Reader Advisory

Introducing Chronicle Worlds: Legacy Fleet

May 23, 2019 by Jon Frater Leave a Comment

In the twenty-sixth century, mankind has discovered the secret of interstellar travel and colonized scores of worlds hundreds flight years from Earth. But in the 26th century, an alien race–a microbial collective known only as The Swarm–brutally attacked Earth and her colonies. Humanity barely survived and vowed to never let it happen again.

Now, 75 years later…it’s happening again. And Humanity has a lot to learn about the use of the word “never.” As the United Earth fleet loses its best and strongest ships to the Swarm onslaught, only the older Legacy Fleet ships and their experienced, driven commanders are up to the task of defending earth and her colonies.

This is the world of Legacy Fleet, a new anthology based on Nick Webb’s Legacy Fleet trilogy: Constitution, Warrior, and Victory, an amazingly popular science fiction series. Into this universe comes Samuel Peralta, creator of the well-known Future Chronicles anthology series. Together, they’ve combined their writing talent and publishing experience to create a whole new treat: the Kindle World: Legacy Fleet series.

Links to this great work are here and in the sidebar. And it’s still at the launch price of .99 cents, but that won’t last forever. Enjoy!

Reader’s Advisory: The Handmaid’s Tale

January 19, 2017 by robmcclel Leave a Comment

The Handmaid’s Tale by Margaret Atwood is an old favorite of those who would make unpleasant books go away, and was listed 37^th on the American Library Association’s list of 100 Most Banned Books from 1990 to 1999. It was challenged in 2001 in Dripping Springs, Texas by a group of parents who declared it anti-Christian and pornographic. Also quite recently, the Judson School District Board in San Antonio, TX overturned a ban of The Handmaid’s Tale by the superintendent. Ed Lyman had ordered the book taken out of the advanced placement English curriculum when a parent complained it contained sexual and anti-Christian content. A committee comprised of teachers, students, and a parent had recommended the book remain in the class, but Lyman said he felt it did not fit in with the standards of the community.

To be fair: violence, certainly. Sex, absolutely. Anti-Christian, perhaps, if you happen to believe that Jesus was all about wielding obscene levels of wealth and power against the meek. Pornographic, no. There is nothing arousing about the situations found in this book.

The world of Margaret Atwood’s The Handmaid’s Tale is a grim one. Women are second-class citizens in the recently formed Republic of Gilead. Women may not own property or carry money. All dresses and hats come with veils. They may not read, write, or (occasionally) speak unless spoken to. Older women are often pressed into service as domestic Marthas, ruled over by Wives. Because of falling fertility rates in Gilead the younger and hopefully more fertile women are sometimes assigned as Handmaids, expected to produce children for the elite rulers of Gilead. Early in the book, it’s suggested that the suicide rate among Handmaids is quite high.

Meanwhile, older women, barren women, homosexuals and criminals are declared Unwomen and sent to colonies to enjoy hard labor cleaning up environmental disasters, toxic chemical spills, or other similar work. Secret police, known as Eyes, are everywhere.

All this is told to the reader through the eyes and voice of Offred, a Handmaid who’s assigned to an older military officer (the Commander.) Her job is to produce a child for the couple, which is unlikely, as the Wife believes that her husband is actually sterile—a dangerous thought, as Gileadan law says that only women can be sterile. Desperate to manage the situation, the Commander’s Wife arranges for Offred to sleep with Nick, her husband’s driver, in an effort to get her pregnant. Nick and Offred become attached to each other. Eventually, Nick tells her that he can get her out of the country if she’s willing to trust him. The book ends with an assumed contact of Nick’s leading her into an unmarked van, although whether she’s being saved or led to her doom by Eyes is left unsaid.

You don’t read a lot about the men in this society directly, since Offred’s dealings with them are sharply limited by the rules she lives by. Men are either in charge, as the Commander is; or they serve those in charge, as Nick, his driver, does; or they populate the military and police forces that maintain order. The pecking order is rigid and there is no escape. Men conform or die, their bodies to be hung in a public square as a testament to the Gileadan manner of justice. Simple.

The most frequently cited reasons for banning this book are the description of Christianity found in its pages. However, the fundamentalist government depicted in the book merely uses certain images found in Christianity as a tool to maintain militarily enforced rules of society. For an environment supposedly espousing Christian values, Christ himself–who commanded his followers to love the poor, tend the sick, comfort those in prison, and abhor excessive wealth–is nowhere to be found.

That said, the folks who complain about the sheer brutality of the book’s worldview may have a point: violence is the center of the Handmaid’s world. Society at some point in the not too distance past was disrupted when a cabal of fundamentalist-minded military officers executed the civilian government and declared themselves rulers over God’s kingdom. Wars against the infidel are endemic; a news show described by Offred mentions the execution of Quaker and Baptist rebels, and the forcible uprooting of “Children of Ham” (i.e., Blacks) to North Dakota. Jews are given a choice: convert or leave for Zion. There’s some question as to how many of those put on the boats ever arrive at their destination.

The violence that Offred experiences is more psychological than physical, although she says at one point the Wives are allowed to beat Handmaids as long as they use bare hands, since “there’s scriptural precedent.” Handmaids have no names except for those assigned (Offred, Ofglen, Ofwarren, etc.) by the management. Money has been replaced by pictograph tokens they can use to buy food at the local grocery; even the store signs have been replaced by wordless logos. The ostensible reason for this—the reason the Handmaids are told during their training as state-sponsored breeders—is that it’s for their own protection. Women are too valuable, they’re told, to have to deal with such types of stress.

So here we are. 2017 and Handmaid’s Tale is every bit as creepy as it was when first published in 1985. In a way it’s worse now. The Commander’s Wife, a genteel lady named Serena Joy, was, in her prime, a televangelist who railed against the horrors of modern life and worked tirelessly to bring about the world she now lives in, a world directed by “Christian” values and enforces “traditional” family life. One imagines that she’s resigned to being the head of a household rather than a self-directing individual in a world of business, power, wealth, and religion. One expects that she’d imagined herself being rather more free and/or powerful than she is allowed to be by the leaders she helped bring to power.

As we head into a new presidential administration, it’s worth remembering that this book was meant to be a cautionary tale of a dystopian reality. But…there are those who would use it as a handbook to create a future they very much want to see.

Let’s do better than Gilead did.

Introducing Chronicle Worlds: Feyland

June 29, 2016 by Jon Frater Leave a Comment

Imagine if you will, a world of the future. A world where rich kids are chipped to run automated houses and fly in grav-powered limos while poor kids watch their families dissolve into poor health and struggle to manage the bare necessities. The only thing that brings these groups together is the VirtuMax corporation, an entertainment giant. Its newest hit is an immersive VR high fantasy game that is both addictive and incredibly popular.

But in this world, the veil between fantasy and mundane reality is beginning to shatter and admit the resurgent realm of the Fey. And they are looking to borrow whatever they must from the mortal world to maintain their existence.

Welcome to the world of Chronicle Worlds: Feyland, the latest installment of Samuel Peralta’s insanely popular Future Chronicles anthology series, and the first of his new Chronicle Worlds titles.

Chronicle Worlds: Feyland brings stories from leading authors to the crossroads where individual imagination and gamer sensibility meets author Anthea Sharp’s USA Today best selling Feyland series of YA fantasy books.

Twelve authors contributed to this volume, and every one of them brought exceptional story telling and skills and gamer sensibilities with them into the project. A brief rundown of the work is as follows:

“MeadowRue,” by Joseph Robert Lewis takes the story of an existing Feyland character: a de facto sea hag who must deal with a human girl who has courage and honor on the brain; “The Skeptic” by Lindsay Edmunds, shows how seeking to quantify the impossible but true can bite you on the butt. “The Sword of Atui” by Eric Kent Edstrom felt like a particularly gruesome episode of Sword Art Online, complete with server hacks and apparent game master cameos. “The Huntsman and the Old Fox” by Brigid Collins reminded me of my own experience as a parent gaming with a gaggle of teens and tweens.

“Unicorn Magic,” by Roz Marshal manages to take the story of a girl’s love for her horse and make it both gripping and uplifting.

My own contribution, “The City of Iron and Light,” tells the story of Sabine Jade, a lonely teen who has no idea just how far down the rabbit hole goes…but harbors a burning need to find out.

“The Gossamer Shard” by Dave Adams, shows what the World of Tanks might be like if its players blundered into the Unseelie realm; “The Glitchy Goblin” by K.J. Colt is a dark little tale of broken promises and crushed dreams that will actually make you feel for the goblins (no small task). In comparison, “On Guard” by Deb Logan, is the essence of the short story form: compact, compelling, and utterly without wasted words.

The two final selections, “An Artist’s Instinct,” by Andrea Luhman, and “Brea’s Tale: Passage,” by Anthea Sharp, share a mystical quality of presence. Both tell a story of a young woman struggling to transform herself into something new, but take very different approaches in the hows and whys. Read both back to back and you’ll see what I mean. In fact, you should real this entire book in order, front to back. Leave nothing out. Trust me.

But I think my favorite tale from this volume is “Tech Support” by James T. Wood. Consider: Ranjeet Nagar of Kochi, India is a young man with a strong work ethic and a family to support. He works as a tech support jock for VirtuMax, walking players of Feyland through their technical issues. Ranjeet is a compulsive puzzle solver and some of the wackier calls coming over the phone lately have got his creative juices running wild. But there are problems at work: his job is in danger of vanishing, the crazy calls describe things that cannot exist in the game, and Ranjeet cannot afford a proper VR set so he can’t even log into the game to see the weirdness for himself.

All that becomes irrelevant when Ranjeet finds a woman on the street being attacked by the same demons reported by players. Utterly disregarding his safety and prospects, Ranjeet enlists the help of a co-worker and his ex-fiance, who does have a full-D VR set and is an expert player, to track down the source of the incursions and set things right.

I think in several respects “Tech Support” is the most ambitious story in this set. It takes place entirely in India, flips the dominant theme of player vs game on its head, and manages to maintain a convincing level of engagement and suspense from the first sentence to the last.

That said–and the only thing really left to say here–is that at a launch price of .99 cents, and fifteen solid entries into the world of anthology fiction, Future Chronicles creator Samual Peralta and Feyland owner Anthea Sharp have created something genuinely new and compelling. Fans of gamerpunk, high fantasy, and science fiction will all have something to enjoy here.

Available Now

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Banned Book Week 2015: Fahrenheit 451

September 29, 2015 by Jon Frater 4 Comments

Bad news: 451 degrees F is not, in fact, the temperature at which paper bursts into flame. (It’s actually between 440 and 470 degrees F depending on the type of paper).

Good news: Ray Bradbury’s novel about censorship, mass media, and induced apathy in the modern world is as accessible and spooky as it was the day he finished writing it in 1953.

Fahrenheit 451 is the story of Guy Montag, a fireman in the most literal sense: he sets books on fire. Bradbury said in interviews that he wrote the book to address the popularity of the idea of book burning during the McCarthy years in the U.S. As time wore on, he came to describe the book in more general terms. The book has pulled down a number of awards starting with the American Academy of Arts and Letters Award in Literature, and the Commonwealth Club of California Club Gold Medal in 1954. Francois Truffaut wrote and directed an excellent film adaptation in 1966, and the BBC produced a radio adaptation in 1982.

And of course, it’s been banned, censored, and redacted by schools and libraries since its publication. (The irony of banning a book about burning books is apparently lost in some circles.)

Anyway, Guy Montag burns books. In this world, firemen seek out and seize stashes of books in private homes and ignite them. Books are considered confusing things, filled with all sorts of ideas that make people uncomfortable (“painful, awful, hurting words” as his wife Millie describes them). In that sense, the firemen perform a public service: they keep the masses happy and allow them to focus on the permissible outlets: television (parlor walls), visual mass media, and sports events.

Frankly, Montag is okay with his life until he meets Clarisse, a new neighbor, a high school girl who is far more likely to ask “Why?” than “How?” While she vexes her teachers and fellow students, Montag finds her refreshing and fascinating–until she disappears. Montag’s wife, Millie, thinks the girl died in an auto accident but doesn’t really know or care.

Missing Clarisse is bad enough, but Montag truly questions his life when he takes a call to burn the stash of an elderly woman with a huge hidden library. The house is torched and the woman elects to burn to death with it rather than give up her library. Superficially, Montag understands that the woman sealed her own fate, but his guts tell him a different story.

Montag starts stressing out. Beatty, his fire chief, takes him aside to explain that the books aren’t really illegal per se. A fireman is even allowed to keep one and read it as long as he burns it within 24 hours. It’s the books’ effects on the public that forces the state to employ firemen. After he leaves, Montag reveals to his wife that he does have a stash of books, and he has no intention of burning them.

Montag loses his desire to play by the rules and obsesses about the books. He contacts an old English professor in a desperate attempt to figure out how reading works (and why it’s forbidden), only for him to avoid Guy like the plague. Guy then crashes his wife’s “parlor wall party,” reads the poem Dover Beach, and makes one guest cry. Millie flips out, Guy burns the book to mollify the guest, everyone storms out, and his wife turns Montag over to the authorities.

Millie leaves him on the spot while firemen burn his house. After a grand chase, Montag escapes the city to find a group of exiles who live by the river. Each of them has memorized one book in the hopes that the future will be more receptive to the idea of reading and preserving thoughts through the written word. War breaks out, the city is destroyed, and when the flames die down, Montag and his new friends head in to rebuild.

Bradbury’s work is generally allegorical, but Fahrenheit 451 is a thematic wonderland. Besides the obvious comparisons to real-life book burning which are perpetrated in the name of racial, political, or cultural purity, Bradbury equipped many of his characters with “Seashell ear-thimbles,” tiny earpieces through which individuals received streams of personalized media entertainment. On the surface, it’s just a radio, but just beneath that is the desire to surround oneself with a cocoon of sound to keep the world at bay. In that respect, one can’t exactly look at a world where tens of millions of personalized iPhones, Androids, iPads, tablets of every size and price range, float around keeping their users’ attention focused on their glowing screens at the expense of their neighbors and not be a little concerned.

Beyond that the book itself has been the victim of corporate meddling in the name of education standards. Starting in 1967 the book was subject to the expurgation of all words “hell,” “damn,” and the word “abortion” by its publisher, Ballantine Books, to create a high-school friendly version. Worse, by 1973 the cleaned up edition was the only version on the market. When Bradbury learned of this in 1979 he insisted that the original text be reinstated, and in 1980 it was.

One bit that appears frequently in the text that I sped over in this review is the mechanical “hound” that follows Montag, literally sniffing out trouble. It’s basically a robot that’s designed to assist the firemen in their daily lives, including sniffing out book stashes. Besides emerging as a stand-in for continual state surveillance, it’s one of these drones that chases Montag all over the city as a last ditch attempt by the government to silence him. For all that, the hound fails. It’s his wife, Millie, that rats him out the the government, showing that people are still the more dangerous enemy.

Another bit that recurs in the text: there are very few scenes where the subject of war isn’t in evidence. Bombers constantly fly overhead on their ways to foreign targets, Millie’s friend’s husband has been called up (she figures he’ll be back in a week because it’ll be over quickly), and Montag’s home town gets annihilated at the end of the book. The fact that war even exist in this world gives the lie to the danger that books and reading supposedly represent. If everyone must be kept happy and quiescent, why even have wars? Bradbury’s characters are not even sophisticated enough to ask that type of question. Even Beatty is, at heart, a just a functionary. And while Montag and the exiles have the best intentions, we have no clue if they have the skills to rebuild anything, even as they’re willing to try.

As always, many thanks to Shiela DeChantal and her Book Journey blog for giving awareness boosts to Banned Book Week.

When UFOs Were Real

September 25, 2015 by Jon Frater Leave a Comment

One of the niftier bits about growing up in the 1970s was that UFOs were real. Real enough for the U.S. Air Force to carry on with a project known as Project Blue Book. It was, we were told, a concerted effort by the military to quantify reported sightings of Unidentified Flying Objects in an attempt to understand what they were and why they were showing up.

The project was a thing from 1952 to 1970 but even after the military cancelled it, UFOs held the public’s attention in a vise-like grip. Books on the subject were in every major store. There was even a TV show based on it.

In the end, we gave up. Hoaxes were exposed, sightings were attributed to natural phenomena, and repeated screenings of Close Encounters of the Third Kind was as close as any human got to seeing the inside of an alien spaceship.

Until now.

Eric Tozzi has the dirt on the aliens, and let me tell you, it’s not pretty. They are here to kidnap our people for nefarious purposes, break our planet, and trash our stuff. Phoenix Lights, his grand addition to the Apocalypse Weird ‘verse is on sale for another couple of days, meaning you can grab this great bit of UFO-type mayhem for about a buck. You can read a review of the book here to get started. You won’t be sorry!

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Reader’s Advisory: Star Wars: Aftermath

September 22, 2015 by Jon Frater Leave a Comment

I don’t generally read Star Wars novels.

I read and loved Alan Dean Foster’s Splinter of the Mind’s Eye and Brian Daley’s Han Solo at Star’s End decades ago because they were on the book store shelves and the shiny newness of the Star Wars films sparkled and glittered like the pyramids of Giza must have when they were completed. Plus, Foster had Vader, Luke, and Leia, and Daley had Han and Chewie, and both books added so much content to what at that time was a relatively narrow storyscape with enormous potential but little realization or growth.

Nearly forty years later, we stand at the other end of the spectrum. There is a shipping container full of stories dealing with the old school characters, the new school characters, their ancestors, their descendants, and so on. But I’m not really drawn to the novels as much as I was to those first releases. The stories are wonderful, but the shiny newness has long since worn off. I need a particular hook to pull a Star Wars (or Star Trek) novel off the shelf and devote my time to it.

There have been two recently. The first was Death Star by James Luceno, a book I have literally been waiting for decades to read. The second was Aftermath by Chuck Wendig.

Disclosure: I’m a Wendig fan. I have been since I discovered Wendig’s Terrible Minds website. I own a bunch of his books on how to improve writing. I devoured Backbirds and Mockingbird in a few hours when they were still new. Under the Empyrean Sky is waiting for me on my Kindle account for a long enough break in my schedule for me to read the silly thing. So when I heard that he was doing the official (i.e., Disney-approved) book that told what happened after Return of the Jedi ended, I was on board.

I’ve read the book. I liked it. I don’t love it the way I loved Mind’s Eye and Star’s End. But I can’t quite figure out where the Wendig hate is coming from.

I’m not going to write a whole thing on the problems that established Star Wars fans have with Wendig. Author friend Will Swardstrom has already written one of those, and it’s excellent.

Still with me? Okay, here we go.

The Galactic Empire’s new and improved Death Star is gone, the Imperial Fleet is scattered across the galaxy, and Darth Vader and his master, Emperor Palpatine, are dead as well. The celebrations across Coruscant are in full force, and as one determined crowd of citizens manages to topple the statue of the emperor outside the senate, others pick up pieces of debris and start chucking them at nearby police. The incident escalates into a riot, police give way to stormtroopers, and the real shooting begins.

The empire is dead. Long live the empire.

Wedge Antilles jumps his starhopper into the Akiva system, followed and captured by Admiral Rae Sloane. Sloane has other ships with her Star Destroyer task force, including the Ravager, the last Super Star Destroyer in operating condition. Sloane’s plan is to gather other high-ranking imperials–politicians, bankers, merchants, and officers–to her, and band together to form the backbone of the new and improved Galactic Empire.

But a lot is happening on Akiva. Bounty Hunter Jas Emari is looking to fulfill contracts on the same banker that Sloane is working on. Ex-Imperial Loyalty Officer Sinjir Rath Velus is looking to keep his head down–he’s painfully aware that his side lost–but neither of them can avoid Akiva’s worst loan shark, Surat Nuat. Rebel fighter pilot Norra Wexley is finally home after three years of battle–including the over Endor–to gather her son, Temmin, and escape to calmer placed. But Temmin has plans of his own which do not include leaving the planet he calls home. And Surat Nuat has plans of his own for Temmin and they don’t include Norra or her new friends.

Wedge is missed and Admiral “It’s a Trap!” Ackbar knows where he was last seen. While Akiva’s surface lends itself to politics, gang wars, treachery, wild high-speed escapes, and acts bravery, the space above it becomes the point of contention between Sloane’s and Ackbar’s space fleets.

Meanwhile, hell breaks loose throughout the galaxy as survivors of the decades-long civil war realize that the conflict hasn’t ended for them as much as it has entered a new phase. A longer and more dangerous phase. The imperials struggle to maintain a semblance of control as the politicians on Coruscant tries to re-establish the senate and turn the New Republic into an official galactic government.

Aftermath is a rare book in that it openly and immediately acknowledges that the Empire and the New Republic are really two sides of the same coin. Empire and republic are two words that refer to roughly the same thing: power and organization. The connotations are abstract: rule by force, versus rule by self-determination. Control itself is beyond question. But the films, old and new, gloss over the infrastructure, the nuts and bolts that keep the galaxy revolving on its axis except when our heroes blunder into them. It’s easy to assume that the Star Wars universe begins and ends with awesome space battles. It’s a lot more work to imagine the millions of pilots, engineers, miners, industrialists, bankers, soldiers, laborers, etc., whose time, energy and investment made those space battles possible or influenced their outcome. And we all knew the rebels would win because that was the story the George Lucas wanted to tell. Wendig’s narrative is far more ambiguous.

The frame that’s used here is almost apocalyptic: the people in charge are are dead, but the machine cranks on. All the trappings of the official economy are still in order. The factories build parts for ships and weapons that still come off assembly lines, letters of credit still clear banks, construction firms still lobby for contracts, and the legerdemain of politics continues unabated. Below that is the shadow economy, composed of bounty hunters, mercenaries, information brokers, pirates, informants, and outright criminals. The thing that Wendig remembers is that both sides needed all these elements to keep their part of the conflict alive. In that respect, little has changed except the stakes and the players.

Beyond that, Aftermath is very much the first work of an extended story. Wendig is setting up future conflict and continuity, showing us the shape of his story arc, and this arc is wide indeed. It has many moving parts, all of which carry considerable history with them as they appear on stage.

I’m looking forward to seeing what he does with it.

Reader’s Advisory: The Immortality Chronicles

September 4, 2015 by Jon Frater Leave a Comment

It’s a deceptively simple bit of wordcraft: you take the word “mortal,” stick a two letter prefix on it, and you get a word which raises a dizzying variety of possibility. Mortality is every bit as metaphysical a concept as the human race has managed to conceive. What is it to be alive? What does it mean to die? And what does it really mean to be immortal?

Immortality Chronicles Cover — Who Wants to Live Forever?

Samuel Peralta decided to find out. His latest addition to his Future Chronicles series is out today, titled (no surprise) The Immortality Chronicles. It’s a staggeringly diverse collection of short works about the concept of life-without-death.

Many of these stories focus on an individual who’s rendered non-dying, but some apply the concept more broadly: D.K. Cassidy’s “Room 42,” and Thomas Robbins’ “Eternity Today” are riffs on the entire human race’s sudden conversion to undying status. E.E. Giorgi’s heart-wrenching story “The House on the Cliff” tells of a man made immortal by means of his own cancer cells. “Legacy,” by David Bruns, describes a driven CEO’s effort to live forever by replacing himself with bionic parts over the course of centuries. “Rememorations,” by Paul B. Kohler limits his protagonist’s immortal status to his ability to pay for it–and his willingness to forget pieces of his past. And John Gregory Hancock’s “The Antares Cigar Shoppe” stood out for the old school A.E. Van Vogt vibe that it brought to the table.

But the award for Most Unintentionally Horrifying Story About Immortality has to go to Gareth Foy, who penned “The Essence of Jaime’s Father.” This piece manages to be the most abstract yet gut-wrenching bit of work in this volume, and I’m not entirely sure how Foy pulled it off. I’m not even sure he intended to do this. All I know is that this story opened up a pit of despair in my soul that I generally only feel when engaged in Facebook discussions about religion and foreign policy.

In a nutshell, Jaime is a young man experiencing the beginning of Earth’ death throes, as the sun expands to swallow the inner solar system. Science has bought the Earth a few extra thousand years, but red giants are inevitable and physics is a harsh mistress. His father, however, has an answer: convert humanity to beings of pure energy and let them wander the universe until time itself grinds to a halt. Jaime and billions of others are looking forward to this, but Jaime’s father has decided not to go through with the transition. Not because he’s afraid of his project’s implications, but because he feels the need to stay behind to let those who fear a permanent existence know that death is still possible in that state. Eventually we learn that Jaime’s old man has already done this countless times, and has lived through countless versions of the universe.

That’s where I started freaking out. Of the great stories in this collection, Foy’s is the only one that addresses the utter tedium of watching the universe roll out, expand, breed life, destroy life, and collapse, over and over again. Worse, every time the cycle resets, it’s the same universe unrolling in the same way, right down to the people who are born (and die), and the order in which they appear and vanish back to the dust whence they came. It’s like being trapped in a drive-in movie theater with the same four double-features forever. Sure, it’ll take a while to memorize every line of every film, but eventually you’re going to want to slit your wrists, except you can’t because you’re made of pure energy. (It works out in the end, but…Gah!)

The collection is available on Amazon and the proceeds go to First Book, a not-for-profit that has supplied over 130 million books to kids in the U.S. and Canada. As a librarian, I can think of no higher cause. And if you’re on Facebook, you can click here for an invite to the Immortality Chronicles launch party which starts tonight at 5.30pm EST.

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And Now, A Singularity!

August 25, 2015 by Jon Frater 1 Comment

The Legacy Human by Susan Kay Quinn

What would you give to live forever? Seventeen-year-old Elijah Brighton wants to become an ascender—a post-Singularity human/machine hybrid—after all, they’re smarter, more enlightened, more compassionate, and above all, achingly beautiful. But Eli is a legacy human, preserved and cherished for his unaltered genetic code, just like the rainforest he paints. When a fugue state possesses him and creates great art, Eli miraculously lands a sponsor for the creative Olympics. If he could just master the fugue, he could take the gold and win the right to ascend, bringing everything he’s yearned for within reach… including his beautiful ascender patron. But once Eli arrives at the Games, he finds the ascenders are playing games of their own. Everything he knows about the ascenders and the legacies they keep starts to unravel… until he’s running for his life and wondering who he truly is.

The Legacy Human is the first in Susan Kaye Quinn’s new young adult science fiction series that explores the intersection of mind, body, and soul in a post-Singularity world… and how technology will challenge us to remember what it means to be human.

Amazon

Praise for The Legacy Human

“This book is Hunger Games (without the violence or controversy) meets Divergent.”

“This story is so intense I felt I couldn’t get a proper breath.”

“Science fiction with philosophical depth!”

The Duality Bridge

What does it mean to be human? Elijah Brighton is the face of the Human Resistance Movement. He’s the Olympic-level painter who refused an offer of immortality from the ascenders—the human/machine hybrids who run the world—in solidarity with the legacy humans who will never get a chance to live forever. Too bad it’s all a complicated web of lies. Worse, Eli’s not even entirely human. Few know about the ascenders’ genetic experiments that left him… different. Fewer know about the unearthly fugue state that creates his transcendent art—as well as a bridge that lets him speak to the dead. But the Resistance is the one place he can hide from the ascender who knows everything the fugue can do. Because if Marcus finds him, he’ll either use Eli for his own nefarious purposes… or destroy him once and for all. The Duality Bridge is the second book in the Singularity series and the sequel to The Legacy Human. This thrilling new young adult science fiction series explores the intersection of mind, body, and soul in a post-Singularity world.

Amazon

Author Susan Kay Quinn

Susan Kaye Quinn is the author of the Singularity Series, the bestselling Mindjack Trilogy, and the Debt Collector serial, as well as other speculative fiction novels and short stories. Her work has appeared in the Synchronic anthology, the Telepath Chronicles, the AI Chronicles, and has been optioned for Virtual Reality by Immersive Entertainment. Former rocket scientist, now she invents mind powers, dabbles in steampunk, and dreams of the Singularity. Mostly she sits around in her PJs in awe that she gets to write full time.

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You Can Have WEIRD Things

May 13, 2015 by Jon Frater 1 Comment

(I know, I owe you a post about imagining the “death of the library.” But this is a big deal.)

I recently got into a Facebook thread with a former (now grown up) student over e-book pricing decisions. She’s an avid reader but refuses to buy any e-book that’s more than a dollar or two in price. It was nothing against the authors, or the books themselves, she explained. She just didn’t see why she should ever pay more than that for a book. Neither did her friends.

It’s a fair point, especially if all you’ve ever known about the experience of acquiring books is looking at price lists on Amazon and clicking a button. From the producer’s side of the transaction, it’s more complicated.

There’s the author, who creates a labor of love until the minute someone decides to click that yellow button that says “Buy”. There’s the editor, who toils over the manuscript to make it readable. Some editors will carve out whole chunks of text to achieve that, others will simply correct the grammar, spacing, and spelling, but the effort is the same.

There is the cover artist who brings a point of story from inside the pages of the manuscript into blazing life.

The point, as Kevin G. Summers makes clear here, is that books cost money to make. Considerable amounts of money. In the case of indie publishing, everyone except the author makes money, at least until he or she sells enough copies to recover the costs of the book in question. Speaking as someone who has just started down this road, it’s a steep learning curve.

Indy authors Nick Cole and Michael Bunker, and ThirdScribe creator Rob McClellan have made a thing, called Apocalypse Weird. I’ve mentioned it on Facebook and Twitter, and I’ve reviewed a bunch of the books they’ve released.

To be blunt, they need money to keep the ball rolling, and have built an Indiegogo project to raise it. Three greats ways of donating stand out:

First, just drop a buck into the bucket. It makes no dent in your budget and still helps us out.

Second, you can drop a fiver into the bucket and get a neat perk.

Third–and my favorite option–$20 buys you the first eight AW novels, which have been getting rave reviews across the board for months. Or, for the same $20, you can pre-order the next eight AW novels in the series, which are sure to be every bit as good.

Sixteen outstanding works of End of the World fiction for $40. It doesn’t get better than that.

Actually–it does get better. There are plenty of awesome perks to choose from. But, the sale ends in 8 days, so check out the fund raiser to donate now!

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Reader Advisory: AW: Genesis

April 21, 2015 by Jon Frater Leave a Comment

Everyone remembers the day they truly became an adult; some call it the best day of their lives while others think of it as the worst. Kasey Byrne will never make that choice, because it’s just been taken away from her. Her old life has ended along with her world. What remains is an existential comment on the details; her memories, her regrets, her dashed hopes for the future, and the insanely deadly situation which she now navigates on a one way trip to the End of the World.

As the book opens, eight-year-old Kasey is playing on the beach when a stranger hands her an amulet, insisting that he’s sorry. For all the fuss her Mom makes of the encounter, Kasey feels safe when wearing the device, embossed with the figure of a white dragon.

Ten years later, she’s living the life of a million other Long Island girls her age: school is done, and summer approaches. She baby-sits her neighbors’ kids for cash. She has friends, a decent home life, a new car (a birthday present from her Dad to compensate for a bitter divorce), plenty of time to go surfing on the South Shore, and a boy who is interested in her.

All that comes to a screeching halt after she wakes to find thousands of dolphins in the process of beaching themselves, in obvious terror from something looming on the horizon.

That thing is, of course, the Apocalypse, embodied in this case by the Blood Riders and Red Ship minions which hold the people of Babylon, New York, in their bloody grip. Kasey must find other survivors as she and Jack (the boy mentioned previously) weather the death of her mother and murder of the police who answered the call; the kidnapping of Jack and Kasey’s long, hard journey to retrieve him.

She picks up valuable help in her travels: Jennifer Wang, an ex-Marine M.D., Blair, just a professional guy trying to keep it together in the face of his wife’s death, and Aarika, the extremely practical, forward-thinking Indian kid who ran his uncle’s gas station until all hell broke loose.

All this leads to Douglas, the man who gave Kasey the amulet ten years ago. And he is the only one who can train her to weather the rigors to come as the world teeters and tips into oblivion.

Stefan Bolz has given us what he describes as a “very personal” story. It’s a poetic tale that draws readers in by dangling the myth of childhood as an idyllic, perfect, blissful state of being before us, and shatters it (and his characters) by smashing the mythology against the ugly, harsh face of disaster.

Suitable both for adult and YA audiences, my only complaint about Genesis is that the book ends on a cliff hanger: with Kasey taking a literal leap of faith in order to learn what she needs to harness the power of the White Dragon and save the world.

But that’s another (eagerly awaited) book.

Get The Book!

[book size=”150″ slug=”apocalypse-weird-genesis”]

Reader Advisory: AW: Medium Talent

April 14, 2015 by Jon Frater Leave a Comment

Confession time: I just finished Forbes West’s addition to the AW universe, Medium Talent, and oh, does my head hurt. West has a Hemmingway thing going on, and it’s grizzly, ugly, and stressful to read. Forget the facts, the iceberg theory of writing, the Kilimanjaro stuff, or the Spanish civil war. Hell, forget about the old guy alone in the cabin with the shotgun on his lap. Forget all that, because if you don’t, you head will hurt, too.

Medium Talent is the tale of Key West survivors of a world-spanning hurricane three years earlier; the Supply Org (the AW version of FEMA) is the last bit of government around, which gives aid and comfort to the fortress fleet of the rich and powerful, while the denizens of the Florida Keys and most other places scratch what they can out of crappy local economies. Danger is ever present: if it’s not the Supply Org shaking you down, it’s the playboys on their armored yachts, or the sea monsters, or the zombies, or local thugs, or even the infected who are warehoused in the Depository.

Into this sub-tropical hell hole we meet Wendy Wicker, captain of the Medium Talent, who presents herself as a smuggler, artist, wife, adopted mother, and incredibly violent borderline sociopath. Somehow she is all these things, and yet, truly none of them. Trying to give you a linear picture of this distinctly non-linear world and story would be a hopeless gesture, but I can tell you the Wendy is far more complicated than she seems, she does meet Hemmingway back in 1934 Key West, and deep down she really does want to save the world. Or at least her little corner of it.

Anyway, the Hemmingway thing has its advantages; it creates a fascinating thread through a rollicking world that alternately confuses and makes perfect sense. It gets weird, but that’s sort of the name of the game, isn’t it?

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[book size=”150″ slug=”apocalypse-weird-medium-talent” desc=”0″ purchase=”0″ notereviews=”0″ excerpt=”0″]

Reader’s Advisory: AW: Phoenix Lights

March 31, 2015 by Jon Frater 1 Comment

Ezra Pound famously told writers to “make it new” even while others told them there was nothing new under the sun. Eric Tozzi has managed to do both with the latest addition to the Apocalypse Weird universe, the novel Phoenix Lights.

The title of the book is taken from the 1997 UFO sighting over Phoenix, Arizona and Tozzi uses this background as a springboard for his own world-shattering rendition of an alien invasion. In the text, super-secret lab resident Gage Slater is at odds with his sister, Kris, who deals with an apparent alien abduction by creating a UFO Busters show. In search of what? We don’t know–and neither does Kris or her crew, really–but in the end it doesn’t matter, as the aliens arrives in a massive city-sized ship and find them (and everyone else) first.

Gage and Kris re-connect in the ruins of Sedona, Arizona as they come across a blind musician named April Vargas, who has her own past and problems: in a world of literal blindness, she is able to see for the first time in her life, for a limited time. A much worse problem arives in the form of Vincent, who clearly knows more than he’s saying and has no one’s best interests at heart except his own.

Tozzi has set up a unique sandbox for the AW setting. Even though we get the standard setup of 88, Black Hand minions, and a band of survivors braving the end of everything, the story never seems hackneyed nor the events unnecessary. The action pulls us along on a road trip from hell and never lets up as we find out more about the aliens’ objectives and their reasons for arriving. There’s just enough real life setting to make the wackier potions of the drama seem like they could be possible, which is what good fiction does.

Bottom line is that Tozzi knows how to tell a good story and this book is too darned short. I’m waiting for his next installment and I’m curious to see if anyone will pick up the mantle of a second tier book in this particular setting. (We can hope.) In the meantime, we can buy this book and tell others about it. It’s that good.

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[book size=”150″ slug=”apocalypse-weird-phoenix-lights” desc=”0″ purchase=”0″ notereviews=”0″ excerpt=”0″]