A necessary, well-curated anthology that shows the singular political power of speculative fiction.

SISTERS OF THE REVOLUTION

A FEMINIST SPECULATIVE FICTION ANTHOLOGY

The feminist superstars of science fiction, fantasy, and horror dismantle and reassemble gender’s many implications and iterations in the newest anthology edited by the VanderMeers (The Time Traveler’s Almanac, 2014, etc.).

There is probably no better time for this anthology to emerge, as the SF/F world is rocked by a clash over the value of diverse voices. While the original dates of publication of these stories range from the 1970s to the current decade, and include both stalwarts of their respective genres and relative newcomers, they all feel fresh as ever. Touching on issues from surveillance, misogyny, and marriage to queerness, family dynamics, and gender fluidity, it’s hard to say if this anthology’s aggressive relevance is encouraging or depressing—that feminism remains at the cutting edge of contemporary problems or that the same ideas turned over by writers as long as four decades ago continue to haunt society unaltered. Either way, these stories, coming from a variety of genres, subgenres, and nonrealist traditions, are timeless and breathtaking in scope and power. L. Timmel Duchamp’s “The Forbidden Words of Margaret A.,” about a woman whose words are so dangerous her free speech has been rescinded in the Constitution, will crackle and spark given the current discussion about government overreach. Nalo Hopkinson’s “The Glass Bottle Trick” is a gorgeous retelling of Bluebeard and an exploration of domestic violence. Susan Palwick’s “Gestella,” about a werewolf who marries a human man, is a chilling reminder of the banality of evil; and there is probably no way to top the enduring horror of James Tiptree Jr.’s “The Screwfly Solution.” In the introduction, the editors mention that anthologies of this type can never be truly complete—the canon is always expanding through time, discovery, and translation—but this book will undeniably become part of the ongoing conversation.

A necessary, well-curated anthology that shows the singular political power of speculative fiction.

Pub Date: Aug. 1, 2015

ISBN: 978-1-62963-035-9

Page Count: 352

Publisher: PM Press

Review Posted Online: May 19, 2015

Kirkus Reviews Issue: June 1, 2015

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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DEVOLUTION

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Fierce, poetic, uncompromising.

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THE CITY WE BECAME

This extremely urban fantasy, a love/hate song to and rallying cry for the author’s home of New York, expands her story “The City, Born Great” (from How Long ’Til Black Future Month, 2018).

When a great city reaches the point when it's ready to come to life, it chooses a human avatar, who guides the city through its birthing and contends with an extradimensional Enemy who seeks to strike at this vulnerable moment. Now, it is New York City’s time to be born, but its avatar is too weakened by the battle to complete the process. So each of the individual boroughs instantiates its own avatar to continue the fight. Manhattan is a multiracial grad student new to the city with a secret violent past that he can no longer quite remember; Brooklyn is an African American rap star–turned–lawyer and city councilwoman; Queens is an Indian math whiz here on a visa; the Bronx is a tough Lenape woman who runs a nonprofit art center; and Staten Island is a frightened and insular Irish American woman who wants nothing to do with the other four. Can these boroughs successfully awaken and heal their primary avatar and repel the invading white tentacles of the Enemy? The novel is a bold calling out of the racial tensions dividing not only New York City, but the U.S. as a whole; it underscores that people of color are an integral part of the city’s tapestry even if some White people prefer to treat them as interlopers. It's no accident that the only White avatar is the racist woman representing Staten Island, nor that the Enemy appears as a Woman in White who employs the forces of racism and gentrification in her invasion; her true self is openly inspired by the tropes of the xenophobic author H.P. Lovecraft. Although the story is a fantasy, many aspects of the plot draw on contemporary incidents. In the real world, White people don’t need a nudge from an eldritch abomination to call down a violent police reaction on people of color innocently conducting their daily lives, and just as in the book, third parties are fraudulently transferring property deeds from African American homeowners in Brooklyn, and gentrification forces out the people who made the neighborhood attractive in the first place. In the face of these behaviors, whataboutism, #BothSides, and #NotAllWhitePeople are feeble arguments.

Fierce, poetic, uncompromising.

Pub Date: March 24, 2020

ISBN: 978-0-316-50984-8

Page Count: 448

Publisher: Orbit

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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