29 June 2016
In the middle of Dream London, one character flat-out admitted that the world of the new city was a scam, an illogical place assembled by stunted imaginations to trap and divide its inhabitants.
27 June 2016
The existentialist horror of Advantageous is not the sort of thing you can really warn a person about without unpacking your own personal fears and laying them bare for anyone to see.
24 June 2016
Davies’s Midsummer presents the story as if it were an episode of Doctor Who. This, oddly enough, turns out to be an endlessly rewarding choice.
22 June 2016
Suddenly my personal stakes in the movie had reversed entirely. In my mind, from that moment on, the English version didn't really matter. The real one was going to be in Hindi.
20 June 2016
In the year 2K16, it’s understood that the bar is high for white writers who choose to tell these stories. I was expecting to write a review covering multiple points that are generally made in these conversations; by the end, I was just angry.
17 June 2016
Going into this book, there's only one real question you need to be asking yourself: Do you want to read about dramatic demon sex tentacles?
15 June 2016
Smythe continues doing with Long Dark Dusk what he did so well with Way Down Dark.
13 June 2016
There is power in being able to name things, and McKillip knows a great many names.
10 June 2016
It is hard to believe that this is Becky Chambers’ first novel, as it is so well constructed, imaginative, and fluently written.
08 June 2016
It is this long shadow of present politics that Nick Wood's debut novel, Azanian Bridges—an alternate history of early-twenty-first century South Africa, where apartheid never ended—must contend with and overcome.
06 June 2016
There is no danger whatever in this play.
03 June 2016
"Trail-blazing" has become one of the meaningless tropes of book-blurbing, but Brown Girl in the Ring offers a genuine example of the form.
01 June 2016
Is Report from Planet Midnight, then, a manifesto, curated as to create a programmatic exemplar of how to address race in SFF? Not, I would argue, precisely: the book is more a demonstration than a manifesto, a presentation and a description of one version of practicing the attention which is demanded in the "Report" and detailed in the final interview.
30 May 2016
Hopkinson's stories are very much about finding one’s place in the world, about battling hierarchies and systems of oppression, and about empowerment. Female readers need voices like hers, LGBT readers need voices like hers, and so does the genre of Weird fiction.
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