Author Archive

REVIEW SUMMARY: A diverse, eclectic, and fascinating collection of steampunk stories.

MY RATING:

BRIEF SYNOPSIS: Editor Sean Wallace has brought together stories from such writers as Cherie Priest, Ken Liu, Gord Sellar, and others, that push the boundaries of the steampunk genre in new and exciting ways.

MY REVIEW:
PROS: A broad range of steampunk tales that range from fantasy to hard scifi, and folk-tale to alternate-history.
CONS: Grouping the stories into themed sections would have made the similarities and differences among the approaches more apparent.
BOTTOM LINE: A fascinating romp through the steampunk imagination. (And there are pterodactyls. Just sayin’.)

The twenty-five steampunk stories in Sean Wallace’s The Mammoth Book of Steampunk Adventures reveal just how rich and varied the genre can be. From fantasy to hard scifi, historical fiction to diary entries, they show us a whole range of ways to conceptualize and understand our world and many of its alternatives. Included are stories about circuses and mechanical birds, shape-shifters and pterodactyls, “mechanika” uprisings and political intrigue. Oh, and lobsters and golems. You get the picture.
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REVIEW SUMMARY: A fast-paced, addictive steampunk fantasy adventure.

MY RATING:

BRIEF SYNOPSIS: Octavia Leander is sent to the war-torn frontier to cure its dying inhabitants with her healing powers. However, the enemies of Caskentia want her for themselves, and Octavia’s queen would rather see her dead than in their hands.

MY REVIEW:
PROS: Well-drawn main characters; fast-paced, exciting narrative.
CONS: Secondary characters and much of the back-story could have been developed further to enhance the primary tale.
BOTTOM LINE: The Clockwork Dagger is a skilfully-woven tale, complete with a love-story, an elaborate conspiracy, and a fascinating magico-spiritual healing system.

Apparently, I’ve been a fan of all things “steampunk” for years, but I never knew it. At least, not until a year ago, when it all came together that my love of old technology, dirigibles, funky corsets, and the words “engine” and “gears” landed me squarely in the steampunk camp.

I set out to learn all I could about the various incarnations of steampunk aesthetics, and paid special attention to its development in contemporary fiction. That’s when I came across Beth Cato’s debut steampunk novel The Clockwork Dagger, and jumped on board that airship without so much as a “toodle-loo.”
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You can follow Rachel S. Cordasco on her bookish adventures at Bookishlywitty.blogspot.com and Bookriot.com.

Haunting, mesmerizing, moving: these are just some of the words that come to mind when I think about Annihilation, Authority, and Acceptance. Each novel is under 400 pages, and each packs into it so much psychological, emotional, philosophical, and ecological inquiry that you start to think that they must be huge, hulking volumes that should make your bookshelves cave in.

Now, you’ve probably seen a million reviews of this trilogy, and rightly so, for it deserves recognition and invites fascinating discussions. Therefore, instead of recapping the story or outlining the plot, I’m going to focus on three major mysteries/questions/problems in these novels and why they’re so compelling.

Oh, and by the way, there may be spoilers here. I’m not guaranteeing anything.
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You can follow Rachel S. Cordasco on her bookish adventures at Bookishlywitty.blogspot.com and Bookriot.com. She is a huge fan of robot stories.

Robot Uprisings had been floating in my peripheral vision for a couple of months before I finally picked it up, but man am I glad that I did. Filled with androids and Roombas, service bots and “minids,” this eclectic and wide-ranging anthology offers us many possible worlds in which humans and their mechanical creations fight, love, outsmart, and kill one another. And if that doesn’t entice you, then allow me to name a few of the contributors: Hugh Howey, Cory Doctorow, Daniel H. Wilson, Nnedi Okorafor, Robin Wasserman, Ernest Cline.

That’s right. And with many of these stories originally written for the anthology, we have in Robot Uprisings fresh, often frightening, stories from some of the best scifi writers at work today. Thus we have stories about killer robots, rogue AIs, “ascended” AIs, and spider-like fuel-pipeline sentinels. In some stories, the robots/androids remain mostly offstage, having already thrown off their shackles, as it were, and attacked the human societies that produced them (“Lullaby,” “Eighty Miles an Hour,” “Executable,” “Human Intelligence,” “We Are All Misfit Toys,” “Small Things”). Others imagine how such an attack might begin (“Complex God,” “Seasoning”). And then there are those stories that offer a less threatening view of our mechanical friends, who might joke around with their sysadmins or even care for a baby (“Epoch,” “The Robot and the Baby”).
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