It’s about time, wouldn’t you say?
Books I Read
The Sellout by Paul Beatty (2015; Straus, & Giroux) Continue reading
It’s about time, wouldn’t you say?
Books I Read
The Sellout by Paul Beatty (2015; Straus, & Giroux) Continue reading
My latest review for the Shadow Clarke is up at the CSFFAnglia site.
Ninefox Gambit is a nice book. Fans of conflict-in-vacuum will enjoy it, and it does some neat things. But there is so much better stuff out there to read. Maybe someone will do something cool with space opera again, but this isn’t the book to revive my interest.
–Actually, the more I think about it, the more I realize that I am much more tolerant about this sort of narrative on screen. I wouldn’t go out of my way to watch it–because I don’t go out of my way to watch anything anymore–but if I happened to sit in front of a TV that was showing this, I think I’d be more interested. Possibly because I expect less out of commercial television and movies, and it’s a shorter commitment.
I don’t have much to say about the comments, other than to acknowledge the gulf between some of us. I mean, I’m still pretty limber, but I’m not going to do backbends to find something intellectual and positive to say about another insulated military space opera.
In other news, I have completed my last reviews for the Sharke project. I am done! (That’s what my last cryptic post was about, by they way.) These final reviews will thematically pair a Clarke book with a Sharke book, and compare the experiences. I won’t be around when they post, but I hope you find them interesting, even if you disagree.
With my obligations to the Sharke done, I’m off to read books I’ve been fantasizing about for the past six months: Paul Beatty, Angela Carter, and M John Harrison, here I come!
Also in other news, if you’d like to listen to me blather on about books while two, far more interesting people provide actual cogent commentary, Cabbages&Kings episode 48 was just released. I join Maureen K. Speller and Jonah Sutton-Morse to talk about The Stone Boatmen, Watership Down, and my book club choice, Unbearable Splendor. What fun! I love these two people! (And who doesn’t like rabbits?) (Jonah, seriously, I do like rabbits.)
It’s space opera, you know? Continue reading
The torture this week comes from… the reading. Reading the rest of the Clarke list. I’ll be done this week. It hasn’t been the most pleasurable experience.
The other torture comes from summer vacay on the horizon and the utter desperation I feel to get through the reading and writing of this list, just to be done with it already. I’ve been quiet on the twitterz and that’s why. If I were to tweet anything, it would just be expletives and not very nice things, and we know how fandom prefers we only ‘promote the works we love, and not slag off the mediocrity that dominates visibility, money, and networking, thus elbowing out truly original works that might take us to the next level.’
Or something like that.
The latest Shadow Clarke controversy comes to us from Gareth Beniston, who posted a provocative piece with some radical ideas about how to infuse the Clarke Award with… something different from what we’ve been getting. In the comments, there’s a lot of back-and-forth about quotas and positive action, and whether those efforts patronize writers, and the whole conversation hasn’t gone anywhere I’d like to be. My own angle is supportive, yet difficult to articulate with its socialist edge, and it seems the conversation includes enough white voices on an issue that is usually more instructive when it includes more non-white voices, so I’ve stayed out of it.
I hope it’s clear I’m pro-anything that seeks to rectify a demographic imbalance. I’m radical about most things, and this topic especially.
Speaking of heavily advertised novels–which we weren’t, but we were–my review of The Underground Railroad by Colson Whitehead posted last week. We can’t ignore TUR‘s prominence in the media, but the gulf in style and substance between Whitehead’s sneaky, snakey novel and the rest of the Clarke shortlist is immense, especially between TUR and what I consider the bottom ranked novels on the list. To see intelligent, well-read SF fans nit-pick about scifi-ness is embarrassing, and I hope Whitehead isn’t watching.
My review has, for the most part (thanks, Phil, as always) encountered silence, which leads me to assume I have finally convinced everyone. Good job, me. (It might also be that the essay is too long and who has the time? That, or the stink of dead horse has finally chased off everyone.) (It’s also possible that people scrolled to the bottom first and saw my childish, mocking taunt at the end and decided to skip.) (No, I do not expect to be writing on a university blog for much longer.)
The most famous, most advertised of the six novels on the 2017 Clarke shortlist, yet this 2016 Pulitzer Prize and National Book Award winner, one of Oprah’s favorite things, and a 2017 Sharke pick has been perhaps the most divisive selection in this year’s battle for the best science fiction novel—not because it’s not good enough, not because it’s not interesting enough, but because some readers believe it is not science fictional enough. Continue reading
I was greeted Sunday morning by my weekly LARB newsletter and this little quote:
The Shadow Clarke jury, coming to be known as “the Sharkes” in more common areas now, released our “State of the Nation” address after the release of the Clarke Award shortlist. It’s a collection of days’ worth of broken conversations, instead of an impossible group essay of eight diverging voices. The reaction to this reaction has been mixed: supportive, critical, and sometimes perplexed.
Also this week, I tweeted a thread. (I still feel dirty about it and I hope I’ll never have to do it again.)
What’s been most amusing to me has been watching this project–and the very idea of criticism–confound my fellow USian observers who don’t normally follow the award. I’m only just becoming more educated about the Clarke and its history, so I was also one of those people who assumed that the Arthur C. Clarke Award was established specifically to award the most Arthur C. Clarke-ian, space-shippy book of the year. Not so, which my thread of diluted thoughts semi-explains!
If you’re still unclear on the origins and behavior of the award, you might appreciate Paul Kincaid’s brief article on the history of the Clarke Award. It casts the award as a critical, forward-thinking award. (The Handmaid’s Tale is only barely receiving widespread, popular acceptance after decades of bans and controversy, for instance.)
Also, some of you might like to know that Christopher Priest has been speaking up in the Shadow blog comments! Exciting!
The Shadow Jury is currently working on a joint response to the official Clarke list, which should post this week, but my biggest concern right now, if you’re keeping track, is that the combined Sharke list and Clarke list means I have nine books left to review.
Nine! NineBooks Dammit!
My other big concern is one I expected: Joanna Kavenna’s A Field Guide to Reality did not make the official Clarke list. Naturally. I’ve mostly come to terms with the snub at this point, since everyone said it was an impossible book to win favor with the Clarke jury, but this is where my outsider-ness is most apparent because I. just. don’t. get. it.
Anyway, as we bid farewell to my personal Sharke shortlist and move on to the next phase of the Shadow Clarke, let’s end it right by giving attention to one that was ignored in favor of skeletal TV writing. Originally posted here, I bring you my review of the bottomless and multidimensional A Field Guide to Reality…
My final shortlistee is another popular novel among the Sharkes: the reality-bending investigation of light and perception, A Field Guide to Reality by Joanna Kavenna. While Jonathan approves of its class consciousness in the form of a cynical satire of academia, Maureen is intrigued by the alt-Oxford setting and intricate unfolding of universes, while Nina finds it good for “bust[ing] wide open” the science fiction envelope. The Sharke reviews, so far, have demonstrated just how malleable and diaphanous this novel is. Continue reading
I’m going to postpone my reblog of my final Shadow Clarke shortlist review of A Field Guide to Reality by Joanna Kavenna because I have other news (and because I have a feeling I’ll be even more defensive about this book by Thursday and will need more space).
So, news! In case you missed it, the Shadow Clarke jury revealed the Sharke Six on Tuesday. This wasn’t part of the original plan, but early into the project, we all agreed that we’d like to engage in a more complete jury process and propose our own joint shortlist. In keeping with our practice of transparency, here it is, in ‘speed of consensus’ order, rather than alpha order:
I went into the deliberations with my own agenda, as one does, and left the deliberations feeling satisfied and (awkward USian use of Brit slang coming up) thoroughly chuffed. I must say, this jury is made up of some of the nicest, funniest, smartest people I have ever had the pleasure to work with, and the debate process achieved that magical blend of rigor and pleasure. It was an enjoyable and quick three hours.
There are four novels I consider essential for this list: Underground Railroad, Central Station, A Field Guide to Reality, and The Gradual, and I was prepared to champion to the death the first three, while talking the others out of the last one*. Fortunately, no blood was spilled, and consensus was achieved with surprising ease. The consensual additions of The Arrival of Missives and Infinite Ground soon followed; both being choices I wouldn’t have expected from my fellow jurors, but I’m thrilled they rose to the top. As Nina already outlined on the Sharke blog (linked above), the sixth spot was our most difficult to place, which I expected would go to The Fifth Season and, although I’m lukewarm to the book, I would not have argued against it. Frankly, though, if that last spot couldn’t go to The Gradual, I would have preferred it go to no one at all. My fellow jurors disagreed, and the last spot went to The Power.
*The Gradual is a detrimental loss. I am a growing Priest-head (Inverted World is still my favorite) but it can’t be included on our list, and the link above explains the conflict of interest that connects the novel to our jury. To include it on the list would be unethical, and would undermine our project. Even though I have personal reservations about seeing repeat nominees on award shortlists, I hope the Clarke jury can adjust for this loss, for The Gradual is the most engrossing novel I’ve read in a long time. You must read it.
In a few short hours from posting this, the official Arthur C. Clarke Award shortlist will be made public. My own IRL schedule has me busy for most of the day, so I’ll get to enjoy all your celebrations, grumblings, and WTFings in my usual time-lapsed, wrong time zone sort of way. Frowny face.
Next up in this unplanned ‘Best of Megan’s Sharkelist” series is Central Station by Lavie Tidhar, a novel I didn’t expect to dig as much as I did. I loved Tidhar’s BSFA-nominated Osama, but I thought this one might wear a little thin with the trope-ish diligence I’d picked up from other, pre-Shadow Clarke reviews, but it’s nothing like that. There’s an earnest love for sci-fi, sure, but also an undoing of sci-fi, and it’s all done in a way that feels fresh and forward-thinking, while also being welcoming and unpretentious.
Comments on the Shadow Clarke blog have discussed its fix-up nature, and whether its fix-up origins are obvious or not. It may be that I’ve been reading too many fragmented, mosaic novels over the years to be sensitive to odd transitions, but it all felt complete and cogent to me.
I can’t imagine a Clarke jury that wouldn’t shortlist Central Station, but in case it does get ignored, I highly recommend you read this novel.
As one of the more popular Clarke-eligible novels among the shadow jurors, much has already been written about Lavie Tidhar’s Central Station. Maureen sees it as a metafictional next step in science fiction, Victoria sees it as a tale about love and nuanced optimism, and Jonathan values its use of multiculturalism and space (physical space, not outer space, but that omission is just as key in this novel). What I adore about this novel is that it is all of these things, embracing traditional science fiction while reworking it, molding it into a human, rather than a techno, landscape. Continue reading