SEMIOSIS by Sue Burke

A new review over at

Semiosis is Sue Burke’s first novel. It’s a braided narrative, taking place over several human generations, and involves questions of community, communication, power, civilisation, memory, history, and compromise. For all its ambition, Semiosis is a fairly slender volume. It’s also an easy read, and a pretty compelling one.


HORIZON by Fran Wilde

A new review over at

The things I’ve liked best about Fran Wilde’s Bone Universe books—2015’s award-winning Updraft, last year’s Cloudbound, and now the trilogy’s capstone, the compelling Horizonhas been the character of Kirit Densira, accidental hero, accidental city-breaker, and determined friend; the weird, wonderful worldbuilding (invisible sky-squid that eat people! enormous bone towers in which people live far above the clouds! a society based around unpowered human flight!); and the deep concern with consequences.

Horizon is all about consequences.

World and Character in Fran Wilde’s Bone Universe

A new post over at

It’s long been a truism in science fiction and fantasy that the world is a character—sometimes, indeed, the central character, against which humans and other beings recede into insignificance. Fran Wilde’s Bone Universe—the trilogy comprising Updraft (2015), Cloudbound (2016), and this September’s Horizondoesn’t make the humans insignificant, but thanks to the wild, weird scope of its world, the world looms large in the reader’s consciousness—as large as the giant bone spires, high above the clouds, that are home to Wilde’s characters.


Reviewed over at

Arabella and the Battle of Venus leaves me feeling rather bombarded by the way it foregrounds its particular racisms without ever really showing the world from marginalised people’s points of view. For some people, this won’t be a barrier to their enjoyment of the novel. For me, it took all the joy out of reading about airships in space. As far as I’m concerned, Robyn Bennis’ The Guns Above does airships, capers, and 19th-century-esque warfare much better.


Sleeps With Monsters: Older Women and TOMORROW’S KIN

A new column over at

Science fiction is rarely great at depicting older women: it seldom does, and when it does, rarely does it seem interested in them as women—with grown children, family issues, rich inner lives, friends and relationships both platonic and sexual—as opposed to ciphers. When I find a book that does depict an older woman well, and moreover puts her in a central role, in the narrative forefront—well, that’s a special occasion.

PAWN by Timothy Zahn

Reviewed over at

I’ve read quite a lot of Zahn’s work, and I’ve come to the conclusion that he’s at his best when he can play in other people’s sandboxes. His original work often feels shallow by comparison, the details of the worldbuilding barely sketched, and the characters not so much shaped by their environments as floating through them.

This is unfortunately true of Pawn, too


A new review over at

Within the Sanctuary of Wings is the fifth and final novel in Marie Brennan’s acclaimed Memoirs of Lady Trent series, following last year’s Labyrinth of Drakes. And if you thought Labyrinth of Drakes was good, Within the Sanctuary of Wings is a pure treat: I think I can say that at least as far as I’m concerned, Brennan definitely saved the best till last.


A new review over at

I called Ada Palmer’s debut Too Like The Lightning “devastatingly accomplished… an arch and playful narrative,” when I reviewed it last summer. Too Like The Lightning was one part of a whole, the first half of a narrative that I expected Seven Surrenders would complete—and back then I said I couldn’t imagine that Palmer would “fail to stick the dismount.”

TRUTHWITCH by Susan Dennard: Patreon review

TRUTHWITCH by Susan Dennard

ISBN 978-0-7653-7928-3, Tor Teen, HB, 416pp, USD$18.99/CAN$21.99. January 2016. Cover art by Scott Grimando.


I first heard of Truthwitch some five or six months ago, when Kate Elliott mentioned it as a forthcoming YA novel that did interesting things with female friendship and epic fantasy worldbuilding. When I received a review copy, I was vaguely interested — but to tell you the truth, I’ve been rather burned out on reading for a while now: I expected I’d have the same UGH WORK GO AWAY reaction to it that I’ve been having to the vast majority of fiction.


This was, astonishingly, not to be the case.


Truthwitch opens with a caper: a highway robbery about to go horribly wrong. Safiya and Iseult are young women living in Veňaza City, playing in high-stakes card games and getting up to trouble — like committing highway robbery to avenge themselves on the handsome young man who made off with Safiya’s winnings. Unfortunately, they target the wrong carriage and run afoul of a guildmaster and his hired Bloodwitch… and that’s only the start of their problems.


Safiya is a Truthwitch, able to tell truth from lies. (At least, what people believe to be truth.) She keeps her abilities secret, because Truthwitches are rare and much sought-after by rulers, and Safiya, an impoverished noblewoman who doesn’t want the responsibilities of her position, has absolutely no desire to be turned into a useful prisoner. Iseult is a Threadwitch, who can see the threads that bind people together, the patterns in the world — and also a member of a despised social minority, the Nomatsi, a people who have no legal rights. And Iseult’s people have all but officially cast her out.


Iseult and Safiya are inseparable friends, as close as sisters: Iseult’s steadiness compensates for Safiya’s impulsiveness, and Safiya’s class and connections provide protection for Iseult. They have a strong emotional bond, but one that is shortly to be tested by politics and the pursuit of that Bloodwitch — a young man whose ultimate loyalties are something of a open question.


There has been a long peace between three major powers, and now that peace is coming to an end. Safiya’s uncle is engaged in some plot, which involves her betrothal to an emperor and then her escape by way of a ship belonging to Prince Merik, a young man whose nation suffered terribly in the last war and whose people are on the verge of starvation.


It is all caper. Very exciting caper, from then on, including pursuit and politics and sea serpents and some gonzo magical fight sequences. The pace is breakneck, with the characteristic first-novel trick of cramming as much stuff as possible in while rarely slowing down enough to allow its significance to sink in.


Except for the significance of Boyfriend. The narrative definitely pairs Prince Merik off with Safiya, and it is strongly implied that the Bloodwitch (Aeduan is his name) is supposed to be seen in the light of a potential future romantic interest for Iseult — although their relationship consists of just barely not killing each other up until the point where he saves her life.


I’ve been chewing over the problems I have with this book for a few days. It’s fun, and it has solid themes, and it’s not slight, exactly, so much as scattered. It opens with the promise of a caper novel: best friends (female friends), cardsharps and highway robbers, and some of my definite level of irk with it may be a result of how those early expectations were disappointed.


One of my problems with Truthwitch is that it makes unavoidably obvious one of the issues I have with a lot of young adult SFF, which is the centrality of heterosexual romance. There’s nothing wrong with romance. But this is a book where the core established emotional relationship is between two women — friends-like-sisters — and where one of the major themes concerns both of them discovering — owning — their own significance and ability to make choices that affect other people. And the presence of Boyfriend, for me, is a distracting sideshow from the coming-of-age narrative.


It is a sad truth, it seems, than in YA one can have Boys without Girls, but where there is a Girl, the general rule is that there must be a Boy.


Prince Merik is the Responsible One. Aeduan is the Dangerous One Who Might Come Good. But Merik berates Safiya with her irresponsibility, and Aeduan verges on unheathily obsessed with, alternately, Safiya and Iseult (for revenge or politics and eventually, for themselves). Being berated by the handsome prince, it seems, causes Safiya to undergo Personal Growth and make some frankly large sacrifices for Merik and his people.


I might have enjoyed the attraction-plot between Merik and Safiya a lot more if it hadn’t included an incident in which Merik locks Safiya in irons for dealing with the enemy to heal a badly-wounded Iseult. One does not exactly buy Safiya’s attraction and loyalty to Merik after that: the whole bondage thing seems like a large step to overlook.


But all the bits of the novel that don’t have boyfriend in them are really fun. Some excellent magical fight sequences! Epic fantasy worldbuilding that’s actually making an effort to use that epic depth of field! Female friendship! Lots of women around doing interesting things!


I’m just a little disappointed, because the emotional beats of the whole boyfriend plotlines are fairly predictable — and thus not very interesting — while the deep friendship between the two girls, and their relationship to the world, is something that we don’t see a lot in SFF. Their respective social statuses and backgrounds are different to each other, and there’s just enough there to tease me with the story the author’s not interested in telling: how these two, this unbreakable pair, interact with each other and a world that sees one of them as more human than the other.


On the other hand, this is definitely a book that’s easy to read, and easy to enjoy while reading. That’s a significant set of points in its favour, by me.

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