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Pale Highway, by Nicholas Conley: A Review

Nicholas Conley’s debut novel, Pale Highway, has an unlikely setting: a pale highwaylong term care home. The protagonist is even more unlikely: a Nobel Prize-winning scientist losing his battle with Alzheimer’s. Once hailed as a saviour for developing a vaccine against AIDS, Gabriel Schist is slowly losing touch with everything he held dear, until it appears a new, deadly, virus has arisen, one that only Gabriel can understand and fight.

Conley has worked in care homes with Alzheimer’s patients, and this is clear not only from his descriptions of the environment, procedures, and organization of these homes, but from his accurate, compassionate depiction of the residents. Pale Highway is a science-fiction story, but it is also speculative fiction, speculative in terms of what reality is and might be in the mind of a man with Alzheimer’s.

The major characters in Pale Highway are complex and fully developed, and the prose lucid. The plot is suspenseful, and Conley finely balances the reader’s perceptions: is what is occurring in these pages real at all, or is everything happening within the disintegrating mind of Gabriel Schist? Like Life of Pi, the book questions what constitutes reality.

Gabriel’s struggle to maintain some control over his failing mind, not only to solve the medical crisis facing the world, but to hold on to his relationship with his daughter, is presented movingly and realistically. His current struggle reflects past struggles in his life. The novel jumps between past and present, showing us how Gabriel’s past issues have forged his character and determination.

My only niggle was that I found some aspects of Gabriel’s reality difficult to suspend belief enough to accept. Both how Gabriel is given help to do his work, and his ability to obtain the materials needed, led me to the conclusion that the actions must be taking place only in his mind. But that, I think, is a limitation of my imagination, not a limitation of the story; another reader may come to a different conclusion. Overall, 4 stars, for an impressive debut novel.

The author provided me with a copy of this book in exchange for an honest review.

 

Warrior Lore, by Ian Cumptsey: A Review

‘There shone out from the twelfth shield,

A raven, all in brown.

That carried Richard Ravengarth,

For rhymes and runes he’s known.’

When Ian Cumpstey offered me his book Warrior Lore, translations of Scandinavian folk ballads, for review, I was both intrigued and excited. Intrigued, because I know very little about Scandinavian ballads, and excited, because these exact ballads are important to the book I’m currently writing.Warrior Lore

Warrior Lore is a fine introduction to these ballads and to some of the heroic and historical figures of northern Europe. These are not dry academic translations, but rather lively, sometimes funny, sometimes sad verses which the reader can easily imagine set to music, being sung loudly and lustily in hall full of warriors, flickering firelight, and wide-eyed children. (To increase your appreciation of the verses, read them out loud!)

Cumpstey has organized the book well. Each ballad translation is preceded by a prose description and explanation of the history, characters and events of the verse. Having set the stage, the verse translation follows. While the rhymes sometimes seem imperfect, this is in keeping with the rhymes in the Swedish originals, and the rhyme schemes in the translations also mirror those of the originals. In the end-notes, the author explains that he has used multiple sources for most of his translations, as there are sometimes significant differences from one source to another.

The end result is a lovely introduction to Scandinavian folk ballads. I would recommend this book to anyone with an interest in the area, and to any writer (like myself) who needs source material that is accessible but academically sound. A solid 4 stars.

The author provided me with a copy of this book in exchange for an honest review.

A Publication Day Review Repost: Creeping Shadow: Rise of Isaac Book 1, by Caroline Peckham

Originally posted in October.

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Creeping Shadows: Rise of Isaac Book 1

Creeping Shadows is a young-adult fantasy by indie writer Caroline Peckham. Building on some of the best traditions of British children’s and young-adult writing, the story caught my imagination from the first pages and held it throughout the book.

It is truly difficult to find new ways to address themes and memes in young-adult writing. Some of my appreciation of Creeping Shadows almost certainly stemmed from the fact it was ‘familiar’: the opening events and settings, which have elements reminiscent of the introduction to Narnia, or to Susan Cooper’s Over Sea, Under Stone, began the story in a way that leads the reader to expect certain things to unfold, the way ‘Once upon a time…’ opens a classic fairy tale. And the reader is not disappointed!

Wizards appear; a quest is demanded; travel between multiple worlds is required. The challenge required…

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The Tenants of 7C, by Alice Degan: A Review

tenants 7cThere is something about urban fantasy that takes place in a city well-known to the reader that adds a level of charm and attraction. The Toronto setting of The Tenants of 7C was a bonus for me, but even without knowing the Kensington Market district, this is a delightful collection of connected short stories.

Above the Heaven & Earth Bakery, in an obscure back alley, the tenants of apartment 7C are an eclectic mixture of decidedly non-human characters: a young werewolf, a Japanese demon, and a very young satyr. They share the rooms of 7C: rooms that aren’t in the same dimension as the actual building, and frequently don’t stay in one place. The bakery itself isn’t really meant for humans either, its breads and cinnamon rolls providing sustenance to a wide range of supernatural creatures. How these three co-exist and survive in a their dual world, both with other “others” and with humans are the central conflict of each story.

While in some ways reminiscent of Charles deLint’s books, especially his early work set in Ottawa, The Tenants of 7C focuses on the lives of the ‘others’, not the lives of humans who interact with them. The characters of the werewolf Nick, Takehiko, the Japanese demon, and Yiannis, the satyr child, are not just stereotypes, but dimensioned individuals whose personalities develop over the collection. Nick, who is the protagonist, is especially well-realized, completely believable as a seventeen-year old who doesn’t fit in but is doing his best to manage his life, attending an alternative high-school, worried about his relationship with his parents, wishing his life were easier. It’s just that his problems, unlike most troubled adolescents, involve him turning into a wolf.

Degan’s writing is polished and competent and the tone and structure fits the action and mood of each story appropriately. She can switch the mood from light-hearted or contemplative to frightening in a few sentences, and uses enough manga, gaming and Doctor Who connections to make the stories attractive to a young adult/new adult audience (I verified this with a early-twenties friend), but the stories are also deeply rooted in, and consistent with, older traditions of fantasy. Degan blends these strands of different fantasy genres and traditions well, not an easy feat.

I had only a couple of niggles. Because the stories in The Tenants of 7C are not a linear narrative, but rather vignettes and episodes in a larger world-under-construction, there are some loose ends, sub-plots that arise but are not completed in this volume, and some inconsistencies. I wanted to know what happened in those subplots and to those characters that are introduced but disappear. I guess I’ll just have to wait for the next book!

Overall, 4 stars. If you’re a fan of urban fantasy, The Tenants of 7C is definitely worth your time.

Reverse Migration: A Discourse into the Spirit of Place: Excerpt 3

Edge

The cuckoos have gone. Two weeks ago, out at the Wash, they were calling from the shrubs surrounding the RSPB reserve, and further inland from the woodlands. Now, silence. Reed warblers and other small birds are busy raising huge cuckoo chicks, though.

There are two edges here. The first are the mudflats, those transient lands ‘between the salt water and the sea strand’, filled with birds; the second is the shingle beach, also but less obviously filled with life. The mudflats, actually silt-covered sand, are both mutable and immutable. Immutable, in that they have kept their basic shapes and properties for untold years, long enough to be both named and mapped; mutable, in that each tide reveals more or less of them, and each storm changes them slightly. Today at high tide the edges of Peter Black Sand are half a kilometer or more offshore, but with the right conditions of moonphase and water, high tide can lap the edges of the shingle. When this happens, the birds are pushed to the very edge in huge numbers, wheeling in huge clouds above the encroaching tide. But today they move slowly at the edge of the incoming water, only occasionally taking to the air.

The shingle beach here is where my great-grandfather’s beach bungalow stood. Sunny Ridge, it was called, and was a modest single-story construction of wood, with no plumbing of any kind. It was probably not much more than a camp kitchen with (perhaps) room for a table and chairs, and I believe not meant for anything more than day use. All the photos show groups of adults and children outside the bungalow, the women often with handwork – knitting, needlework; the men in jacket and tie, even here, and the children sitting on the shingle.

beach bungalow
Percy and Daisy Thorpe (my grandparents) and Catherine and Harry (my aunt and father), c 1922
Rainbows at beach bungalow
My great-grandparents, Mary Ann and Joseph Rainbow, at Sunny Ridge.

My belief that the bungalows were meant for day use is furthered by my father’s recollections of a man, possibly called Bob, who did live in a shack on the shingle, making a living somehow from the sea and odd jobs.

Queen Alexandra had a bungalow here too, closer to where Beach Road meets the Wash, from 1908 to 1925 (although it was, of course, rather posher). Built of the local red carrstone, a form of sandstone, she would frequently come out in the summer, sometimes with guests. On occasion she would be driven down the beach in her pony trap. One warm spring day she stopped to greet my great-grandfather and several of his sons & sons-in-law (most known to her as Sandrigham servants) who were busy creosoting Sunny Ridge, in shirt-sleeves and with filthy hands. The rest of this story is lost, all but the embarrassment (or amusement) that resulted.

During the second world war all the shingle huts were requisitioned by the military as housing, to support the RAF gunnery training camp situated there. At the same time, the shingle was mined to support the building of roads and runways, creating the pits that are now the ponds of the RSPB reserve. A jetty was built to load the shingle onto barges, which could access the outflow of the River Ingol at high tide. Seventy years and two massive floods later, the remains of the jetty still stand, providing nesting posts for black-headed gulls. What was left of Sunny Ridge, if anything, would have been washed away in the flood of 1953.

jetty

Now the shingle is quiet except for the screaming of gulls, the calls of waders, and the songs of small birds in the gorse. Oystercatchers and ringed plover nest on the beach, and the plant life is specialized and to some extent uncommon. While classified as shingle grassland, there are, apparently, twelve distinct plant communities, reflecting the height above high water mark and the composition of the shingle.

A sea-bank, or dyke, holds the Wash back from the arable fields to the east of it. Most of these embankments are on Faden’s 1797 map, and there are mentions in much older documents of sea-banks failing on the Dersingham marshes in medieval times. The shingle ecosystem exists between the Wash and the embankments, and to some extent on the side of the embankments facing the sea. In the flood of 2013, this whole area was under water. The rising sea destroyed one of the hides, moved another, and introduced salt water into the freshwater ponds. We walked the reserve only a few weeks after the flood: silt and debris covered the site and in some places was nearly to the top of the seawall. Less than two years later, there is almost no visible damage. The vegetation looks as it always has, in my memory.

There are no government plans to protect this coast any further, south of the village of Heacham. No higher sea-walls will be built: if it floods, it floods. (Landowners – mostly Sandringham and Ken Hill Estates – can choose to build privately funded embankments.) Saltmarshes are natural coastal protection, creating a buffer and a transition zone between the sea and the land. I may, one day, see the land between the village and the Wash return to saltmarsh, the haunt of waterfowl and curlew, the curls of the roddons below the soil echoed in the channels and ponds of a living marsh.

Did you miss the first two excerpts?  Read them here.

 

The Surface’s End, by David Joel Stevenson: A Review

The Surface's EndJonah, a young man in late adolescence, is responsible for providing his family with game, the major source of meat in their post-apocalyptic world. He’s found good hunting grounds at the edge of the dead zone, the desert known as the Deathlands, but even there the game is growing thin.

A wounded buck, fleeing the pain of Jonah’s arrow, leaves the shelter of the woods to run into the desert; Jonah, who cannot waste the kill, follows. Near where the buck finally falls, he finds a metal wheel…a wheel which is opens a door into another world – not a magical world: this is no rabbit-hole – but an underground city, peopled with the descendants of those who fled a ravaged Earth many generations earlier.

This is the premise of The Surface’s End, a young-adult dystopic science-fiction novel by David Joel Stevenson. I finished the book over two days: it’s short, at about 139 pages on my Kindle app, but it was also compulsively readable. Both the homesteading world of Jonah and his family and their fellow villagers, and the mole-rat like existence of the underground inhabitants were internally consistent and plausible, although both were slightly too one-dimensional, with no hint of strife or disagreement within the homesteaders and no positive aspects to the underground world.

SPOILERS AFTER THIS POINT!

Having the ‘wildlands’ adolescent discover the ‘city’, rather than the other way around, was a nice twist on the young-adult dystopic meme. The inevitable romance between Jonah and Talitha, the girl from underground, is handled sweetly, Jonah’s uncertainty and awkwardness particularly.

For the most part Stevenson’s writing flows smoothly (and occasionally brilliantly, as in the line, referring to the Deathlands: ‘He took his first step into the undiscovered lands.’, an echo of Hamlet describing death as ‘the undiscovered country.’). A minor niggle was that I found the tone and pacing of the narrative did not always reflect the tension and action of the story.

My only other niggle with the story was the scene in which Jonah and Talitha watch a digital feed of the deathbed confession of one of the original founders of the underground city. While it is important, a turning point in the story, the confession goes on too long, unbroken by the reactions and emotions of the two young people watching it.

All in all, though, I’m giving The Surface’s End four stars. It’s a worthy addition to the young adult dystopia genre (personally, I think it would make a good film), and it has enough originality to make it stand out from the crowd.

The author provided me with a copy of the book in exchange for an honest review. All opinions here are mine alone.

The Raven, by Aderyn Wood: A Release-Day Review

The-RavenIn a Bronze Age world, a child is born on the first night of Ilun, eight days of darkness. Orphaned, outcast, she is marked for sacrifice, but the shaman defies the tribe’s leaders to keep her alive. He has seen in her power beyond anything he has known, power the tribe may need some day. But will she be allowed to use it?

This is the premise of The Raven, by Aderyn Wood. I read an advance copy of The Raven over the course of three days. I would likely have read it in one in my younger days, when the luxury of reading all day was possible,which should tell you how much I liked it. Wood has crafted a believable, internally consistent fantasy world, with strong characters. The story is a classic conflict between choosing and using magical powers of good and evil, and as such has similarities with other stories in the fantasy genre, but it is neither excessively cliched nor stereotypical.

The tribal, semi-nomadic world that Iluna is born to bears some similarities to Jean Auel’s Earth’s Children series, and some to Guy Gavriel Kay’s Dalrei in The Fionavar Tapestry. But these are similarities only; this world stands on its own. Unusually, much time in the book is given to Iluna’s childhood (and therefore that of other key characters), a plot device which promotes both character development and world-building. In Wood’s competent hands the dramas and conflicts of childhood are woven into the larger challenges Iluna’s people face, and as the children mature, the complexity of those challenges increases, mirroring their understanding and role in them.

As Iluna grows to maturity, the scope of her world grows too, and she realizes that her gifts may be of interest and use to her whole network of tribes, and not just her own. Her choices and behaviour are those you might expect from a young girl on the edges of her society but aware of her unique powers, adding to the plausibility – and the tension – of the plot.

I had a few small niggles. There are a few wobbles in the consistency of voice, especially in dialogue, with modern sayings – “Stay safe” mixed in with archaic language – “…recent years have been ill-omened for us.” Wood uses ‘mountain lion’ in the first half of the book and ‘mountain cat’ in the second, apparently for the same species. And, perhaps most seriously, I found the description of the penultimate crisis, a battle scene, unconvincing, lacking in tension and broken by the statement “The fight wasn’t over yet.” Here, I felt, the author forgot the writer’s adage ‘Show, don’t tell.’

Overall, though, The Raven earns a very solid 4 stars. It was an enjoyable read, and one that I really didn’t want to put down. I don’t say that about many books. Available from Amazon.

The author provided me with a pre-publication copy of this book in exchange for an honest review. All opinions are mine alone.