Elitist Book Reviews

I can't stop smiling. It's been far too long since I've read a good Science Fiction novel. Once my go-to genre, Science Fiction has taken a back seat to Fantasy of late. Charles E. Gannon's FIRE WITH FIRE absolutely falls under the definition of good Science Fiction. It is a novel that has reminded me just what it is that I love about the genre and it has ensured that I will be following Gannon's work closely in the years to come. FIRE WITH FIRE sets a great many things in motion, signaling the start of what I assume will be a sweeping SF epic.

Here is the Amazon description:

2105, September: Intelligence Analyst Caine Riordan uncovers a conspiracy on Earth’s Moon—a history-changing clandestine project—and ends up involuntarily cryocelled for his troubles. Twelve years later, Riordan awakens to a changed world. Humanity has achieved faster-than-light travel and is pioneering nearby star systems. And now, Riordan is compelled to become an inadvertent agent of conspiracy himself. Riordan’s mission: travel to a newly settled world and investigate whether a primitive local species was once sentient—enough so to have built a lost civilization.


However, arriving on site in the Delta Pavonis system, Caine discovers that the job he’s been given is anything but secret or safe. With assassins and saboteurs dogging his every step, it's clear that someone doesn't want his mission to succeed. In the end, it takes the broad-based insights of an intelligence analyst and a matching instinct for intrigue to ferret out the truth: that humanity is neither alone in the cosmos nor safe. Earth is revealed to be the lynchpin planet in an impending struggle for interstellar dominance, a struggle into which it is being irresistibly dragged. Discovering new dangers at every turn, Riordan must now convince the powers-that-be that the only way for humanity to survive as a free species is to face the perils directly—and to fight fire with fire.

And that is just the beginning of the beginning. FIRE WITH FIRE is a first contact story overflowing with espionage, politicking, diplomacy, and problem solving. Given the complexity of the novel, Intelligence Analyst Caine Riordan makes for a suitable protagonist. I appreciate Caine's prior background in journalism, as it speaks of his experience following leads and exposing hidden agendas. It also brings Caine into conflict with his superiors. Caine is a Boy Scout. He has made a career of airing the dirty laundry of the powerful and influential. Now he finds himself working behind the scenes, going from straight-arrow to cloak and dagger. Caine is also a polymath, making him a jack-of-all-trades. He's not nearly as suave as James Bond, but he is three times as resourceful. 

Caine does exhibit moments of reluctance during his service of the Institute of Reconnaissance, Intelligence, and Security or IRIS for short. IRIS is responsible for his thirteen year long nap, and though Caine supports the Institute's mandate to protect Earth from exosapient invasion he detests their methods. Caine suffers from a short term amnesia of the 100 hours before being placed under cryo-sleep. Corcoran and Downing, the spy masters of IRIS, use this as leverage to get Caine to do their bidding. Corcoran and Downing are Machiavellian in their processes but they are not unsympathetic, especially later in the novel when it becomes apparent what they have sacrificed to protect their species. After all, "Sometimes adopting the methods of your adversaries is the only effective strategy..." Opal Patrone, another recipient of long term cryo-sleep, also becomes an asset of IRIS. Her military history marks her as an ideal bodyguard for Caine, whose actions place a target on his head.

It's worth noting that all of the characters in FIRE WITH FIRE are strong and dynamic. They aren't particularly deep but they do display multiple dimensions. The characters act and react to ever-evolving circumstances but none of them ever feel like spectators. Still, it's not the characters that make FIRE WITH FIRE such a fantastic read. Gannon obviously knows his stuff. I'm not afraid to admit that I was glad for my Kindle's dictionary function while reading. That's not to say that there are loads of incomprehensible words or science. This isn't space opera but it's not quite Hard SF either. There is an exploration of scientific concepts, particularly the Wasserman Drive, but FIRE WITH FIRE is more of a thriller than anything else.

Gannon delves into the economics of interstellar trade, the politics of planetary colonization, struggles between government and corporations, the consolidation of power, and the complications of first contact. Exosapient diplomacy is the best part of the novel and in this way FIRE WITH FIRE is reminiscent of another favorite of mine, THE COURSE OF EMPIRE by Eric Flint and K.D. Wentworth. There are moments of thrilling action, including narrow escapes and botched assassination attempts, but the real excitement comes from the human-alien interaction.

"You came here expecting a tea party and found yourself in a diplomatic death match."

It's not long after the Earth unifies under the World Confederacy that it gets an invitation to participate in the Accord, a democratic council of alien states. What at first appears to be a friendly invitation soon takes on a sinister light as the human ambassadors realize that the council might not be so unified, leaving humanity in an unenviable position. The communication between the different races is awesome. Each race has different mannerisms, culture, and motivations. It takes quick thinking and collective brain power for the human ambassadors to maneuver through the pitfalls that come with walking into such a FUBAR scenario.

FIRE WITH FIRE is a building block in the foundation of Gannon's Science Fiction epic. This could be read as a standalone novel but I don't see why anyone would want to. There are big, big things on the horizon as the book closes. Some questions are answered (quite satisfyingly I might add) and even more questions are posed. Once Gannon starts the ball rolling, there's no stopping the momentum. I am ecstatic to have found a new SF author worth following and I eagerly await the sequel.

Recommended Age: 16+
Language: Some, not too heavy.
Violence: Some, nothing too graphic.
Sex: Suggested.

Want it? Buy it here.

It's been a few years since Hurricane Katrina, and all the paranormal goings-on in ROYAL STREET (EBR review). DJ has been settling into her role as the New Orleans sentinel, a wizard who keeps the preternatural denizens from running amok. At her side is Alex Warin, previously an enforcer for the Council of Elders, and now co-sentinel and best friend--even if she's not above admiring his good looks and muscular physique.
The boundaries with the Beyond and the human world were cracked by Hurricane Katrina, but things seemed to have settled back to normal--well, the new normal, anyway. At least until the historically undead Jean Lafitte asks DJ for her help intervening in a dispute between two tribes of Cajun merfolk. Merfolk along the Mississippi River have been falling ill and each tribe blames the other for poisoning the water. It won't be long before humans become affected.

DJ and Alex go to investigate and come across a dead body in the marsh...who turns out to be a wizard.

DJ is a great narrator and Johnson's crisp and creative prose is fun to read. We follow along as she puzzles out the behaviors of the people around her--despite some elven blood which gives her empathic abilities, she still has trouble understanding why people behave the way they do. Her style of magic, Green Congress, means she's limited to incantations and potions, so no fancy lightening bolt zaps for her, she has to do it the hard way. DJ, however, is resourceful and determined. She needs to prove to the Elders that assigning her as sentinel was the right decision.

While the entire book is told from DJ'S PoV we learn a little more about Alex and how well he really understands his co-sentinel--and to her surprise still likes her despite all her quirks. There's the love triangle with Jake, Alex's cousin, and newly minted enforcer for the New Orleans area. Johnson has fun with the romance (even making us wonder about Jean Lafitte's motives--what would that be, a love quadrangle?) and it's entertaining to watch DJ's bewilderment with the men around her.

Of course there's another main character of RIVER ROAD: New Orleans itself. Here we get to see less of the main city and more of a wider area, with its marshes, rivers, and back country. We still see the aftereffects of Katrina and what the new life in NOLA means, and not just for the magical community.

From page one the pace is strong, clear until the end of the book, much like in ROYAL STREET. The investigation is revealed bit by bit, some clues obvious and others not so obvious. Johnson weaves the love story, the mystery, the mythology together with a deft hand. I love the interaction between the magical species, their prejudices, behaviors, and motivations. There are some minor plot inconsistencies and the big action scene at the end could have been less contrived, but it still worked with the narrative.

I can't wait until the next installment.

Recommended Age: 16+
Language: A handful
Violence: A few fights; one semi-gruesome corpse scene
Sex: One steamy scene that ends before anything happens

This is a great new Urban Fantasy series you should check out:

1. ROYAL STREET

2. RIVER ROAD

When Steve read SHADOW OPS: CONTROL POINT last year he was able to find both the good and the bad in Myke Cole's debut novel. His review (read it here) was fair and accurate, and I would have expected no less. When I read it a week ago I couldn't find as many good things to say of it. I recognized the potential within but I couldn't get past my intense hate of the protagonist, Oscar Britton. Ordinarily I would have skipped the sequel altogether but there seemed to be general agreement that SHADOW OPS: FORTRESS FRONTIER was an improvement over the debut. I wanted to see Myke succeed so I gave it a shot. For the most part I'm glad I did.

Colonel Alan Bookbinder is a glorified paper-pusher. Every day he faces armies of documents on the battlefield of his desktop. That is, until he unexpectedly and inexplicably manifests a magical power. In no time Alan is torn away from his comfy office, separated from his loving family. He is thrust into a logistics role at Forward Operating Base Frontier, America's armed presence on a hostile alien planet called the Source. When Oscar Britton escapes from FOB Frontier he causes a massive crisis, leaving the soldiers stationed there without support in the face of increasing assaults. To save the men under his command, Alan will have to become a true soldier and a true leader.

It only took a few chapters before I was able to breathe a sigh of relief. Alan Bookbinder (yes Bookbinder, apparently his occupation was fated at birth) is not the despised Oscar Britton. Despite being a desk jockey, Alan displays more courage in the first few pages than Oscar does in all of SHADOW OPS: CONTROL POINT. As an administrative worker posted on a frontline military base he is a fish out of water. He's painfully aware of his shortcomings, he doesn't delude himself as to his position in the scheme of things. He struggles to find his command voice and he's determined to do his job to the best of his abilities. It's charming to follow the progression of Alan's character arc as he learns to assert himself and eventually become a fighter and a commander. It's also neat to read from the bureaucrat's POV for once, given all the military fiction where "real" soldiers find themselves battling logistical and political red tape. It's also great to experience the Supernatural Operations Corps from a less negative perspective than Oscar's.

SHADOW OPS: FORTRESS FRONTIER doesn't waste much time getting into the thick of it. Having read the first book in the series I appreciate this greatly, though newcomers may not. Still, I think this book is mostly accessible to the uninitiated.

Things were going very, very well for the first 80 pages - and then Oscar Britton made his return. I knew that Oscar would be featured but I was unaware that he would get his own POV. I was far less enthusiastic about the following 80 pages. Oscar is as hypocritical and grating as ever. Not even the people he broke out of prison like him, and rightly so. At one point the character Swift tells Oscar that he is a "sanctimonious, self-righteous douche bag" so at least I'm not alone in that belief. You might also expect Oscar to be less trusting given the betrayals he has faced. All it takes to earn his approval is a few kind words and since that's the case I've got a bridge I'd love to sell him. "They told me you were dumb, just not how dumb." Go ahead and pile low IQ on top of that extensive list of flaws and you're left with a character that is impossible to care about.

I will say this about Oscar Britton, the anti-Mary Sue: he's no longer indecisive. I can't call him Lieutenant Waffles anymore.

Therese, the obligatory love interest is nearly as annoyingly smug as Oscar. It doesn't help that her only interest in Oscar is his status as protagonist. The relationship is heavily contrived. Sarah Downer is pretty well worthless. I started out hating her in SHADOW OPS: CONTROL POINT because she massacred a bunch of school kids with her magic and Oscar spent the rest of the novel making excuses for her behavior. I can't even hate her anymore. She manages to get horribly injured in almost every battle fought. Both books lack a strong female presence. Therese is a love interest, Sarah is an ineffectual child, and Woon (who is introduced in this book) undergoes no development.

I was excited that Harlequin made an appearance later on in SHADOW OPS: FORTRESS FRONTIER. His conflict with Oscar made him the hero of the first book in my eyes and though his POV is brief, it had me hoping that he might feature more heavily in future entries to the series. None of the other characters get much development. Most are flat and featureless. The villains are not "heroes of their own stories" they are just villains of this one.

SHADOW OPS: FORTRESS FRONTIER introduces the naga, a race of snake-people. The naga are much more regal and intimidating than the goblins. Including the naga and the Indians was a wise move on Myke's behalf. It expands the setting past the United States (and the US base). One of my biggest complaints with the first book was that it failed to capitalize on the global ramifications of the Great Reawakening. The naga are extremely cool and unique as far as fantasy creatures go. They, like the Indians, also have their own agenda calling to mind the quote, "Defend me from my friends; I can defend myself from my enemies."

The action is even tighter than before. The fight against the agni danav was a standout scene, and the battle at the finale is a thrilling moment. The combination of magic powers and modern military might against hordes of wicked creatures makes for an exciting read. The diplomacy with the naga can be just as compelling as a good fight scene. Portamancy (the magic of portals) is cool but it's so useful as both transportation and offense that the only way to prevent it from being overused to solve every problem in the universe is to give it to Oscar Britton, the wildly unimaginative grunt. Assassinating the witch Scylla could have been as easy as opening a portal behind her and shooting her in the back of the head but this is Oscar we're talking about. It would have been equally as logical for the SOC to send a scout sniper to take out Scylla from half a mile off come to think of it - she's powerful but not omnipotent. Alan's magic proves to be just another reason to love him. Alan does not belong to any of the establish schools of magic, instead he is somewhat of a magic thief. He can steal the magic of other sorcerers and bind it to objects. This struck me as a neat wink at the RPG crowd. Instead of the Flaming Sword of Xuzl you get ice-enchanted shotgun slugs.

In tone and plot SHADOW OPS: FORTRESS FRONTIER feels similar to more traditional military science fiction than fantasy. This suits me just fine. The first book was an irritating struggle against authority, revolving around the same argument time and again until the final page. This novel examines the challenges of leadership and duty. The writing is as strong as before, as that's something Myke already had a solid grasp of. SHADOW OPS: FORTRESS FRONTIER makes massive leaps of improvement over its predecessor, earning my grudging respect and affirming my faith in the potential of this series. Now if only he'd just kill Oscar Britton...

Recommended Age: 16+
Language: Lots of swearing, these are rough military types after all.
Violence: Death and destruction, guns and magic.
Sex: None.

Want SHADOW OPS: FORTRESS FRONTIER? Get it here. 
Or you can get SHADOW OPS: CONTROL POINT here.

Eeek! It's Joe Ledger time! Please allow me a moment to geek out...Thanks, I needed that. Here we have EXTINCTION MACHINE, the fifth Joe Ledger Novel by Jonathan Maberry. I'll admit, I was a little panicked going into EXTINCTION MACHINE because I saw some rumor online declaring it the last Joe Ledger Novel. The good news is: this rumor was pure speculation, there is a sixth book in the works. The great news is: it will be called CODE Z, and it is a direct sequel to the debut Joe Ledger Novel - PATIENT ZERO. So with that dreary cloud of depression safely behind us, let's get on with the show!

Joe Ledger and the Department of Military Sciences have faced everything from zombies to transgenic monsters, from the Ten Plagues of Egypt to vampires. Now they find themselves contending with UFO's, crop circles, reverse engineered alien technology, Men in Black, government cover-ups, and secret cabals. The President of the United States of America has been abducted by persons unknown and the fate of the world once again rests in the calloused hands of Echo Team.

"We could easily see a new age of empire that would reshape every map on Earth."
"With alien technology?"
"With alien technology."

With Jonathan Maberry's Joe Ledger Novels you can always expect the unexpected. But aliens? Aliens?! I'll tell you what, that really came out of left field. To be fair, I never expected Ledger and Echo Team to face off against vampires either but I consider ASSASSIN'S CODE to be Maberry's best novel to date. In a lot of ways Maberry is the inverse to Larry Correia. Both are phenomenal authors that write high-octane thrillers but Maberry pens speculative science techno-thrillers where Correia is the master of urban fantasy. Before going into EXTINCTION MACHINE I figured that if Maberry could convincingly write plausible zombies, monsters, and vampires then he could manage to do the same with UFO's. And you know what? Sometimes it pays to bet on the House.

EXTINCTION MACHINE kicks off with a bang, raising the stakes right out of the gate. Joe and Echo Team get their butts handed to them, quite an uncommon occurrence. The President gets taken from the White House right under the noses of the Secret Service, the abductors leaving only a crop circle in their wake. As we go further down the rabbit hole we learn that maybe those conspiracy theory whackos aren't so crazy after all. Maberry treats the concept with respect and so it never seems silly or over-the-top. EXTINCTION MACHINE is never dull, and frequently had me going to my laptop for research. I consider it an accomplishment when I get so invested in a book that I need to know if some of the material is based in fact. I don't think that Dan Brown's THE DA VINCI CODE is a masterpiece of literature but it had a similar effect on me. I believe that aliens exist somewhere out there in the universe, though I've never put much faith in alien visitation of Earth or UFO's. It could be that EXTINCTION MACHINE has shifted my mindset slightly - but that's beside the point.

The point is that this is a door-breaching, flashbang-banging, helluva good time. Those of you who have been following this series know the score by now. Joe Ledger is the Jack Bauer of mad science threats to the United States (and the world). He has rage issues developed by childhood trauma and a fractured psyche. He juggles three personalities - the ever diminishing, idealistic Modern Man, the patient and inquisitive Detective, and the bloodthirsty Warrior. When the Warrior persona is triggered, Joe Ledger becomes a human WMD. Having faced all manner of weird and terrifying foes in the past, Joe displays what I would consider to be the proper amount of skepticism for UFO's and reverse-engineered alien technology in EXTINCTION MACHINE. Obviously being tossed head first into a world of aluminum foil hats and little green men would be a shock for one as cynical and battle hardened as Joe, but his reluctance does not transform into full blown, obtuse ignorance.

The rest of the Department of Military Sciences is back in form. As always, Mr. Church is mysterious and intimidating in equal measure (seriously, when is this guy going to get a spinoff novel about his time in the field? Make it happen Mr. Maberry). Top Sims and Bunny are training the new batch of cannon fodder -- I mean, the new members of Echo Team. Rudy Sanchez, the Jar Jar Binks of the Joe Ledger Novels, is getting married to Circe O'Tree. Fortunately for all, Rudy's involvement in EXTINCTION MACHINE is minimal. Dios Mio! Best of all, Joe's combat dog Ghost is back. It's funny but Ghost has more character than most of the human cast. He's a lovable companion and a fierce asset in the war on strange evil.

As far as new characters go I took an immediate liking to Junie Flynn. Though, I do have a complaint to make. Is it possible to introduce a female character without her ending up as someone's romantic interest (specifically Joe's)? I'm not a feminist or anything. I don't jump every time I see women misrepresented in fiction because frankly, I see people of all types misrepresented. But when it comes to Joe Ledger romances I'm automatically put-off. The relationship with Grace Courtland felt forced and instead of giving it time to develop it was cut off quickly, leaving Joe to mope around like a teenager. It was traumatic, I'll admit, but readers were given no time to warm to the relationship to even care. I feared early on in THE KING OF PLAGUES that Circe O'Tree would wind up as Joe's next conquest.  That didn't turn out to be the case but she did wind up with Jar Jar. With ASSASSIN'S CODE it was clear that the obligatory mourning period was over and a new romantic interest would be introduced to the plot. And now with EXTINCTION MACHINE we get Junie Flynn. I apologize if this smacks of ranting but poorly written romances don't sit well with me.

The villains of EXTINCTION MACHINE tread the line between campy Bond ne'er-do-wells and frightening sociopaths. They aren't as memorable as past villains. At one point Howard Shelton commits that ultimate unforgivable sin of super-villainy - he fails to kill Ledger when he has the opportunity and instead chooses to monologue his evil scheme. I will say this, at least Shelton has somewhat good intentions, but he does fall lean more heavily on the "Bond ne'er-do-well" side of the line.

During the first half, EXTINCTION MACHINE feels slightly scattered. Joe's First Person POV falls by the wayside and much of the story is told from the Third Person perspective of secondary characters and villains. This method has pros and cons. On the plus side, readers get a broad view of the picture. There a many moving pieces and this helps readers find their bearing. On the minus side, the pacing flags. Don't get me wrong, it's still relentless, but Joe's arc suffers from the disrupted flow of the narrative. Maberry deftly wields short chapters and pseudo-cliffhangers to keep readers going, "I'll put the book down and feed the kids honey I swear! Just one more chapter..." It's a wise format that may result in your untimely divorce - also very Dan Brown'esque in its execution.

EXTINCTION MACHINE is a Joe Ledger Novel through and through. It stays true to form, offering readers bone-crunching action, snarky dialogue, and twisted revelations. This entry in the series shares much in common with Men in Black, X-Files, Fringe, and even the video game Crysis. On a scale of my favorite Joe Ledger novels this falls right after ASSASSIN'S CODE. If you haven't yet picked up the series, now would be the time to do so. Oh, and Go Orioles!

Age Recommendation: 16+
Language: Tons.
Sex: Some nudity, some sex, but it's not Fifty Shades of Joe Ledger.
Violence: Joe Ledger is even more deadly at hand-to-hand combat than he is with a gun. It can get messy.

Want them? Buy them all!
PATIENT ZERO, the first features zombies!
THE DRAGON FACTORY, the second features Nazi clones and genetically spliced creatures!
THE KING OF PLAGUES, the third features a weaponized version of the Ten Plagues of Egypt!
ASSASSIN'S CODE, the fourth and best features vampires!
EXTINCTION MACHINE, the fifth features UFO's!

In THE FALLING MACHINE (EBR review) we were introduced to Sarah Stanton and her father's team of heroes called the Paragons. In the sequel HEARTS OF SMOKE AND STEAM (EBR review) Sarah's life changes as she learns the difficult truth of what it really means to become a Hero. In Andrew P. Mayer's exciting conclusion, POWER UNDER PRESSURE, Sarah must become the hero, or else watch the people and the city she loves fall to the machinations of the villainous Lord Eschaton.

Lord Eschaton's plans are coming to fruition. He wants to see the human race realize its glorious potential using his fortified smoke, even if it means making martyrs of New Yorkers in the process. His first experiment is Nathaniel, Sarah's step-brother, captured in the battle for the Hall of Paragons. Meanwhile Sarah and Emilio are trying to rebuild Tom the automaton, because they won't survive Lord Eschaton's plans without him. Unfortunately, Tom is not the same machine he was in FALLING, even making the loyal Sarah question his stability.

Mayer's development of the technology shines in POWER. Lord Eschaton and Emilio's experiments are really what drive the story, and it's interesting to watch the technology develop and evolve. One wouldn't think that a machine could change much over a series, but despite not seeing much of him in book two, Tom's transformation in book three is clever and explores fascinating ideas and possibilities.

If you haven't read the first two books, POWER won't have much appeal--there's too much back story and character development in order for it to make sense. FALLING and HEARTS are both satisfying reads, with an interesting cast of characters, and a well-drawn setting. Sure, as a first-time author, Mayer's books aren't without their flaws, but on the whole the series has been enjoyable. And by book three, Mayer's storytelling should be improving, right?

As a reviewer I try to give new authors leeway as they progress in their writing, because even though they're published, writers are still honing their craft. I remember Brent Weeks' first series, Night Angel, was fun and enthusiastic, but had serious new writer issues. He's since improved considerably. While Mayer has great ideas and fun characters, I didn't see any improvement with POWER; in fact, all the problems from the first two books only got worse in book three. POWER felt like Mayer pounded out everything he had as fast as he could and didn't bother to go back and revise it for plot/consistency/characterization.

To prevent repeating too many of my complaints about books one and two, I will provide for you a Reader's Digest version of all the books' issues: painfully slow plot buildup, PoV changes in action sequences that overlap chronologically and thereby slow down important events, predictable fights, repetitive and sometimes confusing characterization, clunky prose and trite dialogue.

I got through the first quarter of the book and began to wonder if book three was the end of the series as planned. I got halfway through and began to despair that it wasn't. Where was this plot headed? I couldn't tell. All the new PoVs indicated to me that Mayer was expanding the story, making it head into many other potential directions. Sure the secondary characters are interesting and I like what he did with them (there are too many to explore here in detail in order to explain), but the extra PoVs made the book lose its focus. By the end I'd lost my interest in the main characters, the climax (while exciting) was on the whole unimaginative and predictable, and the resolution left enough loose ends to hint at possible sequels. Not really the best way to wrap up a series.

Despite all the extra information about the cast of characters, we get the opposite problem with the city since the story is limited to a few locales, which is unfortunate. We get a taste of the era, but by this point the setting feels more like repetitive gripes about society's attitude toward women and minorities, and less about what it was like to live in 1880s New York City.

I wanted to like POWER, I really did. Mayer has created an interesting world by exploring  how a new era of heroes rises from adversity and how personal ability and technology makes that happen--all while doing it in a fresh setting. Ultimately, though, Mayer didn't spend the time refining POWER UNDER PRESSURE to give the conclusion the series deserved.

Recommended Age: 16+ (more for the sexual references than for the violence)
Language: Not really any
Violence: Fighting, deaths, and torture, but not particularly graphic
Sex: Referenced

You can check out this series here:

1. THE FALLING MACHINE

2. HEARTS OF SMOKE AND STEAM

3. POWER UNDER PRESSURE

I've mentioned this before, but I absolutely love to see established authors tackle short fiction. Take an Epic Fantasy writer; can that person actually focus and write a self-contained short story, novelette or novella? You'd be surprised at how often they can't. I'd suggest that writing a novel is a completely different skill-set than that of writing short fiction. So when I come across an author that can do BOTH well, I get pretty excited.

Brandon Sanderson is an established author. Love him or hate him (I think that on the whole, he is terrific) he's a household name for those that read Fantasy. One of my biggest complaints about Sanderson's work has been his wordiness. Lot's of people standing around, doing nothing terribly important to the story. A while back I was at a signing for a different author and ran into Brandon. I asked if he had anything new coming out that I should be on the lookout for, and he told me he'd email me LEGION and THE EMPEROR'S SOUL the next day. I read LEGION, and found it quite entertaining. But it didn't feel complete. It felt like a pilot to a TV series as opposed to a full story.

THE EMPEROR'S SOUL, however, is a complete story that reminded me of why I became such a big fan of his in the first place in reading ELANTRIS. Ironically, this novella takes place in the same world as ELANTRIS, though you wouldn't know that with a casual read.

SOUL follows Shai, a Forger who was caught in the act of trying to replace the Moon Scepter with a near identical creation of her own. That's what Forgers do; replace real goods with fake, or turn inferior goods into ones that match those of higher quality. Shai is due to be executed for her crime when she is given an opportunity she can't refuse.

Make a forgery of Emperor Ashravan's soul.

Emperor Ashravan was injured in an attempted assassination, and his empire's enemies will use this to their advantage if they find out. Shai has one-hundred days to pull it off.

In my opinion, THE EMPEROR'S SOUL is one of Brandon Sanderson's best pieces of fiction. Period. The story is tight and focused without an ounce of fat. The dialog is crisp, and doesn't meander as Brandon has been known to allow. Not only that, but completely absent is the overwrought wit that suffocated ALLOY OF LAW and WARBREAKER. This is a serious story, and that seriousness lends itself into every facet of the narrative.

In a story about forging, the biggest question that is presented seems to be "What is art?" Shai's only ally in this story is Gaotona, the Emperor's chancellor. Gaotona is frequently confused as to why Shai would spend so much effort on creating a forgery as opposed to creating something new. The beauty of this novella is how Shai's and Gaotona's views on art (amongst other things) intersect and merge as the story progresses, causing each character to grow in ways they never could have individually. It was natural. It was perfect.

I am a firm believer that we as humans only truly grow and progress when faced by seemingly impossible tasks. I've witnessed this in my own life and in the lives of those closest to me. The moment when the average person overcomes that impossibility is perhaps a work of art itself. I think that this is where THE EMPEROR'S SOUL shines, in letting the readers experience the very real changes that Shai and  Gaotona go through.

On a more meta level, I can't help but feel that maybe Brandon felt a little like Shai when he began completing The Wheel of Time. This novella felt very personal, and was made all the better for it.

One of the many criticisms I have of short fiction (including my own) is how they rarely seem to have a solid ending. They just kind of...stop. SOUL has a powerful ending that is uplifting and as near to perfect as you can get. I'm not going to spoil it (obviously), but I don't think it could have ended any differently and retained the emotional impact that it had.

Brandon Sanderson's THE EMPEROR'S SOUL is one of the best pieces of short fiction I have ever read. It will be on my Hugo Ballot, and it should be on yours as well. Go buy this novella. You will never regret it.

Recommended Age: 14+
Profanity: Nope
Violence: At the end we get some deliciously shocking violence that reminds us all that Sanderson knows how to writing action in a Fantasy setting.
Sex: Nope

Here is your link. Go buy it. Now.

THE EMPEROR'S SOUL

Short stories are not my cup of tea but at the behest of a close friend I decided to check out Will Ludwigsen's short story collection IN SEARCH OF AND OTHERS. This friend assured me that Will was a talented author and suspected that I would appreciate his fiendish wit. And so once again I took a step outside my comfortable bubble of security and exclusion to try something different. It's becoming apparent that I should clear my mind of preconceived notions because IN SEARCH OF AND OTHERS struck a strong emotional cord.

"Reality leaks," he told us at the first meeting. "The consciousness that imagines us into existence doesn't always remember all the details. It gets distracted. It lets things slip. It can't keep up the illusion in all places and all times, and it's our job to find those places and times, to peel back the edges." (page 59, "We Were Wonder Scouts")

This collection includes fifteen short stories, offering glimpses into the mysteries of the universe. It's a powerful anthology that moved me in more ways than one. Ludwigsen asks a lot of deep questions and provides answers that are deep and weird and eerie and whimsical. I didn't skip over a single story (a first, even regarding collections I enjoy) and I didn't skim either. If anyone ever decides to revive The Twilight Zone I dearly hope that they contract Ludwigsen to pen the scripts. It's a position he may have been born to fulfill. Here are some of the highlights from IN SEARCH OF AND OTHERS...

"In Search Of" - Of course the flagship title of the collection would number amongst the best stories. It compresses a lifetime's worth of questions into a few pages worth of answers. It properly sets the tone for the stories to follow, suggesting that you can ask questions but there aren't always answers - and when there are answers they may be stranger than you could have ever expected.

"The Speed of Dreams" - A cute and clever 8th grade Science Fair experiment involving time dilation in dreams. As someone that endures more than his fair share of dreams I found this piece particularly thought provoking. I like the format (it's written as a paper draft of the experiment) and the ending was...unexpected.

"Whit Carlton's Trespasser" - I found myself chuckling my way through this story - until the end that is.

"We Were Wonder Scouts" - I feel like this would have also made a good headliner for the collection. It's a story that encapsulates the theme of yearning, and searching, for wonder.

"A Chamber to be Haunted" - A favorite of mine! I love the idea of a real estate agent that specializes in stigmatized property (i.e. death houses/kill houses/haunted houses). The agent explains the process of selling such a house and I could easily see Ludwigsen crafting a whole novel on this premise. Who would have thought real estate could be gripping?

"Prudenter to Dream" - Another story that could be worked into a full-length novel. This story is somewhat like Inception, but without all the Hollywood special effects and overly-complex plotting.

"The Ghost Factory" - This one hit a little too close to home, but that does not make it a bad story. In fact, it's a very good story for all the sadness that comes with reading it. If there is one piece from IN SEARCH OF AND OTHERS that is bound to stick with me it would be this.

"Universicule" - And here we have reached my favorite story of all. The most compelling mystery of this book is the mystery of a book. This too is a terribly sad examination of relationships and the pursuit of the wondrous. It is a perfect note to end on and it continues the enigma of Thuria, which is touched upon in several other tales.

IN SEARCH OF AND OTHERS is a moving collection. It made me nostalgic for a time when I believed in the Bermuda Triangle and other supernatural phenomena. It was a time right before the Internet became so commonplace and there was a bit less transparency in the world. Ludwigsen puts it far better than I ever could in the Foreword, but it tugs the intended heart strings. IN SEARCH OF left me with a mixed bag of emotion and a satisfying feeling that there are mysteries out there and it's up to us to "peel back the edges."

Recommended Age: 14+
Language: I really can't remember there being any.
Violence: Talk of violence, no direct violence.
Sex: Talk of sex, no direct sex.

Need some mystery in your life? Get it here.

Happy New Year all! I hope you're having a good one so far. I humbly present you James Lovegrove's THE AGE OF VOODOO, the latest installment in the legendary godpunk series. This time around readers get to delve into the lesser known world of voodoo or vodou. And you know what they say, "Where there's voodoo there are sure to be voodoo zombies!" Somebody says that...right?

Lex Dove was a specialist, an assassin, a ghost. He is living out his hard earned retirement on a beautiful island in the Caribbean. Retirement is short lived. A call comes, a request from his old employer. Just like that he is back in the game, chosen as a local guide for a very special group of special forces soldiers. Lex is a professional but no amount of experience could prepare him for what he will face beneath the surface of Anger Reef.

Do you know why I get so excited about a new Pantheon novel? You can always expect a few things when Lovegrove sets to it. You can expect interesting characters. You can expect thorough research. You can expect big ideas. And you can expect explosive action. You can expect the unexpected. Each Pantheon novel is a contemporary myth of man against god(s). Despite this underlying theme Lovegrove never tells the same story twice. THE AGE OF VOODOO, like previous entries to the series, is a standalone adventure that plays on legend. The diversity of the Pantheon series is its greatest strength.

With THE AGE OF VOODOO Lovegrove exposes some of the fundamentals of voodoo (duh). In a lot of ways that makes this the riskiest novel in the series to date. The previous novels all dealt with better known deities and religions. One of the best things though, about reading one of these, is learning about exotic belief systems. Granted this is fiction, but I always get the sense that Lovegrove has done his research. The subject of THE AGE OF VOODOO is the distant and unknowable creator god Bondye, and the subservient spirits called loa. The most popular loa outside of voodoo is Baron Samedi, the devilish rogue featured on the cover and my next Halloween costume. It's not all that complicated but I'll leave the rest for readers to parcel out.

Lex Dove is a British ex-operative. He has a talent for violence but no real desire to act on it any longer. Or so he says. He hangs around his friends bar, playing bouncer. The memories of his victims plague him. The fact that their deaths protected the civilized world are little remedy. Surprisingly enough, the main protagonist isn't the headlining performance this go around. Instead, that honor goes to the voodoo practitioner, Albertine, and the Navy SEALs of Team Thirteen. Albertine plays guide into the occult world of voodoo, explaining the ins and outs in digestible chunks. I rather appreciate that she doesn't fit the stereotypical voodoo mambo. She is, in fact, a respectable woman with a decent IT job that happens to have access to hidden knowledge.

Then there is Team Thirteen, the "janitors of the uncanny." The SEALs put the special in special forces. These are the boys the government calls when things go bump in the night. They deal with the supernatural - with extreme prejudice. Vampires are real. As are werewolves and ghosts and other nasty baddies besides. This is the "Stephen-King-meets-James-Bond world of Team Thirteen." The Team doesn't get loads of development, though Lieutenant Buckler is a one tough mo-fo and Tartaglione is good for a chuckle or five. Still, they are definitely interesting and I'd like to see how one member comes to terms with their new...capabilities after the novel.

The plot is noticeably weaker than previous Pantheon novels. Setting the pins takes half the novel and knocking them down seems to breeze by. Once on the island the pace ratchets up considerably, leaving less time for exposition. The deity aspect of THE AGE OF VOODOO also feels lighter. There are some really cool things brought up but it's not as intricate with the lore. I suppose the best way to describe it is "understated." There are some really great moments, specifically the hilarious Chapter 9: A Reasoned, Gentlemanly Exchange of Views. I respect that Lovegrove utilizes zombies without dawdling on them. Plus these are voodoo zombies, zuvembies, they retain primitive cognition. They aren't set on consuming flesh, they are capable of basic survival responses. They are meat robots at the command of their maker. This makes them much better foes than the traditional American zombie.

All in all, THE AGE OF VOODOO isn't the strongest of Lovegrove's Pantheon novels. It lacks the characterization of AGE OF AZTEC and the explosive action of AGE OF ZEUS. Nonetheless, it is an entertaining novel dealing with lesser known subject matter. As always, Lovegrove remains the king of godpunk.

Recommended Age: 15+
Language: Frequent.
Violence: You betcha!
Sex: Nothing explicit.

Get the series!
AGE OF RA
AGE OF ZEUS
AGE OF ODIN
AGE OF AZTEC
AGE OF ANANSI
AGE OF VOODOO
AGE OF GODPUNK

Vampires? Vampires! Grab the stakes and garlic, this sub-genre isn't dead yet. Don't mind me, I kid. Vampires are never going away and Mark Teppo's EARTH THIRST rejuvenates a tired concept. Teppo's vampires are of the crunchy granola, tree hugging variety. Don't confuse the Arcadians for hippies though, the stewards of the Earth come heavily armed.

The Earth is dying. Mankind poisons the soil and pollutes the air. The Arcadians, vampire stewards, are fighting a losing battle against hyper-industrialization. Silas is a soldier, he follows orders - even when those orders lead him onto the open seas with a group of protestors trying to save the whales. Things quickly go awry and Silas finds himself cut off from support and running for his immortal life. Now he will have to get to the bottom of a mystery that could destroy everything he loves.

Teppo's greatest feat with EARTH THIRST is his creation of eco-friendly vampires. I'm no fan of bloodsuckers and I'm no environmentalist (though I see the benefit of recycling) so it comes as a surprise that I like EARTH THIRST. The Arcadians have two methods of survival, 1) returning to the pure soil of Mother Earth, and 2) consuming blood. These vampires are more natural than supernatural. Smog and defoliant are anathema to the Arcadians, not crucifixes and garlic. In the context of the novel this is all entirely rational. It makes more sense than any other fictional explanation for vampires that I've ever read. It's fitting. It's refreshing.

Silas is the teeth and claws of Arcardia. He is a soldier of the Grove, but EARTH THIRST thrusts him into the role of detective. He is accustomed to taking orders, not piecing out puzzles and it shows. He is a direct, take action sort of guy and he realizes that if he is going to save Mother he will have to work outside his comfort zone and rely on Mere, an investigative journalist. Like most good thrillers, our protagonist lacks external support. He is "rootless," left to die a slow death by succumbing to man-made toxins.

 I found Mere to be less compelling than Silas. Her skills as an investigative journalist come into play occasionally but she frequently felt like a mandatory romantic interest and a liability. These two characters soak up all the development, the villains and ancillary cast fall flat. Phoebe, another Arcadian, seems cool but she doesn't get the attention she likely deserves. The villains are typical enough and their henchmen serve as little more than cannon fodder.

Clues fall into place steadily, and plot development is interspersed with heavy action. The action is fast and furious. Silas has had 3,000 years to hone his craft and Arcadians can soak up loads of punishment before dying. The pacing is relentless, carrying Silas and Mere across exotic locales in search of pieces to the puzzle. Silas suffers from amnesia, a trope that would generally throw me into a fit of rage. Here the amnesia serves as a facet of the story rather than impeding progress.

EARTH THIRST is a different breed of Urban Fantasy, much like the Arcadians are a different breed of vampire. In truth it is closer to an eco-thriller, detective novel. It's not perfect but it is a refreshing take on a well worn concept and I suspect that there are more Arcadian novels to come.

Age Recommendation: 16+
Language: Present but not over-the-top.
Sex: Physical encounters, nothing too graphic.
Violence: There's a decapitation with a manhole cover so...yeah.

Want it? Buy it here.

Do you know where these are from? “Follow the yellow brick road”, “There’s no place like home” or even “I don’t think we’re in Kansas anymore Toto.” How about we try another one? If I were to talk to you about going down the rabbit hole would you know what I meant? What if I asked you about the Mad Hatter? You would wouldn’t you?

Why am I bringing these up at the beginning of this review? It’s simple. The story of the Wizard of Oz and Alice in Wonderland have permeated our culture. There have been dozens of retellings of them in movies and cartoons and comic books. I can’t count how many different versions I’ve seen of Dorothy, the Scarecrow, the Tin Man and the Cowardly Lion marching merrily off to Oz. Heck there’s another movie about Oz coming out in just a few months. The reason I bring this up is that I think what Catherynne Valente is doing with her Fairyland books--of which THE GIRL WHO FELL BENEATH FAIRYLAND AND LED THE REVELS THERE is the second--are something special, something amazing, something that hopefully someday will permeate our culture to the extent that Oz and Wonderland have. We should be able to talk to anyone about a Wyverary named A through L. There should be version after version of September (our protagonist) available to look at and see as she goes through her merry (and sometimes not) adventures. These books are the modern fairytales that we should all share and have in common.

I have made no secret in the past of my love of Valente’s work. I’ve been reviewing it here on Elitist for a few years and even before that I would tell everyone I knew about her brilliant work The Orphan’s Tales (still my favorite of hers). And while I still prefer the Orphan’s Tales to her Fairyland books, I do think these are her most accessible books out there and they are so filled with magic and joy that to not read them is to deprive yourself of something wonderful. Why would you do that to yourself? I digress, let me tell you about the books.

This is the blurb from amazon:

September has longed to return to Fairyland after her first adventure there. And when she finally does, she learns that its inhabitants have been losing their shadows—and their magic—to the world of Fairyland Below. This underworld has a new ruler: Halloween, the Hollow Queen, who is September’s shadow. And Halloween does not want to give Fairyland’s shadows back.

But that doesn’t really do it justice. There are numerous characters that come in and out of the story. There are smaller sub plots that September has to deal with. I feel really awkward really, because I can’t do it justice here.

September as a character is fun to watch and read about. When she goes to fairyland she revels in the fact that she is in a fantastical world. Fairyland is amazing and she loves it and longs to return again and again. There are problems for sure, but it never gets in the way of the magic. The voice of the books is also a delight. The narrator frequently pulls back the curtain to talk to you, the reader, to either warn you of something ahead or lament a decision September has made. It feels like you are reading the book with a friend or rather that a friend is telling you this story. The magic in these books is second to none. It is bright and fantastical and weird and wonderful.

I could go on and on, but I’ll let you discover them for yourself. Or better yet, go find someone to read these with and share it.

If you haven't already, go pick up the first book THE GIRL WHO CIRCUMNAVIGATED FAIRYLAND IN A SHIP OF HER OWN MAKING. You can read EBR's review of it here. These books are simply a delight to read, and are some of the best modern fairytales you can find.

Age Recommendation: As soon as you think they are ready
Language: Nothing I can recall
Sex: Nope
Violence: Nothing harsh, some mild peril

Here are you links to grab these novels:

THE GIRL WHO CIRCUMNAVIGATED FAIRYLAND IN A SHIP OF HER OWN MAKING
THE GIRL WHO FELL BENEATH FAIRYLAND AND LED THE REVELS THERE

Michael Vey is not your average teenager. Ever since he was a kid, he could produce an electric shock. Kind of like a walking Taser. Only with hormones and acne.

His mom is paranoid about what would happen if people found out about his abilities. She gave up a good job at a California law firm to move them both to Idaho in order to keep him safe from anyone who might notice. But in high school Michael is noticed for other reasons: he's kinda scrawny, his best friend is the brainiac nerd at school, and he has Tourettes (the kind with tics when he's nervous, not the swearing kind). So of course the poor kid is bullied.

And this is where the story opens. The bullies have pushed Michael beyond his limit and he shocks them. The only problem is there's a witness: Taylor the cheerleader. After witnessing Michael using his talent, to his amazement she takes a sudden interest in him. When Ostin does some creative research about what happened when Michael was born, they suddenly discover that other, scarier people have an interest in him, as well.

Richard Paul Evans' writing is fairly straightforward and moves at a steady clip. MICHAEL VEY is definitely a departure from Evan's more sentimental stories (i.e., THE CHRISTMAS BOX), but like his other work the plot is predictable. The dialogue is frequently tedious (how many times do you have to include "Hello" and "Goodbye" and "How's it going?") and Evans tends toward the sappy/corny.

The villains--even the principal, who has some pretty odd dialogue--are stock characters without much meat to them beyond being an evil for Michael to overcome. Even the secondary child characters had more depth than the bad guys did. Michael himself is likable enough as the PoV character, with his goofy friend Ostin a convenient side-kick, and the beautiful Taylor as the potential romantic interest. Pretty standard fare.

Where the book redeems itself are the themes of friendship and doing what's right even when it's hard. The squeaky-clean style and the moral problems MICHAEL VEY addresses is what will appeal to parents; the kids will like seeing Michael save the day, not to mention the idea of kids with superpowers. My teenage daughter liked it and is eager to read the second, but I'm not a fan of Evans' writing style.

Recommended Age: 10+ (some scary scenes may bother more sensitive children)
Language: None
Violence: Kidnapping, torture, and even an on-scene murder (without detail)
Sex: None, it's mostly teenage crushes without being crass

Find the start of this new series here:

MICHAEL VEY: THE PRISONER OF CELL 25

This review is going to be a bit different. Why? Because it isn't a review of the actual, physical book. You see, I drive a lot. More than is healthy, even. On average, I spend nearly two hours per day in a car. That's ten whole hours a week being dedicated to something other than reading awesome books...

...unless I use......wait for it.......AUDIOBOOKS!!!!!!!!

I actually get a lot of my catch-up reading done this way. I use Audible.com almost exclusively, and I highly recommend them for all your audiobook needs. They are full of awesome. For the purpose of this review, however, I used GraphicAudio on the recommendation of a friend. I'd long wanted to read Robert McCammon's THE WOLF'S HOUR, but never had the time. Audible.com didn't have it at the time, so I was pretty bummed out.  I found  out that GraphicAudio has a production the the novel, however, and got a copy of it as soon as I could.

Regular audiobooks are an interesting beast. The reader can make or break a novel, and many things just sound bad when read aloud regardless of the narrator. GraphicAudio's productions aren't normal audiobooks. They do a full cast, and have tons of sound effects. I was worried that I would miss out on a bunch of the narrative details, and that the voices would be horrible.

All those worries went away ten minutes into the production. It was complete immersion in the best way. The voice-work was terrific, and the narration was detailed. The sound effects gave a whole new dimension to the experience without detracting from the story. And of course, THE WOLF'S HOUR was an amazing novel.

McCammon's classic story follows Michael Gallatin, a Russian emigrant and current British spy. And he's a werewolf. The novel takes place in the time leading up to WWII's D-Day with Gallatin attempting to find a way to prevent a German plot to derail the Allied invasion. Mixed within this tale is how Gallatin became a werewolf.

What first struck me about this story was how old-school it felt. THE WOLF'S HOUR is an adventure story. A spy story. It has a bit of that old James Bond flavor to it with a sprinkling of Robert Ludlum thrown in. And of course it wouldn't be a Robert McCammon novel without a generous helping of Horror thrown in. The main character is a werewolf after all. The novel is full of heroic deeds from the supernatural Gallatin, but also from some very human individuals. The contrast between these normal characters (of whom there are many) and Gallatin is really what made the novel work for me. Additionally, seeing how Gallatin became the dashing spy was immensely entertaining for the most part.

Remember, this isn't a normal review of a novel. While listening, I had that nagging thought in my mind: what was I missing due to the "production"? There is a narrator, and many times it felt like I was just listening to a man reading from a physical copy of McCammon's work. A very good friend of mine (the guy who got me on this whole McCammon kick in the first place) gave me a paperback of THE WOLF'S HOUR for the sake of comparison. It turns out the GraphicAudio production leaves out very little. The descriptions and dialog tags are translated into sound effects and tone of voice where possible. So in a way, these books remain unabridged. It's pretty awesome.

There are, in essence, two things I have to critique here. The first of which is the audiobook, and the performances. It was, for the most part, amazing. That said, when everything is vocally acted out, it can lead to some awkward listening. There is a fair amount of sex in THE WOLF'S HOUR. Yeah. It's one thing to just read a scene, it's a completely different thing to hear it. There is only so many gasps and groans that a dude can listen to before feeling a little dirty. This could very well turn off quite a few potential buyers and listeners. Additionally, there are moments where the sound effects get in the way of the voices. Sound effects are neat, and add a fantastic layer of enjoyment to a story, but they should NEVER get in the way of the voice work and the story being told. Fortunately those occurrences were few and far between.

The second thing to critique is the novel itself. What this novel made me realize is how few good werewolf novels we have out there. Larry Correia is one of the better authors for this type of material. But other than that, what really is there? McCammon's novel isn't perfect. The pacing gets dragged to a complete stop the first couple times we get flashbacks to Gallatin's youth, and how he became a werewolf. By the end of the novel, it picks up and is completely enjoyable...but those first few flashbacks are rough. My only other problem is the believability of the Nazi scheme to thwart D-Day. Not the actual scheme itself, but the scale of it. It was far too small, and their assumption on how the Allied forces would react was a stretch. It was a minor thing, but I felt I should bring it up.

Overall, however, THE WOLF'S HOUR was fantastic. It is alternatively gut-wrenchingly horrific, and full-throttle fun. I could read endless stories of Michael Gallatin and never get bored. Subterranean Press released a collection of Gallatin short stories, THE HUNTER FROM THE WOODS, and I have the GraphicAudio production of it as well. I can't wait to "read" it.

Recommended Age: 18+
Profanity: Less than I would have imagined, but still there.
Violence: McCammon just lets loose in this novel. It is crazy violent. And freaking awesome.
Sex: Quite a few detailed scenes that seemed even more explicit when having to listen to them.

Here are your links to purchase this novel and the collection of short stories:

THE WOLF'S HOUR
THE HUNTER FROM THE WOODS