Kim Miller
Simon Stahlenhad is a special type of magic. His art has astounded people for decades. In this graphic novella we have Michelle, a young woman, perhaps even still a teenager. She is traveling through a desolate landscape with a robot she calls Skip. There are illustrations of Stahlenhag's machines on at least half of the pages. Full page illustrations and then perhaps a half page of text.
The war between humans and robots is over. There is almost nothing left but giant mechanical beasts littering the countryside. People are wandering, dazed, and catatonically under the influence of an invasive neural AI that infects their brains through a connected headset.
Michelle is driving west for an unstated reason. Her dialogue is flat matter-of-fact and toneless and the story is told completely without emotion. She has an address in a community out on the end of a peninsula. The bulk of the book is the tale of the journey.
Once there we see what she has been aiming for. No spoilers here but suddenly Michelle's narrative is alive with emotion. She knows that now she has to make a terrible decision that might have disastrous consequences.
The book only takes an hour or so to read but you'll need to add time just to sit and absorb the many illustrations of Stahlenhag's world. It's a tale of defeat and desperation that issues in a sudden burst of love and hope at the end. Love and hope that is hemmed in with the always present possibility of destruction.
Simon Stahlenhad is a special type of magic. His art has astounded people for decades. In this graphic novella we have Michelle, a young woman, perhaps even still a teenager. She is traveling through a desolate landscape with a robot she calls Skip. There are illustrations of Stahlenhag's machines on at least half of the pages. Full page illustrations and then perhaps a half page of text.
The war between humans and robots is over. There is almost nothing left but giant mechanical beasts littering the countryside. People are wandering, dazed, and catatonically under the influence of an invasive neural AI that infects their brains through a connected headset.
Michelle is driving west for an unstated reason. Her dialogue is flat matter-of-fact and toneless and the story is told completely without emotion. She has an address in a community out on the end of a peninsula. The bulk of the book is the tale of the journey.
Once there we see what she has been aiming for. No spoilers here but suddenly Michelle's narrative is alive with emotion. She knows that now she has to make a terrible decision that might have disastrous consequences.
The book only takes an hour or so to read but you'll need to add time just to sit and absorb the many illustrations of Stahlenhag's world. It's a tale of defeat and desperation that issues in a sudden burst of love and hope at the end. Love and hope that is hemmed in with the always present possibility of destruction.
Ambassador Mahit continues to surround herself with trouble in this follow up to A Memory Called Empire.
The struggles for supremacy at the capital have continued as the empire pursues an interplanetary war out on the edges of it's territory. A new emperor has been named and a guardian has been put on the throne until the emperor is of age. The Ministry of War is struggling against the Ministry of Information, and other sections of government are claiming their sphere of influence with those at the top.
The first book revealed that Mahit's mining has technology whereby a person's memories are stored on a brain stem implant chip, called an imago. The person's successor is then given those memories. This was developed so that pilots could be enhanced by the skills of their predecessors and lessen training time. Once this is discovered, there are those in the empire who want the technology, believing it to be some sort of eternal life existence.
Mahit has returned to her mining station and is running from discovery. When she was given her predecessor's memory, the official in charge of that department had deliberately sabotaged it. However, Mahit managed to recover the chip from the body of her predecessor and now has his memories and wisdom in her thoughts. But she can't let the imago official know her imago has been restored.
And then the empire recalls Mahit as ambassador and linguist to assist in making contact with their alien opponents, hoping they can end the war. Once again we are thrust into the internal battles for supremacy between various ministries and people seeking power. Martine proves to be a master of this high stakes political intrigue.
Martine is reunited with envoy Three Seagrass and they are taken to the battleship at the head of the war. Their role is to try to communicate with the aliens. Meanwhile, back at the capital, there are others who want to bomb the alien planet with enough destructive power to destroy it completely. And since when does the eleven year old future emperor think he has the authority to get involved in the affairs of adults?
The book has been fast paced from the beginning but something happens and all forward momentum stops as many different plot points suddenly coalesce and everybody has to rethink their part.
There is a phrase in writing that says, 'Somebody has to put the gun on the mantleshelf'. It means you can't write a sudden escape hatch into a story, you have to do the set up ahead of time. Martine has been 'putting guns on the mantleshelf' since book #1. And with the main players in the palace and in the control deck of the leading battle ship, everything is brought to a halt, and here comes the payoff.
The final chapter ends on such a calm note that it almost robs the overall story of its power. But there is a Postlude that brings it all to a very fitting conclusion - just enough mystery, just enough information, just enough satisfaction.
The word 'byzantine' is often used as an adjective to describe a highly complex and convoluted plot in literature. These two books definitely fit that description as the various power players outplay and sidestep each other. And having delighted in reading these two books of interweaving character arcs in their battles for supremacy, it is fitting to find that Arkady Martine is not only an esteemed scholar but has a PhD in Byzantine history, and that the first book was written through the time she was studying for that Doctorate. I knew we were in the hands of a master of her craft.
Ambassador Mahit continues to surround herself with trouble in this follow up to A Memory Called Empire.
The struggles for supremacy at the capital have continued as the empire pursues an interplanetary war out on the edges of it's territory. A new emperor has been named and a guardian has been put on the throne until the emperor is of age. The Ministry of War is struggling against the Ministry of Information, and other sections of government are claiming their sphere of influence with those at the top.
The first book revealed that Mahit's mining has technology whereby a person's memories are stored on a brain stem implant chip, called an imago. The person's successor is then given those memories. This was developed so that pilots could be enhanced by the skills of their predecessors and lessen training time. Once this is discovered, there are those in the empire who want the technology, believing it to be some sort of eternal life existence.
Mahit has returned to her mining station and is running from discovery. When she was given her predecessor's memory, the official in charge of that department had deliberately sabotaged it. However, Mahit managed to recover the chip from the body of her predecessor and now has his memories and wisdom in her thoughts. But she can't let the imago official know her imago has been restored.
And then the empire recalls Mahit as ambassador and linguist to assist in making contact with their alien opponents, hoping they can end the war. Once again we are thrust into the internal battles for supremacy between various ministries and people seeking power. Martine proves to be a master of this high stakes political intrigue.
Martine is reunited with envoy Three Seagrass and they are taken to the battleship at the head of the war. Their role is to try to communicate with the aliens. Meanwhile, back at the capital, there are others who want to bomb the alien planet with enough destructive power to destroy it completely. And since when does the eleven year old future emperor think he has the authority to get involved in the affairs of adults?
The book has been fast paced from the beginning but something happens and all forward momentum stops as many different plot points suddenly coalesce and everybody has to rethink their part.
There is a phrase in writing that says, 'Somebody has to put the gun on the mantleshelf'. It means you can't write a sudden escape hatch into a story, you have to do the set up ahead of time. Martine has been 'putting guns on the mantleshelf' since book #1. And with the main players in the palace and in the control deck of the leading battle ship, everything is brought to a halt, and here comes the payoff.
The final chapter ends on such a calm note that it almost robs the overall story of its power. But there is a Postlude that brings it all to a very fitting conclusion - just enough mystery, just enough information, just enough satisfaction.
The word 'byzantine' is often used as an adjective to describe a highly complex and convoluted plot in literature. These two books definitely fit that description as the various power players outplay and sidestep each other. And having delighted in reading these two books of interweaving character arcs in their battles for supremacy, it is fitting to find that Arkady Martine is not only an esteemed scholar but has a PhD in Byzantine history, and that the first book was written through the time she was studying for that Doctorate. I knew we were in the hands of a master of her craft.
A remote mining station that sits in an asteroid belt sends Mahit, a new ambassador, to the seat of the empire. On arrival she finds that her predecessor is dead, but nobody will tell her the manner of his death. The emperor is old and there is a growing political instability as senior politicians maneuver themselves into positions of power.
Mahit is anything but compliant and as she moves between levels of power in the capital she has two dominating thoughts. First, her predecessor was more than he seemed. And second, the people who targeted him are also after her. If only she could figure out why.
Mahit's home station is virtually invisible to the empire and similarly, Mahit is invisible to most of the people of the capital. As she finds herself becoming friends with two locals, so the mining station rises in significance to the story. The author has cleverly blended Mahit's visibility in the capital with the steady reveal that the mining station held something valuable. And it was that certain valuable thing that put Mahit at the centre of the action.
Arkady Martine has given us a masterful work of political intrigue. She has served up a world of power and suspicion, of privilege and discrimination, of subtle language and, I kid you not, poetry.
There are a few things that took me some time to get used to. First is the names of members of the empire. They are all formed from a number and a noun. For instance, Six Direction, Three Seagrass, and Twelve Azalea. I found this convention very distracting. Second thing is the Aztec influenced spelling. It's the Teixcalaanli Empire, and there are many instances of similarly Aztec sounding words, cuecuelehui, ahachotiya, ezuazuacat. They were not a problem in themselves but my 'English only' brain would stumble on them. The quality of the story was worth laying aside these distractions and letting Martine's writing beguile me.
A remote mining station that sits in an asteroid belt sends Mahit, a new ambassador, to the seat of the empire. On arrival she finds that her predecessor is dead, but nobody will tell her the manner of his death. The emperor is old and there is a growing political instability as senior politicians maneuver themselves into positions of power.
Mahit is anything but compliant and as she moves between levels of power in the capital she has two dominating thoughts. First, her predecessor was more than he seemed. And second, the people who targeted him are also after her. If only she could figure out why.
Mahit's home station is virtually invisible to the empire and similarly, Mahit is invisible to most of the people of the capital. As she finds herself becoming friends with two locals, so the mining station rises in significance to the story. The author has cleverly blended Mahit's visibility in the capital with the steady reveal that the mining station held something valuable. And it was that certain valuable thing that put Mahit at the centre of the action.
Arkady Martine has given us a masterful work of political intrigue. She has served up a world of power and suspicion, of privilege and discrimination, of subtle language and, I kid you not, poetry.
There are a few things that took me some time to get used to. First is the names of members of the empire. They are all formed from a number and a noun. For instance, Six Direction, Three Seagrass, and Twelve Azalea. I found this convention very distracting. Second thing is the Aztec influenced spelling. It's the Teixcalaanli Empire, and there are many instances of similarly Aztec sounding words, cuecuelehui, ahachotiya, ezuazuacat. They were not a problem in themselves but my 'English only' brain would stumble on them. The quality of the story was worth laying aside these distractions and letting Martine's writing beguile me.
Four residents of a senior living village decide they want to investigate unsolved murders. Luckily they represent a range of backgrounds and abilities that seem to fit together like a Tetris game. With a bit of manipulation they recruit the community liaison Police officer who comes to teach them to lock their doors at night. And the game is on.
This is a 'cosy detective story' in the tradition of The Number One Ladies Detective Agency series by MCall Smith. The people are delightful, if somewhat one dimensional. The police vacillate between dismissive and accommodating. The murders are many and varied and the investigation is highly intuitive but ultimately successful. And the amateur sleuths retain secrets at the end that the police won't uncover.
Osman has a way of story telling that is engaging and funny. We start out loving the characters and we still love them when their flaws are revealed. However, I was left with the feeling that murder is OK as long as the victim deserved it.
Four residents of a senior living village decide they want to investigate unsolved murders. Luckily they represent a range of backgrounds and abilities that seem to fit together like a Tetris game. With a bit of manipulation they recruit the community liaison Police officer who comes to teach them to lock their doors at night. And the game is on.
This is a 'cosy detective story' in the tradition of The Number One Ladies Detective Agency series by MCall Smith. The people are delightful, if somewhat one dimensional. The police vacillate between dismissive and accommodating. The murders are many and varied and the investigation is highly intuitive but ultimately successful. And the amateur sleuths retain secrets at the end that the police won't uncover.
Osman has a way of story telling that is engaging and funny. We start out loving the characters and we still love them when their flaws are revealed. However, I was left with the feeling that murder is OK as long as the victim deserved it.
Rachel works with the British Secret Service and she's found out there is a mole she needs to track down. Trouble is, he's dead. And how do you chase down a dead man? With the help of other dead people, of course.
In a world where the afterlife is accessible through tech advances, Rajaneimi gives us a high stakes spy novel that crosses the boundary between life and death. While the British are trying to maintain the post-passing city, the Russians are developing an artificial deity that will bring it all down.
Set in 1938 and with the backdrop of the Spanish civil war looming dangerously overhead as the battle ground between the life vs the death advocates, the story dances between politics, social upheaval, and the conundrums of advanced mathematics. Rajaneimi has advanced degrees in mathematics and physics so we will allow him this indulgence.
The plot increases speed as it advances, and what starts out as a rather whimsical story populated with pompous British snobs develops into a rapid 'fire and response' mystery as we try to work out what is really happening, hoping we can keep up with the recklessness of the characters.
And at the end? No spoilers, of course, but this is not the ending you were looking for.
Rachel works with the British Secret Service and she's found out there is a mole she needs to track down. Trouble is, he's dead. And how do you chase down a dead man? With the help of other dead people, of course.
In a world where the afterlife is accessible through tech advances, Rajaneimi gives us a high stakes spy novel that crosses the boundary between life and death. While the British are trying to maintain the post-passing city, the Russians are developing an artificial deity that will bring it all down.
Set in 1938 and with the backdrop of the Spanish civil war looming dangerously overhead as the battle ground between the life vs the death advocates, the story dances between politics, social upheaval, and the conundrums of advanced mathematics. Rajaneimi has advanced degrees in mathematics and physics so we will allow him this indulgence.
The plot increases speed as it advances, and what starts out as a rather whimsical story populated with pompous British snobs develops into a rapid 'fire and response' mystery as we try to work out what is really happening, hoping we can keep up with the recklessness of the characters.
And at the end? No spoilers, of course, but this is not the ending you were looking for.
Pulling a city along rail tracks for some strange but urgent reason, a community of people struggle to keep ahead of some un-named horror that those at the top wanted kept secret. The story started out innocently enough, then became strange and then weird before turning dangerous. At the end everything came unstuck with a final resolution that was very cleverly understated.
Pulling a city along rail tracks for some strange but urgent reason, a community of people struggle to keep ahead of some un-named horror that those at the top wanted kept secret. The story started out innocently enough, then became strange and then weird before turning dangerous. At the end everything came unstuck with a final resolution that was very cleverly understated.