking voice. There will be no beverage service on this flight.

Cut to the ground below. Twenty-four dead girls have run into a biker gang and confiscated their vehicles. They roar down a red desert road in loose formation, hair of all colors and lengths pulled by the hands of the wind. They’re beautiful, all these dead girls. They’re gorgeous. They take whatever name anyone tries to give this and they hurl it off the tracks like that train.

You get the sense they’re pretty sick of this shit.

 

That’s the thing, actually. There are exceptions: girls with horrific traumatic injuries, girls missing limbs, girls who were clearly burned alive. A lot of those last. But for the most part the flesh of the dead girls tends to be undamaged except for the small evidences of what did them in, and there’s always something about those things which is oddly delicate. Tasteful. Aesthetically pleasing.

As a rule, dead girls tend to leave pretty corpses.

 

Dead girls outside movie studios, the headquarters of TV networks. The houses of well-known writers. Assembled in bloody masses. Broken dolls with their heads cocked to one side. Staring. People were unable to leave their homes. This is how it was. Footage constant even though nothing changed. People started throwing words around like zombie apocalypse but no one got chomped on. The dead girls didn’t want the flesh of the living.

Initially police tried to clear them out, then the National Guard. Casualties were heavy. One of them—a girl with long, lovely brown hair gone reddish with blood—threw a tank. So people basically stopped after that. What was this going to turn into? One of those old horror films about giant radioactive ants? More contemporary ones about giant robots and sea monsters? Maybe we weren’t ready to go quite that far. Maybe you look into the eyes of a dead girl and it feels like your options dry up, and all you can do is be looked at.

You were part of this. We all were. Complicit. Look at yourself with their eyes and you can’t help but see that.

 

Except on a long enough timeframe everything has a half-life. Even the dead.

 

You don’t get used to something like this. It isn’t a matter of getting used to. You incorporate.

Dead girls everywhere. Dead girls on the street, dead girls on public transportation—staring at phones and tablets, reading over shoulders. Dead girls in Starbucks. Dead girls on sitcoms—no one has ever really made a concerted effort to keep them out of movie and TV studios, after a few incidents where people tried and the casualty count wasn’t negligible. Dead girls on Law & Order, and not in the way that phrase usually applies—and man there are a whole fuck of a lot of dead girls on Law & Order. Dead girls in the latest Avengers movie. Rumor has it dead girls surrounded Joss Whedon’s house three months ago and haven’t left, and have decisively resisted all attempts to have them removed. Dead girls vintage-filtered on Instagram.

Dead girls on Tumblr. Dead girls everywhere on Tumblr. Dead girl fandom. There’s a fiercely celebratory aspect to it. Dead girl gifsets with Taylor Swift lyrics. Dead girl fic. Vicarious revenge fantasies that don’t even have to be confined to the realm of fantasy anymore, because, again: Joss Whedon. And he’s by no means the only one.

Dead girls as patron saints, as battle standards. Not everyone is afraid of the dead girls. Not everyone meets that hard dead gaze and looks away.

Some people meet that gaze and see something they’ve been waiting for their entire lives.

 

So in all of this there’s a question, and it’s what happens next.

Because incorporation. Because almost everyone is uncomfortable, but discomfort fades with familiarity, and after a while even fandom tends to lose interest and wander away. Because we forget things. Because the dead girls are still and silent, constant witnesses, and that was unsettling but actually they might turn out to be easier to ignore than we thought. Or that prospect is there. In whispers people consider the idea: could all the pretty dead girls climb back into their refrigerators and go away?

Is that something that could happen?

It seems vanishingly unlikely. Everyone is still more than a little freaked out. But it is an idea, and it’s starting to float around.

We can get used to a lot. It’s happened before.

 

A deserted country road in southeastern Pennsylvania—deserted except for a dead girl. Quiet night. Silent night except for her blood pat-patting softly onto the pavement. Palming it out of her eyes, staring at her slick, sticky fingers. Dropping her hand limp to her side.

A dead girl stands motionless, looking at nothing. There’s nothing to consider. Nothing to do. The entire world is a stacked deck, and the only card she can play is that she’s dead.

That might or might not be enough.

The dead girl starts to walk.

 

“eyes I dare not meet in dreams” copyright © 2017 by Sunny Moraine

Art copyright © 2017 by Yuko Shimizu

Art of SFF: Galen Dara’s Daring Style

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Welcome back to Art of SFF—a column covering the best and brightest science fiction and fantasy artists. From newcomers to legends, Art of SFF pulls back the curtain to introduce you to the people behind your favourite book covers, films, and video games, and SFF-influenced art of all kinds. This month, we chat with Hugo Award-winner Galen Dara.

“As a kid I cut my drawing teeth on fabulous winged beasts, magical weaponry and figures in outlandish costumes,” said Dara, whose clients include 47 North, Fantasy Flight Games, and Fireside Magazine. “The fantastical was always my wheelhouse. As a reader I value speculative fiction’s ability to be both delightful escapism and searing social commentary.”

Watching Dara’s career blossom has been one of the most delightful benefits of being a part of the SFF fan community over the past several years. She first gained popularity as a fan artist, producing vivid SFF art unlike anything else. In 2013, Dara won the Hugo Award for “Best Fan Artist.” Since then, she’s been nominated for several other high profile awards, including a couple more Hugos, the Chesleys, and the World Fantasy Award (which she won in 2016). Except now she’s competing among professionals instead of fans. It’s safe to say that Dara’s arrived.

“My path [to get here] meandered quite a bit,” Dara said when I asked for the story of how she went from fan artist to professional. “Throughout grade school I excelled in art related courses so naturally when I went to college it was to get an art degree. But I wasn’t ready for college, and didn’t have a clear idea of what I wanted. So, after a few semesters I dropped out, got a job, and just took classes part time from the local community college, mostly painting and lifedrawing.”

Of course, that wasn’t the end for Dara, only another beginning. After dropping out of college, she traveled “a bit,” always with a sketchbook. Finally, she returned to college, this time working on a BFA in Illustration.

“Halfway through, one of the Fine Art instructors turned my head to a more esoteric direction, so that by the end of my BFA I was doing things like hanging stuff from the ceiling to create environments that you could walk into, or wrapping broken egg shells in translucent paper and dangling them from strings on the wall. After my degree I was in a few fine art shows, but only sporadically.”

Dara’s burgeoning career slowed down when her son was born, after which she “wasn’t able to do much more than keep a sketchbook and dabble in photography.”

As she settled into parenthood, however, it dawned on her that she could use photoshop and other digital tools to clean up her sketches. She started posting those revised sketches online. “Then I began using photoshop to add colors and textures to my sketches,” she explained. Though she completed her BFA in Illustration, she had to teach herself how to integrate these digital tools into her workflow. From there, she developed her technique and adapted her style to have a stronger digital foundation. “A friend gave me a used wacom tablet,” she remembers, “which I used for touch-ups. Eventually I began to draw and paint directly in Photoshop.

“By that time, I was already getting a steady stream of small illustration jobs, and I used those to teach myself new things. Eventually I attended a week long immersion course where I got feedback from speculative fiction artists like of Rebecca Guay, Dan Dos Santos, Brom, Scott M. Fischer, Greg Manchess, and Iain Mccaig. That was incredible. I still occasionally visit workshops for instruction and feedback.”

Similar to Richard Anderson, who I profiled in this column’s inaugural post, Dara produces art that is raw and impressionistic, trading glossiness and strict definition for nerve-tingling emotion. It’s impossible to ignore her striking style. Whether on the cover of Lightspeed or Uncanny Magazine, you recognize her art right away. Bold and daring, whispered promises, and imagery that sticks with you like a vivid dream.

“It’s possible the roundabout way I got here contributes to my style,” Dara said. “My path as an artist was not a straight trajectory, so I come at problems from a non-traditional angle, with a varied backstory informing my decisions. In some cases my path has left gaps in my education that I have to find creative ways to compensate for. My favorite artists tend towards graphic boldness: I love the work of Scott Bakal, Goni Montes, Jillian Tamaki, Joao Ruas, Jeffrey Alan Love, Victo Ngai, James Jean, Yoshitaka Amano, Anna and Elena Balbusso.”

One of the side effects of the “graphic boldness” of Dara’s influence, is that she’s become a strong visual storyteller. One of my favorite aspects of her work is that it feels complete, but, thanks to her impressionistic style, also compels you to keep thinking about the circumstances behind the scene it’s portraying. Part of that is due to her process, which involves a lot of instinct, a variety of tools, and open communication with her clients.

Covers are a collaborative effort, Dara admits. So where does one begin when interpreting another artist’s work? “With short stories I typically pick the visual inspiration out from my reading of the story. For something longer, like the cover of a novel, I get an art brief that gives me a basic rundown of the setting, characters, and the feel of the book. For game card art, I get a brief that lays out the direction of the card. Other than those differences, my process for all projects starts the same: collecting all sorts of applicable imagery and making a bunch of mood boards. I’ll grab images from pop culture, graphic design, art history, fashion, architectural, nature. Sometimes I’ll make a mood board just laying out how other artists have tackled similar concepts. Often I’ll make mood boards just with color schemes.

“Then I’ll move onto collages: cutting and pasting shapes and imagery, taking stuff apart, putting it back together in different arrangements,” she said. “Doing this digitally allows me a lot of flexibility to reshape the collage quickly and create lots of variations: I can resize elements, flip them, shift things around, alter the values, draw in additional elements, redraw the stuff that doesn’t quite fit. It’s about finding the sweet spot that make me happy. (I’ll frequently zoom the image out to thumbnail size on my computer screen to get the overall at-a-glance impact of the piece.) This is usually done in greyscale. Once the client and I are happy with the preliminary composition, I start turning it into a full color painting. I use a lot of low opacity glazes and a lot of masks/stencils.”

A digital canvas offers limitless opportunities for experimentation, but Dara finds that, just like an artist who has a favorite paintbrush or pen, she often goes back to her most tried-and-true tools. “While I have hundreds of brushes in my Photoshop toolbox, I always come back to two or three of them: high texture brushes that I use both to lay down color and to scratch it back out again.

“Frequently I’ll need to alter the overall composition as I go; things that I thought worked great initially end up not working once the painting is in full swing. Stuff needs to be added or taken out or altered. There’s a lot of push and pull in this phase as I re-discover what the sweet spot is again and again. Always there’s a point where I wonder if I’ll be able to pull it off, be able to make the painting turn out successfully. It’s nerve-wracking.”

In fact, it’s not all fun and games, even for an artist who has appeared on several high-profile award ballots. As any creative professional knows, clients often have specific requests, and a different idea of what a final product should look like than the artist. “I’m fortunate that many of my clients provide me with a fair amount of freedom to explore things ‘my way.’ But it’s tricky—just recently I had an experience where the distance between my style and what the client wanted was too wide. That was hard and it’s natural to second guess myself.

“Being an artist means being able to take rejection, learn from it, keep on going.”

That dedication to her profession has earned Dara many fans within both fandom and the publishing industry, including Michael Damien Thomas, co-founder of Uncanny Magazine. “Galen Dara is simply one of the best cover artists working in our corner of the field today,” he told me. “Her art is vibrant and alive. Her compositions sing with color and movement. Dynamic and striking, a Galen Dara cover grabs your eye and plunges you into one of her fantastical worlds. We have used Galen as a cover artist on our magazines and anthologies numerous times, and are so proud that she made our first Uncanny Magazine Cover. Plus, she is a joy to work with.”

Dara’s already worked with some heavyweight, but which author would she most like to collaborate with? “Kij Johnson,” she answered. “I read her short story “Spar” years ago when I was just getting back into making art. It blew my mind and inspired multiple sketchbook pages full of disturbing imagery. I really love her mind.”

(“Spar” is, erm… boldly NSFW. Make sure your boss and/or little children aren’t around when you start reading it.)

Dara demurred when I asked if she’d share those sketches. “I’m not sure I could find them now, and as I recall they are definitely not work appropriate! Anyways, what I scratch out in my sketchbooks nowadays rarely has much relation to the art I’m creating for clients: it’s purely a way for me to process stuff, a sort of brain dump, raw and messy and random. Helps keep me sane, but it’s not always pretty.”

Drawn to speculative fiction by its “endless possibilities,” Dara sees a bright future for SFF powered by artists and fans of all stripes. “The best way for me to answer this,” she said when I asked her where she sees SFF cover art going over the next five years, “would be to say who I’d love to see creating SFF cover art in the coming years: I’d love to a SFF art world full of artists of color, queer and transgender artists, women, etc. These creators are already out there, but to see their work become more visible in the top tiers of the SFF publishing industry would be a very satisfactory thing.”

By its nature, speculative fiction eschews boundaries and explores humanity’s infinite complexities. It shouldn’t be held back societal and cultural -isms (racism, sexism, etc.), but often is. As Dara points out, the creators are there, but how can SFF—artists, fans, and the gatekeepers in the publishing industry—continue to create more opportunities for artists of marginalized backgrounds?

“This is THE question, right?” Dara said. “How to overcome the challenges that certain populations face when trying to gaining access to opportunities?

“I wish I had a good answer. One thing that occurs to me is that I want people to become more aware of the artist behind the artwork. It may seem like a silly thing, but whenever various art awards are announced, I immediately scan the lists for names of women. I get a thrill when I see them represented.

“When Julie Dillon won the 2014 Hugo Award for “Best Professional Artist” it was the first time in history that had ever happened. Women hadn’t even been on the ballot for decades—and now a woman has won that award for the past three years. Three years later, there are four women nominated for Best Professional Artist, outnumbering the men on the ballot two to one. There are problematic aspects to gauging progress by awards, but it’s such a visible thing it can’t be discounted.

Awards such as the Hugo are prestigious, but represent only a small part of the vast community of SFF fans. Dara recognizes that while it’s important to see women, artists of color, and LGBTQ artists recognized at such a level, change also has to come from the industry’s grassroots. “More practical than awards is the day to day visibility of art in the industry—whenever I pick up a novel to check out the cover art, or a comic book, or a magazine, or game card, first thing I do is check who did the illustrations. Like award lists, I get a little buzz when I find out the artist who created that amazing illustration was a women. Since names are often gendered, that’s a pretty easy filter. It may take a little more research to expand that awareness to find artists of color, or who are LGTBQ, etc.

“A few years ago Lightspeed Magazine did a series of {___} DESTROY {___} special issues dedicated to this; “Women Destroy Science Fiction,” “Queers Destroy Science Fiction,” “People of Colo(u)r Destroy Science Fiction” (Nightmare and Fantasy Magazine did likewise). Those were great issues dedicated to creators of that particular group. But, it’s complicated because there are many artists who don’t like being labeled in that way. They want their art to speak for itself, and not have their gender or race or sexual identity be what calls attention to it. So while highlighting and cheerleading artists from a particular background is all well and good, it’s still an imperfect solution to a very complex problem.”

The future of SFF is undetermined, but with artists like Galen Dara leading the way—and opening doors for all dreamers, artists, and fans—we can rest assured that it’s in good hands.

You can find more of Galen Dara’s art on her website, or follow her on Instagram, Facebook, and Twitter.

Aidan Moher is the Hugo Award-winning founder of A Dribble of Ink, author of Tide of Shadows and Other Stories and “The Penelope Qingdom”, and regular contributor to Tor.com and the Barnes & Noble SF&F Blog. Aidan lives on Vancouver Island with his wife and daughter, but you can most easily find him on Twitter @adribbleofink.

Swords, Lances, and Innuendo: James Branch Cabell’s Jurgen

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Prosecution for obscenity has historically been one of the best ways to ensure literary posterity. For decades, getting “banned in Boston” was a surefire way to boost sales everywhere else in the States; in the United Kingdom, 200,000 copies of Lady Chatterley’s Lover sold in a single day when the uncensored version appeared. James Branch Cabell’s Jurgen: A Comedy of Justice went before a court in 1922 and became a bestseller, but today Cabell has met the fate of many “writers’ writers”: He is best remembered for being forgotten.

Though some writers go into and out of fashion, and into and out of print, every decade or so, Cabell seems to have settled into obscurity. When Lin Carter reissued several Cabell novels in the Ballantine Adult Fantasy series in the sixties and seventies, his introductory remarks included the observation that some of these novels had gone forty-five years without a new edition. Since the Ballantine books have fallen out of print, most of Cabell’s works have gone without mass-market re-publication, though, since Cabell has entered the public domain, there have been print-on-demand editions. But perhaps that trial did help preserve Cabell: Jurgen has remained in print.

I’m not certain, but Jurgen may be the only fantasy novel about a pawnbroker. Though he was once a dashing young poet, a prolific lover, a habitual adventurer, and an occasional duelist, our Jurgen’s tale begins when he is middle-aged and semi-respectable “monstrous clever fellow,” with a crowded shop, a difficult wife, and little time for poetry. His brother-in-law is a grocer, his sister-in-law married a notary, and his first love—certainly not the woman he married—has grown fat and silly. Jurgen has set aside his youthful will to action, but has not quite discarded his eloquence. After a chance encounter with the devil, who is much impressed by Jurgen’s praise of his works (“it does not behoove God-fearing persons to speak with disrespect of the divinely appointed Prince of Darkness. To your further confusion, consider this monarch’s industry! day and night you may detect him toiling at the task Heaven set him. That is a thing can be said of few communicants and of no monks”) and who decides to reward this remarkable man. Soon enough, Jurgen’s wife has vanished, his youth has returned, and adventures beckon. The newly young Jurgen plays at being king, pope, and emperor; spends a night as a ghost; encounters Pan in a forest and Satan in Hell; visits Cocaigne and Cameliard; and otherwise leads an exciting life.

Since I opened this article with a discussion of Jurgen’s purported indecency, you may be wondering just what these obscenities consist of. Mostly they’re double-entendres; Jurgen is remarkably skilled with his lance, his sword, and his staff, and happy to introduce them to any woman he meets. So, for example:

“It is undoubtedly a very large sword,” said she: “oh, a magnificent sword, as I can perceive even in the dark. But Smoit, I repeat, is not here to measure weapons with you.

And later:

Jurgen lifted Anaïtis from the altar, and they went into the chancel and searched for the adytum. There seemed to be no doors anywhere in the chancel: but presently Jurgen found an opening screened by a pink veil. Jurgen thrust with his lance and broke this veil. He heard the sound of one brief wailing cry: it was followed by soft laughter. So Jurgen came into the adytum.

And still later:

“Why, I travel with a staff, my dear, as you perceive: and it suffices me.”

“Certainly it is large enough, in all conscience. Alas, young outlander, who call yourself a king! you carry the bludgeon of a highwayman, and I am afraid of it.”

“My staff is a twig from Yggdrasill, the tree of universal life: Thersitês gave it me, and the sap that throbs therein arises from the Undar fountain, where the grave Norns make laws for men and fix their destinies.”

Can a book be so sexually implicit that it becomes sexually explicit? In 1919—fifteen years before the publication of Tropic of Cancer and forty years before the Chatterley trial—this material could still shock many readers; today, without the context of a prudish culture, it often seems juvenile. I won’t deny that I laughed, but sometimes I wanted to roll my eyes.

Black and white drawing of throned man with sleeping woman on his knee

One of the best reasons for reading the Dover edition: Frank C Papé’s ornate illustrations

I suspect that many modern readers would dismiss Jurgen as an outdated cocktail (cock-tale?) of adolescent jokes, casual sexism, artistic self-indulgence, and authorial self-importance. Even the quick summary I gave above suggests that Cabell’s attitude towards women—or perhaps I should say Woman, given the story’s allegorical bent and the apparent interchangeability of the story’s women—is unfortunate, and I cannot claim that all of the jokes land—the parody of Anthony Comstock, for example, may have passed its sell-by date. A brief passage inserted after the obscenity trial includes a scene of Jurgen haranguing the people of “Philistia” for their poor treatment of brave artists, especially Mark (Twain), Edgar (Allan Poe), and Walt (Whitman). Even if you agree with the argument, it’s a little embarrassing to see Cabell comparing himself to three acknowledged masters, all of whom have outlasted Cabell’s acclaim. (To be fair: Twain was an admirer of Cabell.) So do I conclude that Cabell’s reputation deserves its eclipse? No. As Jurgen puts it after receiving a cosmic vision of his own insignificance:

None the less, I think there is something in me which will endure. I am fettered by cowardice, I am enfeebled by disastrous memories; and I am maimed by old follies. Still, I seem to detect in myself something which is permanent and rather fine.

I concur: Whatever its shortcomings, any book so elegantly written, so consistently funny, and so confident in itself deserves admiration.

Lin Carter, another man who clearly thought Jurgen permanent and rather fine, didn’t quite manage to restore Cabell’s reputation with his Ballantine reissues, but science fiction and fantasy writers have never quite forgotten him either. Robert Heinlein’s late novel Job: A Comedy of Justice is an explicit homage to Cabell in general and Jurgen in particular. Jurgen’s love of roguery, love of love, and wry eloquence reminded me of characters in Jack Vance’s fiction; I wouldn’t be at all surprised if Vance had read Cabell.More recently, Michael Swanwick wrote a fine monograph on Cabell called “What Can Be Saved from the Wreckage?”; anyone with an interest in Cabell should consider seeking it out. I cannot say for sure if Swanwick counts Cabell as an influence, but I see something of Jurgen in some of his eloquently disreputable characters. Neil Gaiman says that Cabell’s books are personal favorites; close readers of his books will spot an occasional reference.

Jurgen, for all its swordplay and staff-work, is not frivolous. The “Comedy of Justice” is the ridiculous and ludicrous injustice of the human condition: We age and die, abandon our hopes, fail our dreams, and muck up those few second chances we’re lucky enough to receive. Jurgen, restored to his original life, vanished wife, and actual age, must sigh and sighs and accept his fate; he reflects that he has, after all, been treated fairly enough. If his story has not attained the literary immortality that Cabell might have expected, at least it’s still occasionally read and enjoyed. Perhaps that too is a form of justice?

Matt Keeley reads too much and watches too many movies; he is helped in the former by his day job in the publishing industry. You can find him on Twitter at @mattkeeley.

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