Birmingham Science Fiction Group

Reviews - Authors C-D

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A selection of reviews from our monthly newsletter. These are sorted by the author's or editor's last name. Click on the name at the top of the page to take you to the section or just scroll down the page.
Alan Campbell
Orson Scott Card
Jacqueline Carey
Lee Carroll
Mark Chadbourn
Becky Chambers
Anne Charnock
Mike Chinn
Mike Chinn and Sir Arthur Conan Doyle
Arthur C Clarke
Arthur C Clarke & Stephen Baxter
Hal Clement
Lynn M Cochrane
Alex Davis
Aliette de Bodard
Stephen Deas
Theresa Derwin
Lauren DeStefano
Philip K Dick
Cory Doctorow
David Drake
Lord Dunsany

Alan Campbell

GOD OF CLOCKS by Alan Campbell

GOD OF CLOCKS is Alan Campbell’s final book in The Deepgate Codex series following SCAR NIGHT and IRON ANGEL, reviewed by myself in the Brum Group News (issues 457 and 458 respectively).
SCAR NIGHT described a gothic horror setting which played host to a fantasy tale. IRON ANGEL widened Campbell’s fantasy world and showcased his ability to craft interesting characters with so much twist that there may be little left of anything else left. Through the first two volumes I found the author to be capable of inventive ideas and sometimes gripping action, but also often bogged down in over emphasised description.
This third book is much closer to the second than the first; indeed it feels as if they might have been written back to back. Rather than more wild creation, the vistas opened up in the second volume are here developed further. So, too, are the characters that were introduced in IRON ANGEL, all of whom gain greater depth here, making them rather more interesting. The story carries directly on where IRON ANGEL left off (the latter having been something of a cliff- hanger).
I think it is notable that the invention in this final volume is, perhaps a little less wild than in the previous volumes, but it is also seems considerably better conceived. One or two of the concepts in GOD OF CLOCKS are actually thought provoking (!) and satisfyingly complex. This is helped by this volume, being the final, providing all the answers and finally making sense (of sorts) of some of the more improbable seeming concepts introduced earlier.
Overall I feel that Campbell improves his writing throughout the trilogy; the third book feels tighter, with the description better balanced by the action (for anyone who missed my previous reviews I felt that the first book was so steeped in gothic horror imagery that the description overshadowed everything else, leading to an often rather turgid read).
GOD OF CLOCKS inherits its storyline directly from IRON ANGEL, and so does not meander like the former book. The plot winds pleasingly through battles in hell, personal journeys and an interesting quest through time to a reasonably satisfying conclusion. And the final question has to be: can I recommend the whole series? Well, I consider that the notably atmospheric setting and the highly curious characters will probably make it fairly memorable in comparison with many other fantasy `epics’, so I give this a tentative recommendation. Just be certain of what you are getting into – if you laugh in the face of high page counts, and fancy a trilogy steeped in blood and souls, this is quite possibly a pleasant diversion for you. Otherwise, I must suggest staying away…
P.S. I must note a particular personal criticism; if you are anything like me, you will expect that after some 1400 pages I expect a chapter or two at the end to show how the characters recover or otherwise live on after the grand climax; a 2 page epilogue following the very pages that resolve it all simply will not do to provide closure!

Reviewed by Dave Corby Jan-2010 Published by Tor

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SEA OF GHOSTS by Alan Campbell

This book is the first part of The Gravedigger Chronicles a new series by the author of The Deepgate Codex trilogy. It is set in an ecologically damaged world that is slowly drowning after a genocidal war between mankind and their brutal oppressors the Unmer, a powerful civilization of sorcerers and dragon-mounted warriors.
Mankind only won the war with the aid of a sisterhood of telepaths, the Haurstaf, and an Unmer renegade. When the Unmer realised that they couldn’t win the war they distributed untold thousands of ‘ichusae’, little glass bottles that when opened release an unending flow of toxic brine. Immersion in this liquid turns unprotected skin into leathery ‘shark skin’; drowning in it turns people into the living dead who metamorphose into stone when they are exposed to dry air. In turn the Haurstaf hold the world to ransom.
Colonel Thomas Granger, one of the last of the Gravediggers, an erstwhile elite imperial infiltration unit, insults the emperor he once served and takes refuge by becoming a jailer in Ethugra - a city of brine flooded streets and gaols. After six years of this new grimy existence he takes possession of two new prisoners, one of whom, Ianthe, turns out to be the daughter he never knew he had. She has an extraordinary psychic talent which could be a threat to the Haurstaf and all the world’s power mongers.
SEA OF GHOSTS, as well as being written from the viewpoint of Tom Granger and Ianthe, tells the tales of Ethan Maskelyne the unappointed ruler of Ethugra, an amateur scientist and avid collector of Unmer esoterica and Sister Briana Marks head of the Haurstaf sisterhood.
SEA OF GHOSTS is a book worth persevering with. If I had not been reviewing the book I would have abandoned it after the first hundred pages or so.
However I am glad that I did not as the story improved immensely into a rich dark tale of ancient and current enmity, treachery and unshakeable loyalty. I’m now looking forward to reading the next episode in The Gravedigger Chronicles.

Reviewed by Jim Pearce Apr-2011 Published by Tor

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Orson Scott Card

CHILDREN OF THE MIND by Orson Scott Card

Regrettably, this is a "do not start from here" book. This is the fourth volume of the Ender saga, the others o f which will stand alone. Children of the Mind is a direct continuation from the third, Xenocide, and you need to be familiar with the characters and what has gone before to gain full understanding.
Ender's Game told the story o f a boy, Andrew Wiggan (the Ender of the title) who was tricked into destroying an entire alien species. He reappears in Speaker for the Dead centuries later, his life prolonged by interstellar travel on the world of Lusitania, invited there to Speak the life of one of the colonists. It is a planet which has a native sentient species but it is only during this book that the relationship between the alien species. It is here, that Ender finds a home for the only surviving Hive Queen (from the species he reputedly slaughtered).
Xenocide introduces new characters; Wang-mu whose planet is populated by a high percentage of people suffering from a genetic illness, and Jane a computer entity.
Children of the Mind follows the attempts o f Wang-mu and Peter (an Ender replica) to stop the fleet that is on the way to destroy Lusitania.
The other problem is to save Jane. The system that is her life-support system is to be shut down to purge her from the system. The solutions make fascinating reading.
The first two books in the series won Hugos and should therefore be on everyone's reading list, the quality o f the writing here does not disappoint either.

Reviewed by Pauline Morgan Apr-2000 Published by Orbit

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Jacqueline Carey

NAAMAH’S KISS by Jacqueline Carey

This is the seventh book in the Kushiel’s Legacy series and the first following the life and adventures of Moirin mac Fainche born to the Maghuin Dhonn; the folk of the Brown Bear, the oldest tribe in Alba.
Once there were great magicians born to the Maghuin Dhonn but now, only small gifts remain to them. Moirin possesses such gifts - the ability to summon the twilight and conceal herself and the skill to coax plants to grow.
The book follows her life from childhood on being raised in the wilderness by her reclusive mother. When she is about ten she is taken on a visit to Clunderry for a Midsummer’s Day festival and Moirin learns how illustrious, if mixed, her heritage is. She is the great granddaughter of Alais the Wise, child of the Maghuin Donn, and a cousin of the Cruarch (Ruler) of Alba. She also learns her father was a D'Angeline priest dedicated to serving Naamah, goddess of desire. It is during this visit that she starts to sense the presence of unfamiliar gods in her life; the bright lady, and the man with a seedling cupped in his palm.
When Moirin undergoes the rites of adulthood, she finds divine acceptance, but her destiny lies somewhere beyond the ocean. Traveling to Terre d'Ange she finds her father, develops her talents, becomes an intimate of the Royal Court, being distantly related to the ruling family, and almost dies. Here she finds that her destiny requires her to travel with a visiting Ch’in philosopher who is summoned back to his homeland to save the life of a blindfolded warrior princess. When she arrives she finds that more is at stake, the fates of nations hang in the balance.
Moirin’s story will continue in NAAMAH’S CURSE to be published later in 2010.
For once I concur with the comments on the back of the book. I found it hard to put down, a most enjoyable read; the text flowed easily, leading the reader through the life of a likeable heroine, and all the characters were well described. The fact that this was a book of over 600 pages was no burden. In addition, the fact that this is the seventh book in a series is not a hindrance to enjoyment as stated earlier, this is the first book following the life of Moirin mac Fainche and as such easily stands alone. I highly recommend it to potential readers.

Reviewed by Jim Pearce Mar-2010 Published by Gollancz

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Lee Carroll


In post-Buffy days, urban fantasy has been as common as, well, the common cold. And it is not always easy when choosing an urban fantasy to differentiate between the good, the average or the just plain poor.
Luckily for readers, we Reviewers (poor souls) encounter all sorts of examples from the genre to test our patience.
And luckily for this Reviewer, BLACK SWAN RISING is actually really rather good.
The surface plot is quite straight forward.
Twenty-something single girl Garet becomes embroiled in an investigation into a mysterious burglary at her father’s art gallery, aided by obligatory nice vampire Will Hughes.
She is on a mission to clear her father’s name; he is accused of organising the burglary to commit insurance fraud. Garet is also left holding a puzzling silver box bearing the swan emblem as its lock. The silver box opens a doorway to The Summer Country, home of the fey and Garet is the ‘Watchtower’, guardian to this doorway. And that really is just the surface plot.
I was pleasantly surprised at this easy read that had lots to offer in the way of character dimension (our heroine does not just swoon or have sex), plot development and a clear indication of the dual writers thorough research into its artistic and jewellery embedded background. There are plenty of cultural references for genre fans, including a scene in an antique store particularly reminiscent of a certain Peter Cushing film. There is also a post 9/11 atmosphere than embodies this novel, handled with both tact and poignant emotion. Better still, the sex that normally accompanies this sub-genre is for plot development and is suitably low key.
All in all, this novel was an enjoyable read, and I was actually pleased to learn it is part one of a trilogy.
Watch out for THE WATCHTOWER coming in August 2011.

Reviewed by Theresa Derwin Jun-2011 Published by Bantam

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It didn’t surprise me to find that Lee Carroll is the pseudonym for two Americans. They have fallen into the trap that even highly respected writers encounter when trying to set novels in other countries and other times. They get it wrong. This book is written as two parallel sections. One deals with Garet James, a modern American woman who has fallen in love with a vampire only to discover that the original focus of his affections was her fourhundred year dead ancestress. Marguerite was an immortal fey who gave up her immortality to be with Will Hughes at the same time as he was trying to become immortal to be with her and was tricked into becoming a vampire by John Dee. One strand of the narrative relates Will’s original quest for immortality, the other follows Garet’s search for a way to make Will mortal again. Although the modern sections may well have been visited and recorded accurately by the authors, there are so many inaccuracies in the English Tudor sections to make the novel extremely irritating. To compound matters, one character, who has an extensive part, is referred to only as ‘the poet’ when patently this is supposed to be Shakespeare. Also, the only place that states that this is the second volume in a trilogy is in the acknowledgments, which most people do not read. Instead it drops you straight into the middle of the story with so many issues in the past lives of the characters that it is difficult to understand where they are coming from. Disappointing.

Reviewed by Pauline Morgan Dec-2011 Published by Bantam

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Mark Chadbourn


These two books comprise the second and third volumes of The Dark Age series which in turn is a continuation of The Age of Misrule trilogy. In the first series, life in Britain radically changed overnight when all the myths became real and the countryside was overrun by the monsters of nightmare. Five people, the Brothers and Sisters of Dragons, were chosen by a higher power to fight for humankind. Although they triumphed in that the world was not completely destroyed, mythical creatures are still around and normality has not been restored. To counter the next threat, five more Brothers and Sisters of Dragons are chosen.
At the start of THE QUEEN OF SINISTER a plague has taken hold of the country. It resembles the Black Death but is actually supernatural in origin.
Dr Caitlin Shepherd is supremely efficient until the plague takes her husband and son. This event drives her over the edge and colours all her actions in the rest of the novel. At this time, the lament-brood, an army of the undead, begins to stalk the countryside. Some of them seem to be searching for Caitlin. Also arriving on the scene is the mysterious Crowther. He persuades Caitlin that the cure to the plague lies in the Otherworld where all the monsters have come from and that she has a chance of getting her son and husband back if she goes there. He also tells her she is a Sister of Dragons. Several others join them in their journey. At the end of it, Caitlin has to make a decision. She is not given all the information to make an informed choice, and her emotions get in the way of clear thinking.
In THE HOUNDS OF AVALON, we are introduced to a Brother and another Sister of Dragons, Mallory and Sophie. It is possible that volume one of this trilogy revolve around them as they seem to be well formed characters with a developed relationship. Caitlin is by now no longer a Sister of Dragons but desperately wants to get her status back. Much of the action revolves around Oxford where the remnants of government have retreated. Here we meet Hunter, a military assassin. He discovers he is also a Brother of Dragons. To stand any chance of defeating the forces that are rapidly approaching in the midst of an unusual July winter there must be five. It may be up to Hal, Hunter’s quiet, unassuming and bookish friend, to discover the answers.
Both these books are good, fast paced adventures and can be read together as a pair if the first is unavailable. It is probably better not to dwell too much on issues that are ignored. For example, we are told that Britain is isolated from the rest of the world, yet there are still helicopters and, in Oxford at least, electricity and a semblance of normality. Is the rest of the world in a similar turmoil or has Britain disappeared from the view of the Continent? Are they trying to break through? No mention is made of Ireland which shares the Celtic mythology that is overwhelming the island. And why only the Celtic mythos?
Unless, in India chaos has resulted from the return of the demons and such gods as Kali and Shiva. Is China ravaged by real dragons? Perhaps there are stories yet to be told about the return of the gods and demons of other cultures.

Reviewed by Pauline Morgan Jun-2006 Published by Gollancz

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WORLD’S END by Mark Chadbourn

I should first declare a slight bias - I’ve been a fan of Mr Chadbourn since I read his second novel NOCTURNE some years back. At the time I bored all my friends recommending and enthusing about it and published rave reviews every where I could.
WORLD’S END, subtitled “Book One of the Age of Misrule” is (amazingly) every bit as good as NOCTURNE. Not as atmospheric perhaps, but every bit as enthralling - and with more volumes to come!
Drawing heavily on Celtic myth and British folklore in general, and Arthurian legend in particular (I’d love to see Chadbourn and Robert Holdstock discuss their differing approaches to these topics on a con panel sometime!), Chadbourn tells a tale of the end of the Age of Reason.
As technology and science begin to fail Jack Churchill and Ruth Gallagher are forced to embark on a desperate quest for four “magickal” items from the previous Age of Magic. If they find these there is a chance that there might be a place for humanity as the old order returns - but there are no guarantees and the big question is can the ancient “gods” be trusted?
If you’re into dark, apocalyptic fantasy this is definitely for you, if not try it anyway - Chadbourn is a powerful storyteller and he might just convert you!

Reviewed by Martin Tudor Aug-2000 Published by Gollancz

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Becky Chambers


This is a sequel to the 2016 Clarke Award-nominated THE LONG WAY TO A SMALL, ANGRY PLANET (reviewed in March 2016 newsletter #534). The original novel was a fun space opera which followed the mixed human and alien crew of the Wayfarer on a long voyage to build a new hyperspace tunnel. It was full of both different alien species and personalities, all trying to live harmoniously in a galactic civilisation. Its major strengths were the detailed construction of the differing alien races and cultures and the many diverse, interesting characters. A CLOSED AND COMMON ORBIT is set in the same universe but wisely in my opinion, choses to move on from the crew of the Wayfarer. Instead it concentrates on two characters who, although appearing in the first book, were more minor characters. The story starts with the artificial intelligence, Sidra awakening in a synthetic body designed to pass as human. In her previous existence, she was a ship’s AI, her sole purpose monitoring and caring for a ship’s crew. Unfortunately, and unintentionally, during the transfer process, her personality was reset to the factory standard so she is totally unprepared for her new life and must rapidly learn and adapt to her new situation. This is further complicated as the galactic civilisation does not allow AI’s to exist independently and if her existence is revealed, she will be destroyed. However, Sidra is not alone. She is sheltered and guided by Pepper, one of the engineers who helped in the transfer process, who as we gradually learn knows quite a bit herself about starting over in a completely new world.
The title of A CLOSED AND COMMON ORBIT refers to two astronomical concepts. A closed orbit is an orbit that repeatedly returns to the same starting point. The common orbit of the title refers to two bodies sharing the same orbit. These are an elegant description of the structure and narrative of this story. It alternates between two stories, that of Sidra and also of Jane 23, a child slave who escapes from her enforced labour. As the reader swings between the two narratives, we see the parallels and common themes of their lives which eventually converge together.
This book is more reflective and focused than the previous novel, which might not suit everyone, especially those who may be disappointed that their favourite, more flamboyant characters are absent. However, I personally like that the author has the courage to produce something different rather than taking the perhaps safer option of sticking with the same characters and situation.
Despite this change, the writing still has many of the strengths of the original. The characters, whether alien, human or AI are credible and not clichéd. Again, whilst there is an enjoyable and interesting plot the novel is not solely focused upon action but also upon the value of caring and supportive inter-personal relationships as well. The author also retains the ability to craft characters that the reader deeply cares about, not only Pepper and Sidra, but the alien Tak and the AI, Owl among them. It subtly promotes the message that the best societies are those which value and respect all sapients equally whatever their differences. This second novel clearly shows a writer who is growing in confidence and ability from an already impressive debut. This is very good, stylish and character-driven SF with emotional depth from an author not content to rest on her laurels but to dare something different.

Reviewed by Carol Goodwin Dec-2016 Published by Hodder and Stoughton

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This entertaining space opera has an interesting route to publication. The author funded her writing time via a Kickstarter appeal. It was then successful enough in the highly competitive self-published field to be offered a publishing contract by Hodder (UK) and Harper Voyager (US).
The Wayfarer is a dilapidated old spaceship which builds hyperspace tunnels between solar systems. When young Rosemary Harper joins its mixed human and alien crew she is looking for a break from her privileged but troubled past and a chance to see more of space than the narrow confines of the Solar system. Soon after she joins, the admittance of a new species into the galactic alliance provides them with a unique and lucrative opportunity. The Wayfarer is hired to build a new high-speed tunnel to connect the new species’ system to the galactic network. The only catch is that the tunnel needs to be anchored from the new system, which means a long outward journey through war-torn and unstable systems. The challenges along the way uncover secrets from all the crew’s past as they work together to survive the threats along their route.
The main enjoyment for me in this book is the characters of the various crew-members and the development of their relationships. This is a crew that is diverse in the extreme, and has credible aliens with different morphology, biology and cultures from the human representatives in the crew. The alien crew-members include a six-legged chef and medic, Dr Chef; the reptiloid pilot, Sissix; a navigator infected with a symbiotic intelligent virus, Ohan and an intelligent AI running the ship’s systems, Lovelace. The human crew members also have very different personalities; the new member, Rosemary, at first quiet and over-awed but who grows in confidence; the reclusive and emotionally distant life-support technician, Corbin; the scatter-brained but brilliant engineer, Kizzy and her partner-in-crime, the smart-mouthed but friendly computer technician, Jenks and finally the long-suffering captain, Ashby struggling to keep them all in order and in business. Unlike many space operas, this is an optimistic story. Although there are hardships and losses, what is gratifying is the way that the crew do work together and support each other including, very importantly, emotionally as well as practically.
The world-building is excellent and the journey introduces us to other characters and civilisations than just the crew members. Although the main focus is on the crew, there are plenty of events which keep the story flowing at a satisfactory pace. It is evident that substantial effort has gone into planning the complex inter-relationships both within the crew and the differing galactic races. The author has exceptional imagination and as a debut novel this is extremely impressive. Although the word might not be quite appropriate given the aliens in the plot, it is the humanity and emotional depth of this novel which I really liked. Although an enjoyable space opera, it might not suit anyone who prefers an all-action type of narrative. And finally, in case it has got lost in all the above, it must be emphasised that this book is great fun and extremely readable.

Reviewed by Carol Goodwin Mar-2016 Published by Hodder

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Anne Charnock

A CALCULATED LIFE by Anne Charnock

This SF novel is set in the near future. Super-intelligent Jayna works for a big corporation sifting through vast amounts of data to predict future trends. Jayna is hardly ever wrong and the company has made large investment profits following her guidance. However there is something different about Jayna, which the reader only slowly discovers and thus she struggles to comprehend her fellow workers. When her forecasts start to go wrong she believes the data accessible through the company is too limited. She tries to gain a better knowledge of people and society around to help but this leads her into dangers and uncovers hidden unpleasant aspects of a society which had previously seemed benign and utopian.
I found this book difficult to get into at first, mainly because we are given little information at first about the society and Jayna. However it repaid perseverance and I found I thoroughly enjoyed the incremental, slow accumulation of details which fitted perfectly with Jayna’s pursuit of knowledge and emotional development. Although very intelligent, Jayna’s experience is very limited and she is socially awkward. This makes it hard to find her sympathetic at first but as she slowly builds information and begins to question society and her place in it she becomes a fuller and more interesting character. The book looks at the nature of what it is to be human and how much “genetic engineering” should be for the benefit of the individual or the state. I also liked that a lot of people in the society, especially the privileged, do not see the problems and are quite comfortable with the status quo as this seemed realistic.
This book is very well-written and constructed and is worthy of far more attention. Anne Charnock is a very successful journalist and foreign correspondent with articles published in The Guardian, New Scientist and the International Herald Tribune amongst others. This experience shows in the quality of this literary SF. Others obviously agree as it was nominated for the Philip K Dick and Kitschies Awards in 2013. It is not the type of science fiction which dwells on a lot of technical details so is possibly not for the hard SF fans. That said the development from today to the future in this book seems very believable.
I am not always a fan of literary SF but this book repaid persistence and was of a very high quality. Its slower pace is not for everyone but fit with the main character and her journey. As good SF books should do it speculates on the effects of future developments on humanity and gets you thinking.

Reviewed by Carol Goodwin Jan-2015 Published by 47 North

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THE ENCLAVE by Anne Charnock

In this novella, Anne Charnock returns to the near future United Kingdom of her first novel, A CALCULATED LIFE (which was a finalist for the Philip K Dick Award). In that novel genetic engineering was aiding the establishment of an elite, with access to upgrades for intelligence, antisocial behaviour etc. whilst the majority are denied these and form a struggling underclass. Whilst A CALCULATED LIFE looked mainly at the privileged through the eyes of a naïve “simulant” Jayna, this novella looks in more detail at the general population, living on minimal support and surviving on a mixture of wits and intimidation.
The story is told mainly from the viewpoint of two characters who live in an “enclave” outside the city, where like a shanty town most of the available jobs are menial or dirty, and people are constantly scrabbling to make a living. These two characters are Caleb, a bright and enterprising twelve-year old refugee and Ma Lexie, a young widow who is barely tolerated by her husband’s gang family and surviving by using young children without parents as child labour to recycle thrown-away clothes and scraps to eke out a living. Caleb was “recruited” by a scout for the gangs from a travelling refugee group after he lost his mother and he now works in Ma Lexie’s group. When Caleb manages to catch Ma Lexie’s attention with his designs for improving clothes, she promotes him and this allows him a little more freedom to plot an escape. Both characters are simultaneously victims and manipulators. Ma Lexie may control the children’s lives but she is in turn controlled by the gang who at any time could take away her “business”. She promotes Caleb for her own advantage but also in a desire for company and someone to look after her. This is a society where everyone uses everyone.
In a short 59 pages, Anne Charnock constructs a very believable world which could easily be extrapolated from current events. This is an excellent example of “show not tell” – it touches on many serious issues whilst still keeping the story paramount and is more effective for leaving the reader to think and draw their own parallels. The characterisation is superb – one is both sympathetic and repulsed by the actions of the characters. The prose is first- rate – precise and sharply accurate, building up a wealth of detail via small observations. It is not a work where the technology is at the forefront, or with a large amount of “action” (although events do happen and there is a very definite plot). and thus, may not suit fans of more traditional SF. However, in my opinion, Anne Charnock in this novella has shown yet again that she can write extremely intelligent and thought-provoking SF.

Reviewed by Carol Goodwin Sep-2017 Published by NewCon

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Mike Chinn


GIVE ME THESE MOMENTS BACK is an anthology of short stories by British Fantasy Award nominee, Mike Chinn who is also I believe a member of the Birmingham Science Fiction Group. This collection of eighteen stories covers a very wide range of subjects. Whilst most have a supernatural or horror theme, there are also a couple of contemporary stories and a couple which fall into the science fiction area.
The short story form is not everyone’s cup of tea as the limited length does tend to expose any flaws in a writer’s technique. With an experienced disciplined writer however they are a very effective method of storytelling. In this collection the author is excellent at establishing a sense of place and also atmosphere. The stories show a wide range of ideas and imagination. The story often arises from the location and is not using the lazy, standard tropes of many other writers.
I am not a fan of slasher-style horror and this collection demonstrates how unnecessary that is and how more disturbing it can be to leave some things to the readers’ imaginations. Instead the stories develop from an initial disquiet, with incremental revelations which build to the final often nasty conclusion without complying with a superfluous obligation to go into graphic detail.
As with any collection of stories, there will always be some which appeal to a reader more than others. All I can do to give you a bit of a flavour of the book is to briefly describe a few of the stories. Those which I most enjoyed were “Welcome to the Hotel Marianas” which is clearly influenced by the old TV show Voyage to the Bottom of the Sea (clearly acknowledged in the notes at the end of the book) but which takes a dark turn, “Harbour Lights” which looks at the disadvantaged in a Barsoomian-type society and my favourite, “Kami Ga Kikoemasu” about a Japanese whaling boat haunted by a spirit monster (with again nods to MOBY DICK). There were also a couple of stories which I also did not like. I feel that the author writes women characters less well and their portrayal in two stories in particular (“Brindley’s Place” and “All Under Hatches Stowed”) made me personally uncomfortable.

Reviewed by Carol Goodwin Apr-2015 Published by Alchemy

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The title says it all, or almost all. Long-standing BSFG member Mike Chinn has put together a book of the A-Z of writing, illustrating and selling the graphic novel minus the basic technique of drawing, the assumption being that the reader can already do this although he does go into materials, colours, computer graphics, etc., and more of the tricks and techniques of presenting the material. He discusses the various sub-genres, the devices, such as framing, used to guide the reader (viewer) through the story, styles of artwork, writing, note taking and just about everything from conception to conclusion, all illustrated profusely. In fact the book could almost serve as a basic illustrated dictionary of the graphic novel.
Because Mike is not teaching drawing per se but its application, someone like me, whose drawing skills are very basic, can also learn from his book. I've always understood graphic novels to be comics for adults (?), a view reinforced by the covers seen in bookshops but they are more than that, having the characteristics of the written novel although with a different emphasis. And it's interesting to note how many of the techniques used depend on a knowledge of the interactions between the human brain, mind and eye, techniques used in advertising, particularly in posters. Which leads me to a slightly worrying conclusion.
The human mind cannot imagine what it has not experienced. If an author writes 'The alien had a head like an oozlum' the reader would be perplexed but if he wrote 'like an eagle' the reader would understand. It does not have to be firsthand experience either - a photograph or sketch will serve as experience. And experience is learning, and learning moulds the personality. Which means that, within limits, a written novel is only a recombination of experiences, although constant rereading will have some effect on the reader. Graphic novels on the other hand are stories set visually in pictures, which are effectively second-hand experiences. Although the reader 'knows' these do not reflect reality as does the sketch of an eagle's head, they will have more effect than just the written word.
This means that it's not impossible for an avid viewer to develop over time a perception of life that is distorted. This probably won't matter too much where pictures of elves are concerned but blood 'n' guts 'n' general mayhem is a different matter. I believe there was some form of legislation in the '50s regulating the content of comic books; nowadays with the much greater ease of production and distribution perhaps graphic novelists should consider the influence that they have on their viewers.
This review seems to have developed some way from its initial sentence so I'll conclude by saying that Mike's book is not only helpful and informative for the budding graphic novelist but its of interest to anyone interested in visual 'story telling'.
For the price of a couple of paperbacks you can't go wrong!

Reviewed by Vernon Brown Mar-2005 Published by A&C Black

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Mike Chinn and Sir Arthur Conan Doyle

VALLIS TIMORIS by Mike Chinn and Sir Arthur Conan Doyle

Copyright is a tricky minefield to navigate. Different countries interpret it differently. Once an author dies, there is a period of time before their works become out of copyright. It means that the publications can be reprinted without any royalties paid or permission required from the estate. It also means that characters created by the out-of-copyright author become available for further adventures involving them to be penned. Sir Arthur Conan Doyle is out of copyright and his most celebrated character, Sherlock Holmes, is in the public domain. As a result, the BBC have created a modern version of Holmes which worked brilliantly.
Adrian Middleton has taken advantage of the situation by creating a series of books under the general heading of the “Moriarty Paradigm”. The brief for his authors includes using the original Doyle text and not only adding to improve the flow for a modern reader but to place the story in a parallel universe. The basis for this treatment by Mike Chinn is THE VALLEY OF FEAR.
The first thing to note is that this alternative Holmes is set against a steampunk background with a network of aerostats (dirigibles) across the world. Man has also reached the moon. Otherwise, it sticks very closely to the original concept for the first two sections of the book.
In both VALLIS TIMORIS and THE VALLEY OF FEAR, Holmes receives a mysterious letter from one Porlock. This is a coded warning which actually arrives too late since Holmes and Watson are shortly summoned to investigate the death of John Douglas of Birlstone Manor House. In both books, this investigation takes up the first part of the book. Chinn, however, deviates from the original script by adding a race across the English countryside between a train and an aerostat.
The next section in both is an account of how Douglas made the enemies who pursued him from America to his English retreat in order to seek revenge for a perceived betrayal. While Doyle’s account is set in a god-forsaken corner of America, Chinn has transposed the action to the moon. Same story, different place. Doyle finished his short novel with an epilogue. Chinn takes that and folds inside it an expedition by Holmes to the moon to seek the missing pieces of the puzzle.
The question is not whether this book is well written – it is – but whether it enhances the body of work that already surrounds Doyle and Holmes. The steampunk development works well and since the movement has its roots in Victorian technology it is entirely possible to envisage Holmes and Watson inhabiting this universe. For those who are not intimately familiar with Doyle’s stories, then this version is enjoyable. The purists may wonder why, since almost the whole of Doyle’s text has been incorporated into this volume. I have yet to be convinced that this is a worthwhile approach. Having said that, I did enjoy Mike Chinn’s additions.

Reviewed by Pauline Morgan May-2016 Published by Fringeworks

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Arthur C Clarke


In the six decades that Arthur C. Clarke has been involved in Science Fiction the growth of the modern world has evolved beyond all recognition. Some of the changes have been down to Arthur C. Clarke himself.
This book is a collection of essays and short stories concerning the way that technology has evolved with an ever faster pace and the way that Science Fiction writers have tried to predict the future, not always correctly, in their writings. As one of the Grand Old Men of S.F. Arthur C. Clarke has been involved with both the fiction and the Science fact that at the turn of the 21st century invades more and more of our daily lives. His reminiscences of the way that cience treated S.F. in the 40’s and the early 50\s are a reminder of the ostrich head in the sand syndrome. Some of the essays on the early years are quite humorous as well as very revealing about the perceived wisdom of what the future would hold for the world. As technology changed the world so the way that ordinary people viewed Science Fiction changed, from an attitude of scorn and derision to one of wary respect. Some of the essays in the chapters dealing with the 60’s and 70’s show how the start of space exploration showed the ordinary public that the imagination of the Science Fiction writers in the 20’s and 30’s was now becoming an every day reality. Not all of the essays deal solely with technology but they encompass the attitudes o f ordinary people and the politics that shape peoples lives. The concerns of rising religious fundamentalism and the damage that it can cause by keeping people ignorant and in fear and poverty when their lives can be helped by technology is also touched upon.
Interspersed through the book are stories of Arthur C. Clarke’s love of Sri Lanka and his adventures of skin diving in the seas around the island. The range of topics discussed are wide ranging and varied from his work on screen adaptations o f his novels and television programs to his work with NASA and his drive to promote outer space. Arthur C. Clarke has been called the Prophet of the Space Age and is classed as the most visionary and versatile thinker of the 20th Century. It makes one wonder that if a person with such talents was in charge of the world were would the human race be today?
Greetings Carbon-Based Bipeds is a unique insight into the thinking behind a rare imagination and well worth a read.

Reviewed by Chris Chivers Dec-2000 Published by Voyager

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A classic indeed, this stands head and shoulders above everything else I have read recently. Rama is a mysterious vessel apparently heading towards the Sun, for what reason nobody seems able to answer. The populations of the civilized planets, and their chiefs have many a discussion about this, but eventually as it draws closer, a taskforce is dispatched to investigate and get inside it. What they find there is beyond their imaginations… Beautifully descriptive narrative, by the end of the book I really felt a rapport with this strange alien colossal vessel. Clarke, by way of his exploring astronauts, brings the world to life for the reader, and who can forget the soaring stairways and upside down oceans? I found the mysterious South Pole harder to envisage – with all the spikes and lightning conducting going on, but this was the obviously alien side to the world, and it is a shame this was not explored further in this book.
It is of course not just about description, the sudden action sequences (with storms, hurricanes, extreme heat as well as human interventions) are enthralling and exciting, and a welcome change from the descriptions. Clarke is a master of narrative, knowing when to give the reader a break and when to keep them enchanted. The characters are well drawn too, for the most part, without delving too much into their lives back at home, we are led to feel we know them and can thus empathise with them.
The world itself is never fully explained though hints ate given as to what it could be for. This maintains some mystery about it, but is ultimately frustrating – or maybe I just like loose ends to be tied up. I believe there is a sequel to this book which I have yet to read, so maybe it is a deliberate ploy on the writer’s part, who knows. An excellent book anyway, full of suspense, action, sadness, wonder.
Reviewed by Vicky Cook Oct-2006 Published by Gollancz SF Masterworks

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Originally written in 1956 and expanded from AGAINST THE FALL OF NIGHT, THE CITY AND THE STARS must rank as one of the all-time great novels in SF. It has been classed as probably Clarke’s most perfect work, and it truly deserves this accolade. This classic deserves to be required reading for all new science fiction fans as it has all the elements of a story from the golden era of SF.
Many millennia in Earth's future, there remains little of the once-proud human race and its remnants have fallen back into the refuge of the city of Diaspar. Little changes in the city as its inhabitants wile away their lives secure in the knowledge that the world around them will remain unchanged as the matrix f their lives will be held forever in the memory of the city’s master computer.
The original designers of the city put a wild card into the construction of Diaspar in the form of a ‘unique’ individual who is born with no previous lives and is seeing the city for the very first time. The ‘unique’ Alvin, the latest person to be born in Diaspar, has a yearning to see beyond the city limits and, unlike his fellow citizens, who are content to live their lives within the city boundary, is frustrated by the claustrophobic environment.
In his exploration of the city, Alvin meets up with Khedron the Jester who befriends Alvin just as he has befriended other ‘uniques’ over the millennia. With Khedron” s help, Alvin learns that the past ‘uniques’ have disappeared from Diaspar in circumstances that his tutor and guardians cannot explain to him.
The story that unfolds on Alvin’s journey of discovery, is destined to rewrite the accepted history of the human race and man’s attempt to be more than human.
Clarke’s book is a testament to the enduring power of the SF genre. Even though THE CITY AND THE STARS is nearly fifty years old, it still has the power to hold the reader and is a worthwhile addition to the SF Masterworks series.

Reviewed by Chris Chivers Nov-2001 Published by Gollancz

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As titled, this is a complete collection of Clarke’s short fiction spanning sixty-four years of his writing career and incorporating several pieces which have never before appeared in book form. (In fact, I discovered a couple of items which have been omitted, though probably for good reasons. I also spotted several typographical errors carried over from a previous book publication).
The collection is neatly framed by his earliest and somewhat undistinguished effort to his latest, a "collaboration” written by Stephen Baxter which constructs a new edifice from the same theme and events and takes it to levels of social extrapolation, emotional content and literary quality undreamed of half a century ago. In between the stories cover every aspect of SF, from amusingly ingenious to inventively prescient, and range from those which are, quite frankly, somewhat pedestrian to others which have the emotional content to stir the soul. It has to be said that Clarke was never a literary genius and his writing style always left something to be desired, particularly in his earlier years, but the never ending flow of ideas and invention always made up for his stylistic shortcomings and there are enough really special bits of writing - most notably but certainly not only “The Star” for example - to compensate for any amount of lesser work. In essence, therefore, the individual stories vary from good to near-miraculous.
What I was surprised to find was that 899 ( 93% ) of these pages come from the twenty-five years between 1946 and 1971, while a mere 37 pages cover the next thirty years to the present day.
Clarke now relies largely on other hands to convert his ideas into the written word and it is pretty unlikely that there will ever be much, if anything to add to this 5 collection. It will therefore remain as a fascinating study of the work of a man whose contribution to SF is impossible to overstate. It is interesting to see how his writing has always kept pace with contemporary science, with some ideas returning for further development and I was also intrigued to find several stories which later became the basis for fulllength novels.
The 93% which I mentioned earlier constituted the contents of several book collections published during the same period and frequently reprinted. There can therefore be few readers without some degree of familiarity with what is here and because of that it is difficult to give a star rating as so many people will be in a position to provide their own.
However, it is well worthwhile having it all together in one volume and in my case simply being stimulated to read the stories again was a rewarding exercise worth a top five stars.

Reviewed by Michael Jones Mar-2001 Published by Gollancz

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THE SPACE TRILOGY by Arthur C Clarke

This is an omnibus edition of three of Clarke’s works from the 50s and contains new forewords from the great man himself, putting into context the separate stories with the knowledge of fifty years of hindsight.
The first novel, ISLANDS IN THE SKY, takes the reader into the world of 16-year-old Roy Malcolm as he prepares for the journey of a lifetime into space as the winner of a TV aviation quiz show. The inner orbital space stations of Earth are regarded as part of the planet and under Earth’s jurisdiction. To a youngster’s view of things the differences between Earth and the colonies on the Moon and Mars are immaterial as he enjoys the experience of being in orbit around his home world.
As a book written in the early 50s for the ‘juvenile’ market, it is fairly simplistic in its style and content but is worth the read for the nostalgia content alone.
THE SANDS OF MARS moves the reader to the outer colony of mankind and the friction that is growing between Earth and Mars. The famous SF author Martin Gibson is taking his first trip into space to see for himself the difference between the reality of space travel and the fiction that he has been writing about for years. From Earth’s orbiting space station he is destined to travel on the inaugural flight of the Aries, a new class of ship designed for the tourist industry rather than the utilitarian ships of an earlier generation. As Aries' first flight is also being used as a shakedown cruise, Gibson is the sole passenger on board apart from the crew, and part of his being on board is to write about the trip and relay it back to Earth to publicise the tourist potential of the ship.
With the trip over, Gibson’s arrival on Mars is somewhat of an anticlimax as the ‘famous author’ is treated with some indifference by the colonists who are more interested in taking their colony to a liveable standard rather than mere survival on another world. As Gibson adjusts to the colonists and the harsh landscape that surrounds them, he finds that his attitude to Earth gradually shifting, with surprising results.
4 This story is more like the vintage Clarke that has made him one of the most formidable writers of SF in the second half of the 20th century.
The final story, EARTHLIGHT, takes place on the Moon. Bertram Sadler has been sent by Earth to do a cost- analysis on the Plato observatory and he expects that his cover story will hold up, as his real mission is to find out what’s going on between the Moon and the federation of colonies on Mars and Venus. The federation is finally getting ready to cede from Earth and its stifling bureaucracy. Sadler settles into his role of cost-analysis while keeping his ears and eyes open for the person or persons who are passing information on to Mars. While he is plugging away at his assignment, events are moving faster than even he could have imagined. When he gets an offer to travel outside the lunar domes and across the barren surface of the Moon, he readily accepts in order to get away from the boredom of his assignment that seems to be going nowhere. The trip is uneventful until the crew of the lunar rover comes across an unknown installation that they are quickly warned away from. Sadler’s interest is piqued about the activity around what can only be a weapon, but a weapon against what?
EARTHLIGHT follows the thread of the earlier stories and brings to a conclusion the breakaway of the colonies from Earth.
Clarke has given fictional examples of man’s spirit to venture into the unknown of space and make a habitable world for himself away from his home planet.
The styles of the narratives have obvious flaws in them, which can only be seen with the hindsight of 40 years of practical space exploration. Even so, Clarke’s stories still make enjoyable reading 40 years on.

Reviewed by Chris Chivers Nov-2001 Published by Gollancz

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Arthur C Clarke & Stephen Baxter

LIGHT OF OTHER DAYS by Arthur C Clarke & Stephen Baxter

Before you complain that this title has been used before, by Bob Shaw, the authors know this, and in fact dedicate the book to Bob, and in the Afterword refer to ‘Bob Shaw’s slow glass classic which shares our title.’ So that’s OK.
This is one of those hard SF books which relies entirely on one ‘new’ concept, and follows it through to its ultimate conclusion.
In this case, the concept is based on the ‘Casimir Engine’, which allows the creation of microscopic wormholes which allow one to connect from one point in space to another. This could be from one room to the next, from one country to another - or to another star system. At first this allows only light to pass (and speech has to be lip-read - though by a computer routine), but as it develops, sounds can be heard, and eventually it is possible for the viewer to so immerse him/herself as to appear to actually be in that other place. This technology is masterminded by megalomaniac Hiram Patterson, head of the giant media corporation OurWorld, aided and abetted (albeit often unwillingly) by his two sons, Bobby and David.
Naturally this has great implications and uses in the areas of security and crime prevention. Especially when it is realised that the wormholes allow access not only to other points in space, but can take the viewer back in time. So one can visit the scene of a crime and see exactly who committed it, and how. But inevitably the whole thing snowballs; soon the technology becomes available not just to governments but to the ‘man in the street’. Privacy becomes a thing of the past, and every family skeleton is dug up, the background of everyone, living or historical, is revealed (including the true life of Jesus), and the whole nature of civilisation, and indeed of humanity, is changed.
There is a sub-plot: ‘The Wormwood’ - a massive asteroid (too big to deflect or destroy) which is heading towards Earth, and which will destroy it in five hundred years time. The discovery and announcement of this means that many people simply give up; even though it is far in the future, there seems to be no reason to plan for or invest in a future which no longer exists. The invention of the ‘Worm- Cam’ has an impact on this, especially as the younger generations, with Worm- Cams imbedded in their brains, become almost a new species. . . Although this is not strictly a time-travel story (because no-one travels physically), towards the end we have the sort of unfolding of great vistas of time and space in which first Clarke and latterly Baxter excel, as we travel to the very origin of life on Earth. Mind- boggling stuff!
As usual, I cannot resist adding an artistic note. On page 137, the scene seemed oh so familiar. A huge red sun in a dark red sky, reflected in a lake or sea fringed by ice-crystals, eroded volcanic hills, the 'W' of Cassiopeia in the sky with an extra star at its left - our Sun. The WormCam had been sent to a planet of Proxima Centauri - but the description is surely of my painting on pages 48-49 of CHALLENGE OF THE STARS (1972 - it's in the 1978 edition too)?
So I emailed Stephen, who replied thus: “Actually I thought I was inventing that scene, especially the detail about Cassiopeia, a factoid that has always stuck in my mind, but then I remembered CHALLENGE, and looked at it again, and there it was - I'd reconstructed the scene unconsciously - so in the later drafts we made it more explicit.
. . Yes it was that painting!”

Reviewed by Dave Hardy Oct-2001 Published by Voyager

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SUNSTORM by Arthur C Clarke & Stephen Baxter

I enjoyed this one more than the previous volume, TIME’S EYE, mainly because although I do usually enjoy ‘alternate reality’ stories, I’m not a great fan of historical novels, and although I’m sure all the undoubtedly well- researched material about Genghis Khan and Alexander the Great is very interesting, I prefer my hard SF to be about science. Actually, although it is helpful to have read the first novel, it is really quite a separate story, so not essential.
In TIME’S EYE people from very different time-periods, including subhumans and Rudyard Kipling, are suddenly thrown together on a shattered Earth by what appears to be alien intervention, revealed only by the presence of gleaming, spherical ‘Eyes’. Of these people, only Bisesa Dutt, formerly working for the United Nations from within the British Army in Afghanistan, manages to return to her ‘own’ time on 9 June, 2037 – the day after she left, but having aged five years. And on the very day that an immense solar flare causes widespread damage to all types of electrical systems, traffic chaos, communications, and general alarm, injury and death.
The scene moves to the Moon, where a slightly dysfunctional genius called Eugene Mangles is the only person to predict a much more catastrophic solar event in April 2042, which will destroy the whole Earth, ejecting as much energy in a day as we normally receive in a year. Naturally, from this point onwards much of the action concerns attempts to convince the powers-that-be that this is a real danger, and deciding what, if anything, can be done about it. Here we meet Siobhan McGorran, the Astronomer Royal, to whom falls the task of coordinating this effort.
Two major computer AI systems run virtually all utilities systems, communications, etc. On Earth, it’s Aristotle; on the Moon, Thales. Both originated in the 20th century with something like Google. It is decided that the only way to even attempt to save Earth is to build a huge shield far out in space, creating a sort of artificial eclipse which will protect Earth from at least the worst of the radiation. To have any hope of making this work a new AI will be required: Athena. Now, remembering 2001 and Hal, you will probably be expecting these AI’s to spring some surprises. Well, maybe; I won’t spoil it for you. But certainly they are vital to the story, and the book is exciting and satisfying, with many touches which are recognizably the characteristic work of both authors. A real page-turner.
I have one small gripe. Clarke always capitalized Sun, Earth and Moon.
Quite rightly, since they are proper nouns, and all rather important to us! So by what logic does Baxter (who did all of the actual writing) do so with ‘Earth’ and ‘Moon’, but not ‘sun’? It jars every time I read it.

Reviewed by David A Hardy Jul-2005 Published by Gollancz

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THE LIGHT OF OTHER DAYS by Arthur C Clarke & Stephen Baxter

The title is taken from a story by the late Bob Shaw, to whom the book is dedicated, but it has little to do with Shaw's " slow glass ". The concept behind the book is a camera ( for want of a better word) which can be used to view any event anywhere in space or time at the will of the operator. This is not a new idea: a similar idea was used by Isaac Asimov in 1956 in a story entitled " The Dead Past " and before that in 1947 by the less well-known T.L.Sherred in a story called " E For Effort
Like Clarke's previous collaborative n ovel" The Trigger " which I reviewed in these pages about a year ago, this one takes a new science-fictional idea and looks at its likely effect on people and society. The writers have provided a pseudo-scientific explanation for the working of the device by basing it on the use of wormholes, a concept not available to the previous authors I have mentioned and as one would expect, the explanation sounds quite plausible, at least on a surface level. However, the main purpose is not to provide an account of the device itself but rather to describe the consequences of its introduction. It all takes place in a near-future world affected by social, political and physical deterioration, complicated by the advent of the "Wormwood ", a 400-kilometer astronomical body due to impact the Earth in five centuries' time. Society and people do adapt to the wholesale introduction of " WormCam " technology, but the Wormwood turns out to be something of a red herring having little effect on the eventual outcome.
Asimov's 1956 story ended with the frightening realisation that uncontrolled use of such a device would mean the end of all privacy. This book takes it from there to produce a penetrating and revealing insight into what might happen when everyone has to conduct their personal lives in a world made of glass, while open government becomes a reality, war becomes impossible and history, including the origin of all religious beliefs, is exposed to scrutiny. These developments are fascinating. Stories of history are given a new realism and there is a striking review of the four billion year story of human evolution with a new nd unexpected suggestion for the origin of life on Earth. Eventually, humanity itself becomes changed at the most fundamental level.
I feel sure that however the collaboration between the two writers may have taken place it was left largely to Baxter to wind it up and the ending has his authority stamped all over it, even though the sheer extravagance of the whole remains typical of the best of Clarke. Whether I am right or not, the result cannot be accounted as anything but a total success and is a book not to be missed.

Reviewed by Michael Jones Oct-2000 Published by Voyager

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TIME’S EYE (Time Odyssey Book 1) by Arthur C Clarke & Stephen Baxter

TIME’S EYE is a story of Earth within an alternative universe of the past, the present and the possible future of humankind.
It is set against the occurrence of a global realignment of the fabric of space and time. This has resulted in selected times of human biological and social evolution being shifted from their rightful place within the historical timeline to coexist at one instance, resulting in a patchwork of eras situated across the earth.
These slices of time range from the beginning of man’s evolution from forest dweller to savannah dweller, through the periods of ancient and modern history and on forward to a proposed near future.
That this is something other than natural is evidenced by the appearance of the large hovering spheres within the individual time slices and the oddly geometric and obviously artificial boundaries.
The story concentrates on the coming together of two groups and the events they experience as they travel towards the proposed centre of the disturbance. The first consists of a helicopter crew from the near future; Rudyard Kipling and the British Army in the NW Frontier; and Alexander the Great and his army; the second consists of a group of cosmonauts and Genghis Khan and his army.
The plot runs smoothly through the reconstructed Earth, taking the reader to areas of the world that the two great war leaders knew in their time and postulates on their reactions to the changes. The leisurely journey through the world is broken by various faster-paced sections of the story.
One such interruption of the slower tempo of the story is the eventual coming together of the armies of Alexander and Genghis Khan in a battle for the possession of the central controlling sphere.
An enjoyable and exciting read postulating the effects of such an occurrence and the resulting social interaction between people of different time periods.

Reviewed by John Shields Mar-2006 Published by Gollancz

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Hal Clement


Has anyone in the group NOT read this one? MISSION OF GRAVITY is pure, concentrated science fiction as-it-used- to-be, a problem story on a fascinating alien world. The storyline takes us across the face of Mesklin, the ‘poached-egg’ planet where temperatures are below -100C and a day is only 18 minutes long. Our hero is Barlennan, a sort of giant centipede, who captains the sailing-ship Bree from the Rim, where gravity is ‘only’ 3G, across roiling seas of liquid methane and through many adventures to the remote pole, where gravity approaches a crushing 700G.
The point is to stay faithful to science as-we-know it, using as baseassumptions the astronomical data about the (then-recently discovered) superjovian companion of 61 Cygni, with no tricks, no dodges, and no super gadgets in the last chapter. “Playing the game”, Hal Clement called it, as he did the math and tried to make sure his physics and chemistry were scrupulously correct. You can’t have an alien environment much stranger than this!
But true ‘hard’ SF isn’t seen very often these days, too difficult when softer options seem more popular, cyberpunk and wide-screen baroque, not to mention telepathy and – dare I say it – all those bloody dragons. MISSION OF GRAVITY is over fifty years old now, Hal Clement’s action sequences and dialogue were never very dramatic even then, and maybe our field has moved on? It’s a classic of course, no doubt about it, but then so are BLEAK HOUSE and THE PICKWICK PAPERS and most of us don’t read them for fun any more, do we? So I’d be interested to know what newer readers make of this book.

Reviewed by Peter Weston Dec-2005 Published by Gollancz

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Lynn M Cochrane

SALVO edited by Lynn M Cochrane

People can write for many contrasting reasons and the intended audience can be very different for different pieces. This book evidences this very well; this is a showcase anthology of work by the Cannon Hill Writers’ Group, a local writers’ group and includes work by several Brum Group members including Theresa Derwin, Jan Edwards, Lynn Edwards (as Lynn Cochrane), Chris Morgan and Pauline Morgan (as Pauline Dungate. It is always difficult to review something which is so varied, both in themes and styles. This little book contains over 50 pieces of prose and poetry and obviously there will be some that suit some people more than others. It also needs to be borne in mind that the writers themselves have very differing levels of experience, ranging from some very new to writing to some who have been professionally published. That being said I did find many pieces which I enjoyed and although I have not enough space to
discuss every piece in detail I will try and provide an idea of the variety and highlight a few of the works which I liked.
The poems and prose here contain a mixture of pure fiction, some
clearly autobiographical pieces and some clearly very personal stories.
Although the majority of the work is in real world settings, there is some science fiction, fantasy and horror.
In the science fiction realm there is ‘Nanna’ by Margaret Miller which starts with an old lady telling children her story of the colonisation of
a new planet. Although using familiar themes it is still well-written and builds a believable and likeable character. ‘The Harrowing’ by Lynn Cochrane is a study of a disaster but observed subtly from the side-lines. It concentrates on ordinary characters slowly adjusting their lives due to civilisation collapse, and the actual detail of what has happened is only inferred from its effects.
There is also some horror and fantasy although for some of the
stories the boundaries are a bit blurred. Theresa Derwin has a funny little story called ‘Mikey’ which starts as an interview about discrimination, but with a twist. There is also ‘The Hag’s Piano’ which is very atmospheric but would benefit from expansion – although to be fair it is billed as an extract.
For fantasy fans there is ‘A Woodland Dream’ by Helena Hempstead, a
modern variation on the theme of A MIDSUMMER NIGHT’S DREAM.
Of the more mainstream work, I liked ‘September 1st 1939: Evacuation’ by Joyce Lancashire and ‘Memories of Trains’ by Z. Burszytn which both feel like very personal recollections of war memories. They may not be the most polished but the recall and recording of these memories is clearly important to the authors and does engage the emotions.
There were also various stories which used humour, of which the most amusing in my opinion was ‘The Start of the Habit’ by Chris Morgan, about two ladies with awful husbands.
Finally, this volume contains a number of poems in various styles,
including rhyming, non-rhyming and even a haiku. I have difficulty
assessing what is good or not with regards to poetry and am hesitant to offer an opinion. I can only say that some did not work for me but I certainly enjoyed some of the poems. I liked ‘The Vigil’ by Helena Hempstead and ‘Rook’ by Elaine Oakley for the emotions they captured which felt very real. Lastly, but by no means least, the collection ends with an excellent poem by the late Joel Lane called ‘The Chosen Woodlouse’ which in just three short verses contains a lot to think upon.

Reviewed by Carol Goodwin Mar-2015 Published by Cannon Hill Writers’ Group

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Alex Davis


Putting together an anthology with a theme is not easy. The idea behind X7 is simple – a story for each of the seven deadly sins. Something like this cannot be an open anthology, authors have to be invited to take part and be assigned their sin. Then the editor has to keep all fingers crossed that not only does the story fit the sin, but the quality is of an acceptable standard – even the best authors can produce duffers sometimes.
There are good things and not so good things about this volume. The first thing a reader wants to know is who wrote the stories. This is missing from the contents page as is any indication of price from the back cover. Each story is frontispieced by a line drawing. Some of these are quite effective but are better reproduced smaller and in colour as cards on the front cover.
Lust is represented by Nicholas Royle’s “Dead End”. It begins with a man on holiday in France with his mistress. This could be a straight forward story of illicit sex, but in a horror anthology it is reasonable to expect something nasty to happen. Sin needs to be punished. Royle is a skilful writer and salts clues naturally into the story. It does, though, seem a little rushed towards the end.
Amelia Mangan introduces us to Envy in “If I Were You”. Edwin has discovered that he has a younger sister who was not given up for adoption as he was. He wants to be her, so much so that he is stalking her, observing everything that she does and copying it.
There have been a number of stories of dining clubs whose members seek the ultimate taste experience. None perhaps are quite as revolting as “Gravy Soup” by Simon Clark. This story represents Gluttony. It is the reluctance of some members of the Gymnasium Supper Club to share the secret of the best, most addictive food ever that has Gordon Clumsden sneaking around graveyards at night. This is the grossest story in this volume.
“The Devil In Red” by Alex Bell represents Wrath. Although this story is cleverly and skilfully written it is the most problematic in the context with its theme. Joshua Ackland is a defence lawyer. The client he sees on this day is obviously guilty - he was caught carrying a sack containing some of his wife’s body parts. He claims that the woman he killed was not his wife despite contrary evidence. I can’t quite equate deliberate acts with wrath. It is, though, an intriguing supernatural story that needs a bit more substance.
Simon Bestwick bases his tale of Greed, not on an individual person but the corporate greed of mankind. In “Stormcats” it is that vice and the disregard of the consequences that have led to the situation that Aaron and his family find themselves in. They flee rising floodwaters (caused by global warming) to a cottage which becomes an island. The fight for survival becomes surreal as Aaron reaps the effects of greed.
Pride can take many forms and seems a relatively innocuous sin. The problem comes when pride causes hurt to other people. In “Walls” by Gaie Sebold, Darren is proud of his beautiful wife. Most people would want to show off the things they take pride in. However, Darren keeps Chrys shut away, inventing excuses as to why she mustn’t go outside. From the start there are clues suggesting that all is not as it appears. According to the saying it seems reasonable to expect that Darren is heading for a fall. It’s a good story but the pride aspect of it could have been stronger.
“Seagull Island” by Tom Fletcher is a slothful story. It doesn’t do much but those in the grip of sloth don’t do much either. The narrator spends the whole story lying on a rock by the sea. Although I like a story that goes somewhere and has a bit more action, this offering is the epitome of sloth. Its shape totally encompasses that state.
Seven stories, seven sins. Some work better than others but in any anthology that is a given. All stories veer to the horrific side of life and for the most part the characters are exhibiting human frailty. There will be at least one story that all readers of horror fiction will
appreciate whether or not they feel it encompasses the sin it intends to depict.

Reviewed by Pauline Morgan Jul-2015 Published by KnightWatch

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Aliette de Bodard


THE HOUSE OF BINDING THORNS is the sequel to THE HOUSE OF SHATTERED WINGS. The reader is again returned to a ruined Paris, devastated and polluted after a magical war between opposing Houses of Fallen angels and their client magicians. In the first book, the House of Silverspires and the characters who lived there were the main focus. In this book, the attention is shifted to a rival house, Hawthorn and its leader, the Fallen Asmodeus. Whilst House Hawthorn was not as badly affected as House Silverspires, there were some significant consequences. Asmodeus’ long-term lover, Samariel was killed and Asmodeus has reclaimed the human alchemist, Madeleine from House Silverspires. Madeleine had hidden there for twenty years after escaping from a bloody coup within House Hawthorn which brought Asmodeus into power. Madeleine and Phillipe, another main character from the previous book, both have a pivotal role to play in this book.
During the first book, a hidden kingdom within the waters of the Seine was discovered. Ruled by shape-shifting water dragons (Rong), their magic is different in nature to the Fallen. House Hawthorn, seeing the opportunities, is trying to negotiate an alliance, which will be sealed with a dynastic marriage between Asmodeus and a royal prince. The water kingdom needs the alliance as they are weakened by various forces including magical pollution from the previous war but also by the prevalent use of smuggled angel essence (which corrupts the user) from the surface. When representatives of Hawthorn visit the Imperial Court to negotiate, they uncover opposition to the alliance from factions within the Kingdom and the Fallen, which ultimately threaten not only the alliance but the continued existence of the Kingdom and Hawthorn as well.
As good sequels do, this book expands from the narrow confines of one House to consider the wider environment of Paris. We see as a contrast to the Houses, the harsh life of the people who do not have their protection. They, the dragons and the Fallen all have a major role to play in the final outcome. In particular, the Annamite (Vietnamese) population who came as a result of France’s colonial occupation of their country feature strongly, both as the houseless but also as the magical, Imperial court beneath the river. This contrasting of Western and Eastern mythologies, magical and political systems is one of the refreshing and interesting aspects of this series. There is also a clear allusion to the Opium Wars between the British and the Chinese in the real world. As before the worldbuilding is unique, detailed and enthralling. If I have a criticism, it is similar to the last book in that I found myself far more interested in some characters than others, and felt there was more depth to them than the book had time to explore (in particular the interplay between the charismatic ruthless Asmodeus and the quiet but more moral Prince Thuan) but hopefully that will be in another book. If you like fantasy which is intelligent and definitely non-formulaic, then I would absolutely recommend this book.

Reviewed by Carol Goodwin Jun-2017 Published by Gollancz

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The HOUSE OF SHATTERED WINGS is set in a ruined Paris. This is a world where angels fall periodically to Earth, their wings removed and with no memory of why they have been cast out. These Fallen are suffused with magic and gangs of humans will kill them to gain temporary magical powers although like all drugs, eventually angel essence will kill the user. To protect themselves, the Fallen band together into Great Houses. These compete in ruthless and Machiavellian power games which resulted some years ago in a Great War. This has left Paris devastated, its river polluted and the humans forced into either scratching a living or if skilled, gaining protection from the diminished houses. At the start of the story, House Silverspires rescues a newly fallen and disoriented angel, Isabelle from a gang who want to kill her for her magical flesh. They also capture a strange man, Phillipe who seems more than human and who has a mysterious link to Isabelle from having ingested some of her flesh.
While under house arrest, Phillipe and Isabelle unwittingly unleash a malign entity that hides in shadows and progressively stalks and kills the members of House Silverspires one by one. Phillipe, as the activator of the “curse” now starts to have visions, which are clearly someone’s memories. These memories show the house in earlier times, its missing and charismatic leader, Morningstar and his betrayal of the originator of the curse. The shadow killer is clearly the revenge of this person and is meant to bring about the total destruction of House Silverspires. As the other houses manoeuvre to take advantage of the stricken House, Phillipe is forced reluctantly to try and unravel the nature of the creature and the identity of the betrayed Silverspires member.
I found this very much a novel of two halves. In the first half I thoroughly enjoyed the world-building which is superb and detailed – the crumbling and derelict Paris and the diminished but still warring Houses work very well. The organisation of the Houses and their human and Fallen members are interesting and the slow reveal of the absent Morningstar and the consequences of his actions keep you engaged. However once the initial threat is uncovered, it felt to me like there was a significant loss of menace and pace. There is still a threat to the House but as they have been “off-stage” for too long, their ultimate revelation feels anticlimactic. It also felt to me that the characters’ motivations and actions were less credible and inconsistent with their previous characters – for instance, Morningstar and the head of House Hawthorn, Asmodeus. Also several plot points feel either unresolved or incompatible with earlier established facts – especially the relationship between Isabelle and Phillipe. I have read some of Aliette De Bodard’s SF short stories which I have thoroughly enjoyed. This book again demonstrates her impressive imagination but sadly the ending did not live up to the promise of the beginning.

Reviewed by Carol Goodwin Dec-2015 Published by Gollancz

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Stephen Deas


This is the first of a series following the life of Berren, a fourteen-year-old boy living in the city of Deephaven. Berren is a thief who has the nerve to steal the purse of Deephaven’s most feared thief-taker, Syannis. Impressed by this, Syannis hunts down Berren and buys him from his vicious gang-master/owner Hatchet. The book then follows Berren’s first few months as the thief-takers apprentice. The book is well written and is easily read but is a linear depiction of Berren’s story, lacking the varied strands that often gives a book breadth and makes it come to life. For instance, although Syannis is a very successful and potentially interesting character, how he goes about his business, discovering vital information, is largely unreported. So overall, I found the book was somewhat bland and disappointing. At one stage I thought to myself that this book is more for young persons and not adults. It was therefore not surprising that when I finally read the press release, as I did not wish to be over influenced by it, I found that it was aimed at young adults. This was not apparent from the information on the jacket. Reassessing my conclusions, it is not a poor book and young persons (young teens) should gain a good deal of enjoyment from it. However, I still think that widening its scope to follow the lives and experiences of some of the other characters more closely would make it a much better and exciting read. Jim Pearce

Reviewed by Oct-2010 Published by Gollancz

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Theresa Derwin

ANDROMEDA’S CHILDREN edited by Theresa Derwin

ANDROMEDA’S CHILDREN is an anthology of SF stories with the theme of strong female protagonists who “challenge the tropes of female characters in the majority of science fiction”. Some of you may remember that a book launch for this book was also held at the October 2015 meeting of the Brum Group.
Perhaps the most glaring issue with this book lies not within its stories but in the many errors that are common throughout. It feels that the text has been put through a spell-checker but not proof read before final printing. This does the authors a grave dis-service as it is very distracting and pulls the reader out of the flow of the story. These numerous errors include missing words, missed or inappropriate punctuation (including apostrophes) and the wrong homophones (ie words which sound similar but have a different spelling and meaning) of which the most noticeable example is the first story “Desert Storm” which is listed as “Dessert Storm” in the header of each page.
The anthology contains thirteen stories, of which only five are by female authors. That is not to say that male writers cannot write good female protagonists – for example, the story “Golden Age” by James S Dorr in this anthology is a nice character study of an older woman looking back on her long life. Nevertheless, with this theme in particular, I would like to have seen a bit more of an equal ratio given that there are many excellent female writers out there.
Whilst some of the stories do feature interesting female protagonists, others do not feel like they live up to the remit of “challenging the tropes”. The stories that I liked included the following; “Desert Storm” by Pauline Dungate, in which we find that some things are universal, especially pompous individuals who need taking down a peg or two. “Being Ready” by Lynn M Cochrane, where the protagonist negotiates cleverly with her alien captors, and “To the Altar” where two women from opposing sides agonise over the ethics of whether to bomb a country into submission. What the four stories mentioned above understand, in my estimation is that strong should not just mean aggressive.
Unfortunately, some of the other stories in this collection miss this point, and feel that the definition of “strong” female character merely involves someone who beats somebody up (“Cut and Run” by David Perlmutter) or callously kills people (“Enlightened Soldier” by Matthew Sylvester and “Shelved Desires” by Damon Cavalchini). My least favourite story in the whole collection, “Electric You” by Damon Cavalchini, also suffers from this trope but in addition also dwells too much on a princess who distracts the “bad guys” with her attractive body and reads like bad E E ‘Doc’ Smith – not exactly “challenging the trope”.
The remaining stories in the collection all have some merit but I feel that they could have been more polished – some need a little more emotional depth whereas others are good ideas but would have benefitted from a little more attention to plot logic or research.

Reviewed by Carol Goodwin Feb-2016 Published by Fringeworks

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HER DARK VOICE edited by Theresa Derwin

It is always good to welcome new, independent publishers to the field, especially those prepared to produce anthologies of new stories. It is a pity they have to go through a steep learning curve before the product is right. Knightwatch Press is a relative newcomer to the playground and is still learning the rules. This is one of their early volumes and, as such, exhibits many elementary mistakes. It does, though get some things right. It is better to begin with the positive.
This book, subtitled AN ANTHOLOGY CELEBRATING THE FEMALE VOICE, was produced to raise money for the Breast Cancer Campaign, all profits going to that organisation. For that reason, all those involved gave their services without charge. There are twelve stories here (not ten as stated in the forward) and all but two are previously unpublished. They range from contributions from well-known authors such as Jaine Fenn and Liz Williams to the relatively unknown. Most of the stories are worthy of being included in almost any quality magazine and, unlike many anthologies these days, there is no particular theme, the only connection being that all the authors are female and the stories are of a sinister bent.
Normally, it is good practice to have the strongest story as the first in a volume, for the simple reason that this is what a potential reader will look at first (other than the cover) and decide whether or not to buy. The second strongest goes last. It is a shame that this convention was not used as the weakest story in the whole volume (“Honour Among Thieves” by Lynda Collins) kicks off the book. It doesn’t help that the final story “The Tenant Of Rosewood Abbey” is also by Lynda Collins. Although this is a far better story it could be further developed and there are other female writers who would have been happy to contribute to this volume.
It is not all bad news. There are some delightful stories here. “Fear Not Heaven’s Fire” by Jaine Fenn is not only powerfully written but the kind of story that I would expect in an anthology with this title. The narrator is a strong, female character; a blind nun who discovers a man hiding beneath the convent granary. In a mediaeval setting when the power of faith was stronger, still not all those who took the veil necessarily did so as a vocation.
The idea of these stories is to have a dark edge. That is certainly true of “The Clinic” by Jan Edwards. The sister of the narrator is in the last stages of Motor Neurone disease. Sarah wants the ordeal over and when she is made an offer to resolve the matter, she seriously considers it. This is a story with subtlety. Jacey Bedford’s story, “Kindling The Flame” is much less so but is still an entertaining piece of writing. The cover of the book is an illustration from the story – but more about that later.
The title character in Gaie Sebold’s “Ice-Cream Man” definitely has a demonic bent and is looking for an apprentice. This is a powerful story, and shows how low some youths can sink because they think that no-one cares. “Cyndy And The Demon Asmodeus” by Rhiannon Mills is almost another demonic recruitment story. Although not particularly sophisticated it still has a lightness of touch.
There are some writers who retell old tales in a different fashion, others who invent their own myths. Misa Buckley belongs to the former, as in her “Siren Shadows” a young man is lured to a night of lust with what he thinks are three beautiful women. Liz Williams belongs to the latter. Her “Blanchenoire” is a fable. Blanche is approaching adulthood, and lives in a world that is totally monochrome. Events change her perspective and allow colour to enter the world. Williams is a complex writer and even within a story this short there are themes that need teasing out. Nothing here is superficial. Lynn M. Cochrane’s “Leaf Green” also plays with myth but in a very different way to the other two. This story feels like a fragment of something longer.
So, this is a mixed bag of stories, some excellent, some enjoyable and a turkey. But readers don’t always agree with an editor’s choice. The downside of this book revolves around two factors, cover and layout. The cover illustration is amateurish, drawn by an artist who, in this instance, shows no skill in illustrating the human form. Covers sell books. This deserved better. The other big issue is inside. The content list fails to acknowledge the authors – a huge omission – and the author biographies at the end are too detailed. On a personal note, I find the actual layout of the text a little annoying. I prefer a larger indentation at the start of paragraphs, but it is consistent throughout.
Whatever the shortcomings of this volume, the important reason for buying it is that had been produced to aid a very worthwhile charity. You don’t have to read the book, just buy it as a contribution.

Reviewed by Pauline Morgan May-2015 Published by Knightwatch

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SEASON’S CREEPINGS by Theresa Derwin

These days, when people talk about pocket books, they mean note books that tuck into a pocket or bag, or in the case of Americans, the publishing imprint that has given us popular series such as Buffy or Star Trek. They were made the right size for the pockets of coats, before fashion banished them. This is a pocket sized book, but you probably wouldn’t want to be seen reading it on a bus.
This slim volume was actually published before Christmas and would have made a good stocking filler for the horror fan in your family. It contains six pieces all with a creepy slant.
The first offering, “Fifty Hades of Grey”, is a short story with a topical slant. Most people will have heard of the Fifty Shades… books and film even if they have not admitted to reading or watching any of them. Many phenomena have corporations cashing in with merchandising. Four women, friends for nearly forty years, meet up to exchange Christmas presents. Ange presents the others with a small, naked male doll labelled, “Grow Your Own Mr Grey”. They giggle over it, as the instructions urge them to leave the object in water overnight. Once her friends have left, Jo submerges hers in the bath, just to see what will happen. Later that night, she wakes to find a six-foot, gorgeous naked man in her bathroom. Although she initially accepts the unexpected gift, the demon she has grown has underestimated the modern woman. The story itself is nicely told but its topical nature and some of the references in it might date it quickly and, even in five years’ time, the reader might not appreciate all the subtleties.
“Twas the Night” is a parody on the original verse but extremely topical. It was obviously written with passion and anger so it is possible to forgive its short-comings. It is the kind of thing that would appear in a newspaper at the time of the events. The shame is that it will date even more quickly than “Fifty Hades of Grey”.
In contrast, “The Red Queen” has an historical setting. Elizabeth Barton is enamoured with the stories of Charles Dickens. For some reason she determines to make his acquaintance and assist him in his writing. What he doesn’t know is that this is the vampire story in the book. The main problem is that this story is far too short. It lacks the space to exploit the richness of the setting. Dickens was a writer who had a talent for story-telling. This story should at least try to capture that. It would also have more impact if the final curtain had come at the time Dickens had embarked on his unfinished opus, EDWIN DROOD.
With this author, it would be unsurprising to have a collection without a zombie story. “Night of the Living Dead Turkey: Death From Beyond the Gravy” fulfils this role. The biggest pun is the title and gives an idea of the kind of story that follows. Basically, a mutation of avian flu causes a turkey, plucked and oven ready, to resurrect (one assumes it still had a head). The spread of the plague is fast and is told in emails and newspaper reports. It is a good attempt to be different but again suffers from its brevity.
“Last Christmas” uses another of the familiar horror tropes but to tell you which one would spoil the punch line. The male narrator is the one who usually cooks Christmas dinner and he and his wife, Alice, invite unattached friends. One of them, Dave, runs off with Alice, leaving her husband to plot revenge. This story works well at this length.
The final piece, “A Contemporary Christmas Carol” returns to the Dickens’ theme and is a short rant by Scrooge against his creator in modern idiom.
This little book is probably best read with a glass of Christmas cheer and an inclination to be amused. As with most humour it will not appeal to everyone. And if you are sensitive about the language children in your household read, keep it out of their reach.

Reviewed by Pauline Morgan Feb-2016 Published by KnightWatch

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WOLF AT THE DOOR by Theresa Derwin

Modern writers of horror have a difficult problem. Gone are the days of sitting around a real fire in a room lit by candlelight, with the wind howling outside and rats scratching in the walls. It is made harder by the authors who have taken the traditional scary monster such as the werewolf and the vampire and turned them into cuddly, misunderstood creatures. Not only does the present-day horror writer have to repossess some of the things which scare but to find new ways to send that frisson of fear racing up the spine. In WOLF AT THE DOOR, Theresa Derwin has tried to do that in these ten short stories.
As might be expected from the title, the eponymous ‘Wolf at the Door’ involves werewolves. Sam is a werewolf who hasn’t actually ‘changed’. He was infected while working for a facility that captures rogue super-naturals like vampires and werewolves. He is attracted to his councillor, Lesley, who is not what she seems. She tells him things about the research going on in the centre and together, they decide to put a stop to it. This is a romance that contains familiar tropes.
Anyone who knows Theresa will be aware that she has a ‘thing’ about zombies, so it is not surprising to find several in this volume.
‘Dirigible of the Dead’ has a steam-punk setting. The narrator and her small son are travelling from London to Birmingham by dirigible when passengers in economy class begin eating each other. ‘Ring And Rage’ is a more contemporary story. For those who know the Ring and Ride system, it is ideal for those who cannot use other means of transport to get to places like the supermarket. The disabled narrator is joined by a group from a sheltered housing complex. At the supermarket, they start turning into zombies. Here, there is a rationale for the change whereas in the former story, it goes unexplained. ‘Abuse of the Dead’ is a different take on zombies. Here, they are not flesh-eating monsters but dead members of the community with similar rights to the living. Some though, treat them as slaves or in the same way children were exploited in earlier eras. In this story, the narrator is a crusader for the betterment of the dead, working to expose those who would abuse them, for whatever reason.
There is a very thin line between a supernatural experience and being mentally ill. In ‘Muse’ it is left for the reader’s judgement as to whether Mark is actually being guided by a supernatural being, or it is a case that he has stopped taking his medication. ‘Pound of Flesh’ has the same kind of tone. This time it is a question of body image and the narrator is seeing how she would look if she carries out the self-mutilation that seems very logical to her. Whichever way it is read, both of these stories lead to the protagonist carrying out acts that a sane person would not contemplate.
Ghosts that appear in supernatural fiction can take many forms. Some are benign, some deadly. They have a purpose such as revenge, or may have lost their way to the next world. In ‘The Things I See’, the narrator sees the ghosts of murdered children. She always has, but has found that no-one believes her. They show themselves to her because she nearly became a victim like them, and they are trying to get a message across, through her.
Of these and the three other stories in this volume, ‘Pound of Flesh’ is the one that is the most satisfactory. Derwin has excellent ideas but in most cases, the stories are too short, needing a longer treatment to explore the idea more fully. As it is, the short scenes in several cases make the story line muddled. The other problem with this book is that the layout makes it frustrating to read, with, mostly, no indents to paragraphs. What makes it worse is that some stories start off being laid out conventionally, only to slip back into the annoying pattern. This is easy to spot if the final copy is checked. It spoils the appearance of the book and I know this publisher can do better.

Reviewed by Pauline Morgan Jul-2017 Published by Quantum Corsets

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Lauren DeStefano

WITHER by Lauren DeStefano

This is a curate’s egg of a novel – good in parts. The image that we have of the future that Rhine Ellery lives in is coloured by what she has been told and since this is a first person narrative, the reader’s world view is inevitably the same. Some kind of war has destroyed the rest of the world leaving America isolated. The USA has its own problems, reaping the consequences of a eugenics programme. The first generation to benefit from the scheme are fit, healthy and long lived but their children are doomed to an early death, girls at twenty, boys at twentyfive.
One faction of the rich and wealthy want a cure, another faction wants nature to take its course and see the end of the human race.
Rhine’s story is a small capsule within the greater picture. She and her twin brother are sixteen and fending for themselves in Manhattan when she is kidnapped by Vaughn Ashby looking for wives for his son. Linden has five years left but his current wife, Rose, is dying. Rhine, Cecily and Jenna are her replacements. Each has a different attitude to the situation. Rhine only wants to escape but is effectively imprisoned in the Florida mansion. She also suspects that Vaughn is carrying out horrific experiments in the basements in the effort to find a cure.
Though the background is suspect, and we only get the one view, there are interesting aspects to this volume if read as a young adult novel. It is probably worth looking out for the second book in the sequence to see if any of the world view issues are resolved.

Reviewed by Pauline Morgan Oct-2011 Published by Voyager

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Philip K Dick

A MAZE OF DEATH by Philip K Dick

I remember classifying this as a problematical addition to Dick’s body of work when I first read it, newly in US paperback, almost thirty-five years ago. It is an exceptional novel with, at its core, a new religion which, as Dick says in a brief but very illuminating Foreword, “is not an analogue of any known religion.” This has a four-fold deity, comprising the Mentufacturer, the Intercessor, the Form Destroyer and the Walker-on-Earth, each with a well- developed role and explained in a non-supernatural text: A J Spectowsky’s HOW I ROSE FRON THE DEAD IN MY SPARE TIME AND SO CAN YOU.
To counteract the weight of this theology, Dick deliberately used one of his less plausible B-movie plots. There are more than fifteen main characters, almost all of whom have their thoughts used in places, almost as many violent deaths, a very strange alien setting, and more twists than one can keep track of.
So it all moves very fast, though none of the characterisation is particularly deep.
All characters are flawed obsessives: an alcoholic, a nymphomaniac, a pill addict, a cleaning fetishist and so on.
The planet they all arrive on (in one-way spaceships, all part of an unexplained new project) is Delmak-O (or Delmark-O if you believe the backcover blurb). It’s extremely odd, almost dreamlike, with a mixture of organic and electronic creatures. There’s a large building which moves away as you approach it, and miniature buildings, kept as pets. There’s an oracle, called The Grand Tench, in the shape of a huge cube of gelatin; ask it a question and it replies with an answer from the I CHING.
There are characters with funny names, like Ben Tallchief, Susie Smart (usually known as Susie Dumb) and Ignatz Thugg, though they are all to a certain extent contrivances or mouthpieces rather than people.
I hope none of the foregoing will put you off. Despite difficulties and seemingly contradictory passages, this is an amazing and entertaining short novel, one of Dick’s best. Just don’t expect too many answers or joyful conclusions.

Reviewed by Chris Morgan Feb-2006 Published by Gollancz SF Masterworks

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This book seems to be a piece of near-biography masquerading as science fiction. It seems to be the story of a group of people sharing a house somewhere in California. They all seem to be petty criminals and drug addicts. There is a lot here about the affects of various drugs (many of which might be fictional) on the mental state of the participants.
The great theme is that of dissociation. Many things are not what they appear to be. The central character is an undercover policeman searching for the source of a new drug. His main lead is through an addict living with several others in various states of dependence. Except that he is that addict. Either the drug that he is taking has produced this dissociative effect or maybe it has something to do with the working practice that means none of his co-workers know that he is this person. In losing touch with his other persona he becomes more suspicious of it hastening his own descent into (insanity?). A strong enough story but how much is life and how much is fiction?

Reviewed by William McCabe Jan-2000 Published by Millennium

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Philip K Dick was one of the best SF writers. He produced some of the most inventive material in the genre. He had a wicked sense of humour and generally threw in the odd unexpected twist before the end of any story.
Sometime in the 50s he also wrote these mainstream novels. They remained unpublished until he died in the 80s. Where his SF was inventive, dark and comic, this is dull, grey and lifeless. This isn’t an attempt at literature, it’s mediocre 50s pulp fiction. This isn’t even up to the likes of Harold Robbins let alone any literary writer of the period.
There isn’t a great deal of difference between the two books. Themes recur, characters seem to be different versions of the same person, even large lumps of plot seem to be duplicated.
Our ‘hero’ (the strongest male character) has been travelling with his work for some years and is now settling down. He is buying all our part of a retail business. As a result of this he meets the ‘heroine’. She is either a business partner or an employee. There is a relationship there that never really seems to work properly. She has a lot of trouble making decisions and sticking to them. This proves financially costly to him. There is also an age gap that keeps them apart.
They seem to break up and things are settled in a final chapter that seems to be a clear break from the rest of the book.
In IN MILTON LUMKY TERRITORY our ‘hero’ is Bruce Stevens.
He’s been working as a buyer for a discount retail store in Reno driving up and down the country looking for goods that can be bought cheaply and in large quantities. He meets Susan Faine who was his school teacher years before and now owns half of a secretarial agency and typewriter supplies shop. She is divorced with a young daughter and wants to take more time at home. She wants him to buy out her business partner and build up the retail side of the business so that, in a few years, she can just do some of the secretarial work from home. They are soon married but it isn’t a terribly stable marriage. Then there are a lot of cheap typewriters that seem to be the way to make the retail business pay. Things are never that easy. Somewhere in all this is Milt Lumky - a seriously ill salesman who is the only one that can find the cut-rate typewriters and Peg Googer a onenight stand that Bruce kind-of regrets.
MARY & THE GIANT begins with the arrival of Joe Schilling. He’s been in the music business for years and he wants to open up a small record shop in a small town and retire. Things are complicated when Mary Anne Reynolds applies for the job of assistant in the shop. As soon as he offers her the job she changes her mind because she thinks he’s coming on to her. Their relationship is little more than a series of collisions. They have a dinner date. She works one day in the shop. They have a one-night stand. He rents her an apartment and they set about painting and decorating. The painting is never finished and she moves out without having spent a night there. She leaves town. In the background are Carleton Tweany a giant blues musician, various other downbeat would-be musicians and hangers on and an accidental death at a party.
It was once said that Phil Dick SF novels could never be filmed because too much of them were just people sitting around in rooms talking. Those stories had action sequences as well. These don’t. These are just back catalogue mediocrities published to cash in on a famous name.

Reviewed by William McCabe Aug-2005 Published by Gollancz

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This is volume 36 in the SF Masterworks series. I have to admit that I haven’t read many PKD books. No particular reason - I just haven’t. I have heard it said that the more you read his body of works, the more you enjoy each book. That could well be true. Certainly I enjoyed this one which was first published in 1975, so it’s relatively late. I must read more.
One thing that I always find distracts me in books of this era is not the presence of ‘futuristic’ technology, but its absence. This story takes place in only 50 to 60 years’ time - 2055 or so - and one can fly to cities on Mars in a matter of hours (if only!), yet they use ‘tape projectors’ for entertainment.
This is a story to make your brain hurt.
Our hero, Eric Sweetscent (yes, really), via his estranged wife, becomes involved with a new drug which has been developed for use on the enemy reegs. Or is it Lilistar and its ‘Starmen? Nothing is spelt out; you have to work out what is going on as you read. But the drug JJ-180 has the strange side-effect of taking the user backward or forward in time.
Which is where the brain-hurting comes in, as Eric flits back and forth in time, at one point meeting himself. Eric’s temporary boss, Gino Molinari - ‘The Mole’ - whom he is supposed to keep alive, seems to exist in several forms, one constantly sick and dying, one strong and fit, and one already assassinated. Are these persona from other timelines, or are they mere robants? Does it make any difference? In some futures he is regarded as a traitor, in others as a saviour.
But the future of the Solar System depends upon his survival, so Eric had better make the right decisions. Read this and find out for yourself if he does.
One minor quibble I’d like to make as an artist - the otherwise nice cover by Chris Moore is rather ‘killed’ by the bright magenta blob at the top of the cover, which attracts the eye away from the art itself

Reviewed by Dave Hardy Apr-2001 Published by Millennium

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Second Variety by Philip K Dick

Another collection of short stories from the complete collection (Volume 2). It is all good solid stuff with all of PKD's usual tricks - the heavy sense of irony, the twist at the end of the tail... - but there's nothing that really stands out here. In some ways it loses from the lack of oddities as in the first and third volumes but if you can take this sort of thing and still be constantly surprised then that should not be a problem. It's all good stuff from one of the best writers of the genre but it can start to feel a little predictable after a while. William McCabe

Reviewed by May-2000 Published by Millennium

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The collected stories Volume 1 - Beyond lies the Wub & Volume 3 - The Father-thing by Philip K Dick

So much is said about PKD and his novels, they talk about the darkness and the paranoia and how difficult things are. Add to that the recent films that owe more to Raymond Chandler and Dashiell Hammett and it isn't terribly surprising that nobody's really paid attention to this stuff These are short stories published in the first half of the fifties. There isn't a great deal of difference in style and quality throughout (although there are inconsistencies) and the standard is pretty good.
The style that everyone called paranoia shows up very consistently here. Most of the stories have a plot that involves someone trying to take over the world / universe and usually the revelation that things aren't being run by the people you thought they were. The most surprising thing is the discovery of PKD's strong sense of humour. The heavy irony runs throughout, attempts to control the world are averted by the most unlikely candidates (small boys, stuffed toys). Some things resurface in other fiction (the one about the animal that says to the people about to eat it "the taste is good, very fatty but quite tender" (Beyond lies the wub - 1) and others are merely silly (The eyes have it -3) and there's always the twist at the end like something out of the old "Twilight Zone". Those who think comedy should be harmless could learn a lot here. The rest of us can just have a good laugh.

Reviewed by William McCabe Jan-2000 Published by Millennium

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Back when I started to read science fiction, Philip K Dick was known for a handful of short stories – competently done; things like “The Defenders” and “The Golden Man”, but gimmicky and slight, little to distinguish him from dozens of other contributors to the 1950s’ magazines. Then he started to get more serious, his attention turned towards longer lengths, and in 1961 he wrote the justly-praised and Hugo-winning THE MAN IN THE HIGH CASTLE. But the novels gradually grew more and more strange, with the big turning point probably being THE THREE STIGMATA OF PALMER ELDRITCH, in 1965, which attracted a great deal of attention. Remember, this was at the height of the ‘New Wave’ controversy and Dick was hailed as one of its prophets.
I was editing SPECULATION magazine at the time, and didn’t care for the novel or the adulation with which I felt it had been greeted. So for the next few years we published reviews and other material that tried to take a more balanced, objective look at the Philip K Dick phenomenon. In the end we gave up, overwhelmed both by his volume of production and by the almost-universal critical acclaim.
THE COSMIC PUPPETS is Dick’s very first novel, published as half of an Ace Double in 1957. Expanded from an earlier magazine story from 1953 it is still very short (140 pp), and looked at analytically the setting doesn’t make sense, the plot-mechanics are rudimentary and characterisation is minimal.
However, the writing is oddly gripping and for the first couple of chapters we do genuinely wonder what is going on, until everything gets swept up – far too quickly - into a whirlwind resolution. The most interesting aspect of the book is the way in which it foreshadows the theme that came to completely dominate the author’s life; reality is not as it seems, and for that reason it has some historical interest for those interested in the evolution of Dick’s work.
CONFESSIONS OF A CRAP ARTIST is a longer (246 pp) and much better book. Dating from the mid-seventies, its tone is similar to Dick’s betterknown A SCANNER DARKLY (written in the same period), with multiperspectives on events and the same semi-autobiographical take on the craziness of Californian life. It compares with Vonnegut’s later novels though doesn’t go so directly for sardonic humour; instead, an air of gentle melancholy pervades the story of Jack Isidore – the ‘crap artist’ of the title – who believes in all sorts of nutty ideas, fills his apartment with rubbish (including old SF magazines) and in general doesn’t do very much with his life. Sound familiar? Neither book is marketed as genre ‘science fiction’ but those of us in the know will recognise the propeller beanie and the Hugo rocket on the cover of CRAP ARTIST. I found it oddly compelling. Peter Weston

Reviewed by Mar-2006 Published by Gollancz

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Cory Doctorow

FOR THE WIN by Cory Doctorow

The genius of Doctorow’s writing is the way that he can convincingly inhabit the world
of the game-obsessed youngster. For most kids of today, having a job where you would be paid to play computer games all day would be some kind of heaven. In this near future world, they can do just that. On-line games are big business and experienced players are needed. If only it were that simple…
Leonard is a sixteen-year-old American. He calls himself Wei-Dong and hangs out in cyberspace with a gang of Chinese players. His father is not happy and tries to send him to a military school. Leonard runs away and gets a poorly paid job playing games. Mala and her army earn enough to get a better deal in the slums of Mumbai. One of their tasks is to help paying customers get their avatars up to higher levels where the in-game rewards are greater. They and Matthew’s gang in China are also gold-farmers. There are players out there who will pay real money to have virtual items credited to their in-game characters. The gold-farmers get them, their bosses sell them. It is big business. It is a commodity market. Real fortunes can be made or lost. The players like Mala and Matthew work in sweat-shop conditions.
Then they are approached, during battle, by Big Sister Nor, who plays out of Hong Kong. She wants better pay and conditions for the workers. She proposes a Trade Union, the IWWWW,
Much of the novel is the struggle to unionise the workers and get recognition. This is a realistic, gritty and at times, bloody novel. Just as the original workers’ unions had to fight for survival, so do these characters. Game-playing is not always fun.
Although this may look like a young adult book, it has some deeply disturbing passages involving brutality and exploitation. These things are probably going on right now, in the places Doctorow describes. He has changed the parameters but the message is the same. Act now.
Hidden inside a thoroughly enjoyable fast paced book is material that should make any civilised reader think.

Reviewed by Pauline Morgan Oct-2010 Published by HarperVoyager

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MAKERS by Cory Doctorow

Good science fiction writers are able to take present trends and extrapolate into a plausible near future. All of us can see that if certain companies are unable to innovate, they will disappear from the market place. Digital technology has tolled the death knell for film photography and power sources are moving away from the usage of chemical batteries. In MAKERS, Doctorow starts with the merger of Kodak and Duracell to make Kodacell. Landon Kettlewell, the CEO of the new company, calls a press conference not only to announce the new arrangement but also to outline a new method of doing things. Instead of one, unwieldy and vulnerable company, they are looking for innovators with perhaps one product idea that can, with sponsorship and guidance, be made developed into something commercial.
Suzanne Church, a local journalist, is invited to follow the progress of one of these new setups. Her move to Florida is meant to be short-term as she posts all the details of the work of two entrepreneurs, Lester Banks and Perry Gibbons. They are assigned a business manager to help with the financial side of the enterprise. The team is a success but with any new innovation there will be others who will try to copy the designs and flood the market with cheap versions.
To keep ahead, new concepts must be developed.
Moving a completely different direction, they run into a trademark battle with Disney.
With a near future setting, this is an excellent look at the way that big business conducts itself and the tricks the unscrupulous will get up to. It is also a demonstration of the power of the internet. There are villains, inside and out of the Disney Parks corporation, in particular a nasty, mean-minded journalist whose favourite pastime is to make inflammatory comments on the internet against his opponents. It is a pity that he is about the only English character. There are excellent cameo characters, like the Goth youth who calls himself Death Waits but the main characters tend to escape. They are too busy doing things and driving the plot to be fully fleshed out. On the whole, this is a good example of inventive science fiction.

Reviewed by Pauline Morgan Feb-2010 Published by HarperVoyager

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David Drake

Lord of the Isles by David Drake

David Drake has made the switch from straight Science Fiction to fantasy with remarkable ease. In this the first book of a trilogy? Quadrology? He has set the four main characters in a cosmic chess game, which takes them on a journey through a number a different planes of reality. Along with Tenoctris a female wizard, who has been moved a thousand years into the future, Garric or-Reise and his sister Sharina and his friend Cashel and his sister Ilna are forced to leave Barca’s Hamlet on the Island of Haft. As they leave the only home they have known for the outside world, they are initially pawns on a chessboard, in a cosmic game played by unseen players. But unlike pawns they come to realise slowly that they have more powers than anybody realises.
As an introduction to an epic fantasy, Lord o f the Isles, sets a cracking pace with a number of different strands well woven together. The characters are somewhat familiar in the fantasy mould, but even for all that they set the stage for the adventures that come their way. With some of the other principle characters such as Nonnus a solitary figure also from Barca’s Hamlet, the treacherous Queen and the Hooded One an evil wizard, they pull the cosmic powers that rule the destinies of the islands around the inland sea together in a tale of mystery and intrigue. Lord o f the Isles is a well-crafted book, which does not loose its way in telling an epic tale.
There is plenty of detail without getting bogged down and the story moves with a nicely feel of timing.
This is definitely one for all fantasy readers, with the promise of more to come in the following books.

Reviewed by Chris Chivers May-2000 Published by Orion

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Queen of Demons by David Drake

Queen of Demons continues the story of Game, Sharina, Cashel, ilna and the sorceress Tenoctris, started in the first book in the series Lord o f the Isles. After the defeat o f the ancient sorcerer the Hooded One in a great battle the game should have been won, but the cosmic chess game continues. Game, who know knows that he-is from the ancient bloodline of King Lorcan who hid the powerful Throne of Malkar, which is the prize that the players of the game want. King Carus the last of the rulers of all of the isles, before they split into warring kingdoms, and who’s ghost guides Garric towards re-uniting the isles into one coherent whole, but Garric has a long road to travel before this can pass. His friends Cashel and Ilna who are halflings also have powers that others want, and his sister Sharma are forced into different paths travelling through alternate realities before they are reunited. But in the background lurk the ever present forces of darkness that still want to use the main players in the saga as pawns in their own game.
With the second book in David Drake’s epic fantasy, Lord o f the Isles, the Oueen o f Demons manages to keep the pace set in the first novel going, without the usual drop off the second novels in a trilogy sometimes suffer from. Even though the plot line is somewhat predictable the characterisations do not suffer. The adversities that the main characters have to deal with are dealt with in a competent manner, along with several novel twists on the fantasy theme. David Drake is definitely making a mark for himself in the Fantasy field and he has moved himself up a notch from his straight Science Fiction novels.

Reviewed by Chris Chivers May-2000 Published by Millennium

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This third volume of the Lord of the Isles wraps up the story of Garric, Sharina, Ilna and the sorceress Tenoctris. Garric, now the power behind the throne and the real ruler of the Isles, faces his greatest challenge from the dark forces that sank the Isle of Yole. Woven into this background is the task of rebuilding a government and dealing with the shallow and vain characters from Barca’s Hamlet who now seek to ride on Garric’s rise to power. Add to this the court intrigues and other hangers on, and Garric has his work cut out. He has to rely on his old friends Sharina, Cashel, Ilna and Tenoctris to help him understand the dark forces that are gathering.
The appearance of a shimmering blue bridge across the river, on the site of an old kingdom bridge that had been destroyed many centuries earlier, is the start of the long drawn-out battle between the forces of Garric’s kingdom and the wizards that have moved through time from the demise of the old kingdom. When Sharina is pulled through into another dimension she starts her long quest that will have surprising results for her friends. She does not realise that Cashel has also gone after her with a view to her rescue. The independent journeys that both of them make add to the forces that Garric will have to call on to defeat the dark wizards that are arrayed against him.
This book keeps the pace going that Drake set in the previous volumes. The convoluted plot line has been somewhat straightened out and the main characters have lost a little of their colour. David Drake has produced three books that provide an entertaining fantasy story with plenty of twists and turns that will keep the reader happy for many hours.

Reviewed by Chris Chivers May-2001 Published by Millennium

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Lord Dunsany

Time and the Gods by Lord Dunsany

This is the second in the series of "Fantasy Masterworks" (although there is no note of what number one was).
This is in fact a collection of 6 books of short stories published early in the last century (20th, that is). These vary between the mythological style of translated Greek and Roman myth and the traveller's tale but all of it seems to be original. This is one for those that think the modern fantasy writers are imaginative or inventive. There is not a great deal of detail here and you won't find any real depth to the characters but the story-telling has style and each story fits into it's allotted genre.

Reviewed by William McCabe May-2000 Published by Millennium

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