25 March 2015
Youmans’s work, however, goes beyond adaptation and interpretation to comprise a vibrant estranging of genres; simultaneously a smashing-together and a pulling-apart of literary spaces. If the postmodern problem is that everything has been done before, and all we’re left with now is endless reproduction, Youmans’s response is one of reconfiguration.
23 March 2015
Taken purely within a science fictional context, what The Book of Strange New Things demonstrates most efficiently is how difficult genuinely propulsive, intellectually stimulating, and imaginatively accomplished SFnal conceits and lines of enquiry are to achieve.
20 March 2015
So much depends on two words: "world SF."
18 March 2015
The problem is that this generic Hollywood story-structure starts to rub up against the elements of reality—of authenticity—which Weir has strived so hard to maintain.
16 March 2015
They’re rich, strange, fairy-tale histories, and Feldman was apparently born to write rich, strange, fairy-tale histories.
13 March 2015
The First Fifteen Lives of Harry August occupies an uncertain position somewhere between the two schools of alternate history.
11 March 2015
What does obedience mean if it is given unwillingly? If one's choices are not freely made, do they have any meaning? If you let your nature guide your actions, to what extent do you bear the blame for their consequences?
09 March 2015
While it makes threats to eat many children and has clearly been expanding its empire, it is hoodwinked pretty fast and doesn’t ever actually do more than wave its tentacles around and shout things like “Insufficient inkpots!” and “Belligerent Bivalves!” and “Valueless vampyromorphida” at those around it.
06 March 2015
Exactly why someone is doing what to whom is not always perfectly clear.
04 March 2015
Watching other people wield Clute’s idiolect is like watching toddlers play with sex toys: at once funny, gross, and embarrassing.
02 March 2015
What is particularly impressive about The Death House as a science fiction novel, however, is that while the ‘what if’ is the foundation of the story – the titular Death House gives rise to much, if not all, of the action – the novel’s heart is in its characters.
27 February 2015
By this point, if not before, we may be asking ourselves: why do we recognise this as narrative? What is it that persists, across these differently-named bodies, in varying relations to each other?
25 February 2015
Season 6 of The Vampire Diaries strikes a more somber, reflective mood — refreshing in the way it casts off the plots and villains of its predecessors.
23 February 2015
In taking this dialect and warping it, in ripping these words from their more conventional, normative, expected bases, Newman has worked a cleaving between signifier and signified, creating a situation where form frequently is meaning: words as music.
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