Excerpt & Giveaway: WORDS OF RADIANCE by Brandon Sanderson (Gollancz)

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Brandon Sanderson’s Words of Radiance is one of the most hotly-anticipated epic fantasy novels of the year. Published by Gollancz (UK) and Tor Books (US).

Thanks to Gollancz, who also provided this excerpt (Chapter 3), there is a copy of the book up for grabs! All you need to do to be in with the chance of winning it is to re-tweet this excerpt on Twitter, follow @civilianreader, and include the hashtag “#CRWoR”. Simples. If you are not on Twitter, then you can leave a comment at the end, and I’ll include you in the random draw, as well. The winner will be selected at the end of the day (9pm) – unfortunately, the giveaway is for UK only.

(See banner, below, for upcoming stops on the blog tour.)

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Soldiers reported being watched from afar by an unnerving number of Parshendi scouts. Then we noticed a new pattern of their penetrating close to the camps in the night and then quickly retreating. I can only surmise that our enemies were even then preparing their stratagem to end this war.

— From the personal journal of Navani Kholin, Jeseses 1174

Research into times before the Hierocracy is frustratingly difficult, the book read. During the reign of the Hierocracy, the Vorin Church had near absolute control over eastern Roshar. The fabrications they promoted — and then perpetuated as absolute truth — became ingrained in the consciousness of society. More disturbingly, modified copies of ancient texts were made, aligning history to match Hierocratic dogma.

In her cabin, Shallan read by the glow of a goblet of spheres, wearing her nightgown. Her cramped chamber lacked a true porthole and had just a thin slit of a window running across the top of the outside wall. The only sound she could hear was the water lapping against the hull. Tonight, the ship did not have a port in which to shelter.

The church of this era was suspicious of the Knights Radiant, the book read. Yet it relied upon the authority granted Vorinism by the Heralds. Th is created a dichotomy in which the Recreance, and the betrayal of the knights, was overemphasized. At the same time, the ancient knights — the ones who had lived alongside the Heralds in the shadowdays — were celebrated.

This makes it particularly difficult to study the Radiants and the place named Shadesmar. What is fact? What records did the church, in its misguided attempt to cleanse the past of perceived contradictions, rewrite to suit its preferred narrative? Few documents from the period survive that did not pass through Vorin hands to be copied from the original parchment into modern codices.

Shallan glanced up over the top of her book. The volume was one of Jasnah’s earliest published works as a full scholar. Jasnah had not assigned Shallan to read it. Indeed, she’d been hesitant when Shallan had asked for a copy, and had needed to dig it out of one of the numerous trunks full of books she kept in the ship’s hold.

Why had she been so reluctant, when this volume dealt with the very things that Shallan was studying? Shouldn’t Jasnah have given her this right off ? It—

The pattern returned.

Shallan’s breath caught in her throat as she saw it on the cabin wall beside the bunk, just to her left. She carefully moved her eyes back to the page in front of her. The pattern was the same one that she’d seen before, the shape that had appeared on her sketchpad.

Ever since then, she’d been seeing it from the corner of her eye, appearing in the grain of wood, the cloth on the back of a sailor’s shirt, the shimmering of the water. Each time, when she looked right at it, the pattern vanished. Jasnah would say nothing more, other than to indicate it was likely harmless.

Shallan turned the page and steadied her breathing. She had experienced something like this before with the strange symbol- headed creatures who had appeared unbidden in her drawings. She allowed her eyes to slip up off the page and look at the wall — not right at the pattern, but to the side of it, as if she hadn’t noticed it.

Yes, it was there. Raised, like an embossing, it had a complex pattern with a haunting symmetry. Its tiny lines twisted and turned through its mass, somehow lifting the surface of the wood, like iron scrollwork under a taut tablecloth.

It was one of those things. The symbolheads. This pattern was similar to their strange heads. She looked back at the page, but did not read. The ship swayed, and the glowing white spheres in her goblet clinked as they shifted. She took a deep breath.

Then looked directly at the pattern.

Immediately, it began to fade, the ridges sinking. Before it did, she got a clear look at it, and she took a Memory.

“Not this time,” she muttered as it vanished. “This time I have you.” She threw away her book, scrambling to get out her charcoal pencil and a sheet of sketching paper. She huddled down beside her light, red hair tumbling around her shoulders.

She worked furiously, possessed by a frantic need to have this drawing done. Her fingers moved on their own, her unclothed safehand holding the sketchpad toward the goblet, which sprinkled the paper with shards of light.

She tossed aside the pencil. She needed something crisper, capable of sharper lines. Ink. Pencil was wonderful for drawing the soft shades of life, but this thing she drew was not life. It was something else, something unreal. She dug a pen and inkwell from her supplies, then went back to her drawing, replicating the tiny, intricate lines.

She did not think as she drew. The art consumed her, and creationspren popped into existence all around. Dozens of tiny shapes soon crowded the small table beside her cot and the floor of the cabin near where she knelt. The spren shifted and spun, each no larger than the bowl of a spoon, becoming shapes they’d recently encountered. She mostly ignored them, though she’d never seen so many at once.

Faster and faster they shifted forms as she drew, intent. The pattern seemed impossible to capture. Its complex repetitions twisted down into infinity. No, a pen could never capture this thing perfectly, but she was close. She drew it spiraling out of a center point, then re- created each branch off the center, which had its own swirl of tiny lines. It was like a maze created to drive its captive insane.

When she finished the last line, she found herself breathing hard, as if she’d run a great distance. She blinked, again noticing the creationspren around her — there were hundreds. They lingered before fading away one by one. Shallan set the pen down beside her vial of ink, which she’d stuck to the tabletop with wax to keep it from sliding as the ship swayed. She picked up the page, waiting for the last lines of ink to dry, and felt as if she’d accomplished something significant — though she knew not what.

As the last line dried, the pattern rose before her. She heard a distinct sigh from the paper, as if in relief.

She jumped, dropping the paper and scrambling onto her bed. Unlike the other times, the embossing didn’t vanish, though it left the paper — budding from her matching drawing — and moved onto the floor.

She could describe it in no other way. The pattern somehow moved from paper to floor. It came to the leg of her cot and wrapped around it, climbing upward and onto the blanket. It didn’t look like something moving beneath the blanket; that was simply a crude approximation. The lines were too precise for that, and there was no stretching. Something beneath the blanket would have been just an indistinct lump, but this was exact. It drew closer. It didn’t look dangerous, but she still found herself trembling. This pattern was different from the symbolheads in her drawings, but it was also somehow the same. A flattened-out version, without torso or limbs. It was an abstraction of one of them, just as a circle with a few lines in it could represent a human’s face on the page.

Those things had terrified her, haunted her dreams, made her worry she was going insane. So as this one approached, she scuttled from her bed and went as far from it in the small cabin as she could. Then, heart thumping in her chest, she pulled open the door to go for Jasnah.

She found Jasnah herself just outside, reaching toward the doorknob, her left hand cupped before her. A small figure made of inky blackness — shaped like a man in a smart, fashionable suit with a long coat — stood in her palm. He melted away into shadow as he saw Shallan. Jasnah looked to Shallan, then glanced toward the fl oor of the cabin, where the pattern was crossing the wood.

“Put on some clothing, child,” Jasnah said. “We have matters to discuss.”

*

Sanderson-SA2-WordsOfRadianceUK-Banner“I had originally hoped that we would have the same type of spren,” Jasnah said, sitting on a stool in Shallan’s cabin. The pattern remained on the floor between her and Shallan, who lay prone on the cot, properly clothed with a robe over the nightgown and a thin white glove on her left hand. “But of course, that would be too easy. I have suspected since Kharbranth that we would be of different orders.”

“Orders, Brightness?” Shallan asked, timidly using a pencil to prod at the pattern on the floor. It shied away, like an animal that had been poked. Shallan was fascinated by how it raised the surface of the floor, though a part of her did not want to have anything to do with it and its unnatural, eye- twisting geometries.

“Yes,” Jasnah said. The inklike spren that had accompanied her before had not reappeared. “Each order reportedly had access to two of the Surges, with overlap between them. We call the powers Surgebinding. Soulcasting was one, and is what we share, though our orders are different.”

Shallan nodded. Surgebinding. Soulcasting. These were talents of the Lost Radiants, the abilities — supposedly just legend — that had been their blessing or their curse, depending upon which reports you read. Or so she’d learned from the books Jasnah had given her to read during their trip.

“I’m not one of the Radiants,” Shallan said.

“Of course you aren’t,” Jasnah said, “and neither am I. The orders of knights were a construct, just as all society is a construct, used by men to define and explain. Not every man who wields a spear is a soldier, and not every woman who makes bread is a baker. And yet weapons, or baking, become the hallmarks of certain professions.”

“So you’re saying that what we can do . . .”

Was once the definition of what initiated one into the Knights Radiant,” Jasnah said.

“But we’re women!”

“Yes,” Jasnah said lightly. “Spren don’t suffer from human society’s prejudices. Refreshing, wouldn’t you say?”

Shallan looked up from poking at the pattern spren. “There were women among the Knights Radiant?”

“A statistically appropriate number,” Jasnah said. “But don’t fear that you will soon find yourself swinging a sword, child. The archetype of Radiants on the battlefield is an exaggeration. From what I’ve read — though records are, unfortunately, untrustworthy — for every Radiant dedicated to battle, there were another three who spent their time on diplomacy, scholarship, or other ways to aid society.”

“Oh.” Why was Shallan disappointed by that?

Fool. A memory rose unbidden. A silvery sword. A pattern of light. Truths she could not face. She banished them, squeezing her eyes shut.

Ten heartbeats.

“I have been looking into the spren you told me about,” Jasnah said. “The creatures with the symbol heads.”

Shallan took a deep breath and opened her eyes. “This is one of them,” she said, pointing her pencil at the pattern, which had approached her trunk and was moving up onto it and off it — like a child jumping on a sofa. Instead of threatening, it seemed innocent, even playful — and hardly intelligent at all. She had been frightened of this thing?

“Yes, I suspect that it is,” Jasnah said. “Most spren manifest differently here than they do in Shadesmar. What you drew before was their form there.”

“Th is one is not very impressive.”

“Yes. I will admit that I’m disappointed. I feel that we’re missing something important about this, Shallan, and I find it annoying. The Cryptics have a fearful reputation, and yet this one — the first specimen I’ve ever seen — seems . . .”

It climbed up the wall, then slipped down, then climbed back up, then slipped down again.

“Imbecilic?” Shallan asked.

“Perhaps it simply needs more time,” Jasnah said. “When I first bonded with Ivory—” She stopped abruptly.

“What?” Shallan said.

“I’m sorry. He does not like me to speak of him. It makes him anxious. The knights’ breaking of their oaths was very painful to the spren. Many spren died; I’m certain of it. Though Ivory won’t speak of it, I gather that what he’s done is regarded as a betrayal by the others of his kind.”

“But—”

“No more of that,” Jasnah said. “I’m sorry.”

“Fine. You mentioned the Cryptics?”

“Yes,” Jasnah said, reaching into the sleeve that hid her safehand and slipping out a folded piece of paper — one of Shallan’s drawings of the symbolheads. “That is their own name for themselves, though we would probably name them liespren. They don’t like the term. Regardless, the Cryptics rule one of the greater cities in Shadesmar. Think of them as the lighteyes of the Cognitive Realm.”

“So this thing,” Shallan said, nodding to the pattern, which was spinning in circles in the center of the cabin, “is like . . . a prince, on their side?”

“Something like that. There is a complex sort of conflict between them and the honorspren. Spren politics are not something I’ve been able to devote much time to. This spren will be your companion — and will grant you the ability to Soulcast, among other things.”

“Other things?”

“We will have to see,” Jasnah said. “It comes down to the nature of spren. What has your research revealed?”

With Jasnah, everything seemed to be a test of scholarship. Shallan smothered a sigh. This was why she had come with Jasnah, rather than returning to her home. Still, she did wish that sometimes Jasnah would just tell her answers rather than making her work so hard to find them. “Alai says that the spren are fragments of the powers of creation. A lot of the scholars I read agreed with that.”

“It is one opinion. What does it mean?”

Shallan tried not to let herself be distracted by the spren on the floor. “There are ten fundamental Surges — forces —by which the world works. Gravitation, pressure, transformation. That sort of thing. You told me spren are fragments of the Cognitive Realm that have somehow gained sentience because of human attention. Well, it stands to reason that they were something before. Like . . . like a painting was a canvas before being given life.”

“Life?” Jasnah said, raising her eyebrow.

“Of course,” Shallan said. Paintings lived. Not lived like a person or a spren, but . . . well, it was obvious to her, at least. “So, before the spren were alive, they were something. Power. Energy. Zen-daughter-Vath sketched tiny spren she found sometimes around heavy objects. Gravitationspren — fragments of the power or force that causes us to fall. It stands to reason that every spren was a power before it was a spren. Really, you can divide spren into two general groups. Those that respond to emotions and those that respond to forces like fi re or wind pressure.”

“So you believe Namar’s theory on spren categorization?”

“Yes.”

“Good,” Jasnah said. “As do I. I suspect, personally, that these groupings of spren — emotion spren versus nature spren — are where the ideas of mankind’s primeval ‘gods’ came from. Honor, who became Vorinism’s Almighty, was created by men who wanted a representation of ideal human emotions as they saw in emotion spren. Cultivation, the god worshipped in the West, is a female deity that is an embodiment of nature and nature spren. The various Voidspren, with their unseen lord — whose name changes depending on which culture we’re speaking of — evoke an enemy or antagonist. The Stormfather, of course, is a strange off shoot of this, his theoretical nature changing depending on which era of Vorinism is doing the talking. . . .”

She trailed off . Shallan blushed, realizing she’d looked away and had begun tracing a glyphward on her blanket against the evil in Jasnah’s words.

“That was a tangent,” Jasnah said. “I apologize.”

“You’re so sure he isn’t real,” Shallan said. “The Almighty.”

“I have no more proof of him than I do of the Th aylen Passions, Nu Ralik of the Purelake, or any other religion.”

“And the Heralds? You don’t think they existed?”

“I don’t know,” Jasnah said. “There are many things in this world that I don’t understand. For example, there is some slight proof that both the Stormfather and the Almighty are real creatures — simply powerful spren, such as the Nightwatcher.”

“Th en he would be real.”

“I never claimed he was not,” Jasnah said. “I merely claimed that I do not accept him as God, nor do I feel any inclination to worship him. But this is, again, a tangent.” Jasnah stood. “You are relieved of other duties of study. For the next few days, you have only one focus for your scholarship.” She pointed toward the floor.

“The pattern?” Shallan asked.

“You are the only person in centuries to have the chance to interact with a Cryptic,” Jasnah said. “Study it and record your experiences — in detail. This will likely be your first writing of signifi cance, and could be of utmost importance to our future.”

Shallan regarded the pattern, which had moved over and bumped into her foot — she could feel it only faintly — and was now bumping into it time and time again.

“Great,” Shallan said.

***

The story continues in Words of Radiance…

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“Cataveiro” by E.J. Swift (Del Rey UK)

Reviewed by H.

SwiftEJ-2-CataveiroUKSwift nimbly avoids the sophomore slump, with another solid novel.

A shipwreck.

And one lone survivor.

For political exile Taeo Ybanez, this could be his ticket home. Relations between the Antarcticans and the Patagonians are worse than ever, and to be caught on the wrong side could prove deadly.

For pilot and cartographer Ramona Callejas, the presence of the mysterious stranger is one more thing in the way of her saving her mother from a deadly disease.

All roads lead to Cataveiro, the city of fate and fortune, where their destinies will become intertwined and their futures cemented for ever…

Cataveiro is the sequel to Swift’s beautifully-written debut, Osiris. Continuing the story of the world, this is a very good follow up, improving on the first in pretty much every way.

The story at first felt rather disconnected to the events of the series opener. This was somewhat frustrating, given how much I enjoyed reading Vikram’s and Adelaide’s story. This does mean that it would probably not be too difficult for a new reader to start here (although, given the quality of Osiris, I would still recommend you read that, too). The many new ideas, locales, and characters made Cataveiro feel like a new beginning. The lack of any form of lengthy recap for the events of the first book, perhaps even suggest that Osiris is unnecessary. An odd decision, but it works. The fact that Vikram remained rather peripheral to the story, for the most part, was also a little disappointing to begin with. The more I read, though, the more invested I became in the new protagonists and their stories.

The author’s prose is as good as before (in fact, better), and the story does a great job of building the readers’ image of this future. It’s difficult to not be impressed by the world-building. Swift offers an engaging explanation of how the “land” world works, and offers commentary on the old ways that led to the environmental disasters that gave rise to this somewhat devastated world. Cataveiro also introduces us to two new characters. Both of them – Ramona and Taeo – are well-realised on the page, and develop nicely over the course of the novel. They are engaging guides to this part of the world.

Overall, Swift has produced another beautifully-written novel. There’s no doubt, also, that Cataveiro is a better novel than Osiris. The pacing is still relatively slow – this is something I struggled with when reading Osiris, and probably my only real criticism of Swift’s debut. The author has addressed this, here, though, making this a much more satisfying, fluid read. Nevertheless, the world, commentary, characters and – above all – story are interesting and engaging enough to keep us reading until the end. Fans of the first novel should definitely take to this sequel, although I’d be surprised if many weren’t similarly thrown by the apparent disregard of the events in Osiris. I’m certainly intrigued to see what happens in the final volume of the trilogy.

Cataveiro – and Osiris – might not be for all sci-fi fans, but there’s no doubt that Swift is a very talented writer, who is honing her craft wonderfully (in these two novels and also her shorter fiction). I expect she will very soon become a real force to be reckoned with. Definitely an author to watch. If you enjoy beautifully-written, literary science fiction, with less focus on being an action-packed blockbuster, then The Osiris Project is a must read.

Also on CR: Interview with E.J. Swift

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For more on Swift’s writing and novels, be sure to follow her on Twitter, Facebook, Pinterest, and visit her Website.

Guest Post: “Inspiration in Translation” by E.J. Swift

SwiftEJ-AuthorPic2The second book in my Osiris Project trilogy, Cataveiro, moves the action from an ocean city cut off from the rest of the world, to a South American continent which has been radically altered by climate change. I’ve always been drawn by the beauty of the South American landscape, but in writing Cataveiro I also wanted to explore something of the continent’s literary heritage. For inspiration, and in the hope that some of their flair might rub off, I started reading Latin American writers in translation.

The obvious place to start was with magical realism, although I was interested to discover a podcast on Latin American literature debating a move away from the form. I’d previously read Gabriel García Márquez’s One Hundred Years of Solitude, but while I admired the novel greatly, Marquez turned out to be my least favourite of the writers I discovered.

One of the first books I read was by the Chilean writer Roberto Bolaño. Last Evenings On Earth is a darkly satirical collection of stories, and proved a good place to start as an introduction to Bolaño’s work. His prose is effortless, clean as a knife, and stylistically, he seems to get away with things that on paper should never work. I’ve only just got round to the book generally acknowledged as his masterpiece, 2666, but already I’m lost in admiration over the seamless weaving of characters and their internal and external narratives.

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Angelica Gorodischer’s Kalpa Imperial has proved another favourite: a gorgeous work of fantasy which charters ‘The Greatest Empire That Never Was’ in a series of tales delivered through the classic frame of the story-teller. One of my favourite chapters tells the story of one of the empire’s cities, capturing centuries of history in sinuous, evocative prose. In the final chapter, stories offered by the characters during a caravan crossing of the desert are punctuated with gloriously bizarre riffs on everything from the rise of Hollywood studios to the Beatles.

Nine Nights by Bernard Cavalho is part memoir, part imagined history, in which the author becomes obsessed with an American ethnologist who committed suicide in the Amazon jungle in 1939. Dreamy and mysterious, you never quite know where you are with this narrator. Equally tricksy is the protagonist of Chico Buarque’s Budapest, a Brazilian ghost writer who becomes obsessed with the Hungarian language. This is a beautiful poem of a book where the narrative works like a series of mirrors, illuminating and reflecting back on itself.

I dipped into Borges with Dreamtigers – a collection which is half poetry, half reflection – and Silvina Ocampo’s The Topless Tower, a contemporary of Borges and another prolific writer of the fantastic. Lygia Fagundes Telles’s vividly told The Girl in the Photograph deploys a complex, demanding narrative as it follows the intertwining stories of three young women.

This was only a small sample of the writers I would have liked to read, and there are many more whose work wasn’t available in English. I’d love to read Rachel de Queiroz, Alejandra Pizarnik, and Andrea del Fuego, three recommendations whose work I couldn’t find a translation. What other writers in translation (Spanish/Portuguese speaking or otherwise!) would you recommend, and which are on your to-read list?

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E. J. Swift is the author of Osiris and Cataveiro, the first two volumes in The Osiris Project trilogy – published in the UK by Del Rey UK, and in the US by Night Shade Books. Her short fiction has been published in Interzone magazine, and appears in anthologies including The Best British Fiction 2013 and Pandemonium: The Lowest Heaven. She is shortlisted for a 2013 BFSA Award in the short fiction category for her story Saga’s Children.

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An Interview with DEN PATRICK

DenPatrick-AuthorPicLet’s start with an introduction: Who is Den Patrick?

I’m a thirty-something novelist, originally from Dorset, born to Londoner parents. I’ve been in London for over ten years. I describe myself as all round geek; I like Fantasy, Sci-Fi, table top gaming, RPGs, CCGs and other acronyms that confuse normal folks.

Your debut novel, The Boy With the Porcelain Blade, is due to be published by Gollancz next week (March 20th). How would you introduce the novel to a new reader? Is it the first in a series?

The Boy with the Porcelain Blade is the first book of The Erebus Sequence. It is a Fantasy novel set in a pseudo-Renaissance world full of suspicion, politics and mystery. The novel takes place is the vast sprawling castle of Demesne, in the Kingdom of Landfall. The protagonist, Lucien, is exiled just after he turns eighteen which precipitates a lot of (frequently violent) repercussions. And swearing and sarcasm.

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What inspired you to write the series? And where do you draw your inspiration from in general?

The book was originally called The Boy with the Porcelain Ears. There is a point in the novel where Lucien wears fabricated ears to make up for his own, which he is lacking. It was very much about being self-conscious and different. So much of fiction is based on the outsider. My influences come from anywhere, as much from films as novels, music and television play their part, but also games. There’s also an undercurrent of Horror to Porcelain despite remaining a Fantasy novel.

You’ve also written three War Manuals for classic fantasy races (Dwarves, Elves, and Orcs). How did this project come about? How did writing these differ from writing The Boy With the Porcelain Blade?

I was chatting to Simon Spanton at the Gollancz 50th birthday party a few years back. We got talking about Tolkein, as geeks do after a certain amount of booze. One of us (I can’t remember who) joked that it would be funny if there was a guide to conducting warfare as written by orcs. We met again in a pub not long after and decided we’d try it out. They were a lot of fun to write. The War-Manuals were very much in the vein of an army book, but also provided a chance to poke fun at the pop culture stereotypes of Elves, Dwarves an Orcs. They’re really instructional books, so are very different to a novel and the pacing of a story.

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How were you introduced to reading and genre fiction?

I wasn’t so hot at school at age seven but I found these books called Tim and the Hidden People by Sheila K. McCullagh. I was reading below my age but they really grabbed by attention. They’re set in the modern world but full of ghosts and talking cats and magic. It was the early ’80s at that point, so I’d read anything to do with Star Wars, comics and annuals. Later I’d voraciously read White Dwarf or army codexes cover-to-cover. Later still came James Herbert, Terry Pratchet and David Eddings.

How do you enjoy being a writer and working within the publishing industry?

I became a full-time writer by accident, laid off from the bookstore I was working at. Irony alert! I spend a lot of time alone, so I always make the effort to get out of the house in the evenings and see people, lest I become completely unhinged. I am so grateful to be able to do the thing I love full time, but it is a job. Some days I get tired, sometimes things go wrong, sometimes I procrastinate, but not often. I know I have people I can reach out to if I get stuck or worried about anything. My agent Juliet Mushens is great, and so is my publisher.

Is being an author what you expected? Do you have any specific working, writing, researching practices?

Don’t turn on the internet before noon. Once you log into Twitter or Facebook the day just disappears. I write in 500 word bursts, taking a break to make coffee, shower or eat before trying out another 500 words. A lot of time is spent in my pjs. I scribble myself notes on the bus, which isn’t helpful as I have terrible handwriting. I do a lot of thinking while gazing out of bus windows.

When did you realize you wanted to be an author, and what was your first foray into writing? Do you still look back on it fondly?

I think I was in my mid-twenties when I started writing this awful superhero future noir nonsense. I just wrote it for myself. It wasn’t until my early thirties that I became more serious. I started two other novels before I actually managed to finish one, but the less said about that the better.

What’s your opinion of the genre today, and where do you see your work fitting into it?

Genre is huge, both in terms of what has come before and what is occurring right now. I feel a bit overwhelmed trying to keep up to date with all of it. I’d much rather be writing than wrangling. There’s definitely a feeling the old guard are fighting to stay relevant. There’s a huge amount of sexist bullshit going on, but that’s really just a reflection of what is happening in society. I’d like to see genre be more inclusive and less the domain of straight, white males. We have lots of women editors and agents, so why not more authors?

As for my work – I’m not sure it’s up to me to declare or know where it fits, that’s for the readers, I guess.

What other projects are you working on, and what do you have currently in the pipeline?

I’m working on edits for book two of The Erebus Sequence, then I’ll be straight on to re-drafting book three, which I finished before Christmas. I may take a break from Landfall at that point to write something else (top secret, sorry). I do have two more Landfall stand alones plotted, and I’d love to write them if there is an audience.

WilliamsJ-CopperPromiseWhat are you reading at the moment (fiction, non-fiction)?

I’m reading Jen Williams’ The Copper Promise. We did an event together at Blackwell’s on 10th March.

What’s something readers might be surprised to learn about you?

I attended a performing arts school instead of going to sixth form or University. It was pretty much like the kids from Fame. I only danced professionally for a year, then stopped. These days I enjoy lindy hop, which is a style of 1940s swing dancing.

What are you most looking forward to in the next twelve months?

I should probably say the release of my first novel, but have you seen the Guardians of the Galaxy trailer? Also finishing book two of The Erebus Sequence.

Excerpt: “The Unquiet House” by Alison Littlewood (Jo Fletcher Books)

Alison Littlewood’s latest novel, THE UNQUIET HOUSE, is due to be published in the UK by Jo Fletcher Books on April 24, 2014. Here, for your reading pleasure, is an excerpt…

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Emma didn’t know when the house had changed. She had been sleeping, but when she awoke she had a sense that she had been listening to it all along, or if not listening, sensing it with her body, finding its rhythm, attuning herself to its ways.

She pushed the covers away, feeling too hot under them, but outside, the air was bitter. There was a sharp barrier between the two and once she’d crossed it, it was too late; the chill delved inside, embracing her skin, furrowing along her body, finding her spine, her legs, her feet. The room was dark, everything grainy and silver. The ceiling looked a long way off and the corners were dark, as if a child had sketched the room in stark black lines. She sat up and realised that the cupboard door was hanging open once more. How ridiculous, she thought. Monsters in the cupboard, like in a story. And then she saw the man standing quietly next to it.

He was half-dressed. He had hunched shoulders and a stocky body and slightly bowed legs, and she opened her mouth but the only sound she could make was a dry gasp. He didn’t move but she knew that he was watching her. She couldn’t see his eyes but she could just make out his rumpled vest and then she knew: the suit was his – he had come looking for it but he wouldn’t find it because she had thrown it away. Now he’d come to see where it was and instead, he had found her.

Her hands flexed. She could feel the tainted material on her skin, that shiny-musty fabric. She could see again the way she’d thrown it down in disgust, just as if it wasn’t wanted, wasn’t needed any longer.

You’re being fanciful, Emma.

She took a deep breath. She was in a strange house and there was nothing there, only an unfamiliar room full of shadows. But he was there. He didn’t move but continued to stand there, and she could feel his gaze on her, though she still couldn’t see his eyes. She could sense the hostility in his look. She became conscious of the cold on her own face, a bone-deep cold. She was alone, and for a moment that was the worst thing of all. She didn’t know why she had come here, but then she remembered Charlie, sleeping at the other end of the house. He would banish this thing. He’d grin at her and laugh, his very presence denying the possibility of its existence.

Panic took her and she pushed herself to her feet and ran, hoping – hoping – that the man wouldn’t stretch out his arm and grasp her shoulder as she passed. Then she was in the corridor and heading for Charlie’s room. The worn carpet was no protection from the hard boards beneath and her steps rang out loudly. She banged on the door, and the moment she did, she felt ridiculous. If she was so scared, why didn’t she just go in? There were no locks on the doors, nothing to stop her. And if she wasn’t, why was she at his door?

He opened it, his face full of concern. She reached for his arm and started to cry. She wanted to be held and yet a part of her didn’t want to touch him, this stranger in a strange house – in her house. Then he opened the door wider and put a hand on her arm and brought her out of the corridor, drawing her inside.

Charlie didn’t switch on the light but a slanting glow lit the room anyway and she realised his room didn’t have any curtains. There was nothing to shut out the moon which shone down, silvering the ancient carpet and the mound of his makeshift bed. She hugged herself. What must he think of her?

But he didn’t touch her. He took a step back and waited. She no longer knew what she was going to say. She was no longer sure she’d seen anything at all.

‘What is it?’ he asked at last. ‘A bad dream?’

‘No. I woke up. I thought – I thought I saw someone in my room.’

He turned towards the door. ‘There’s someone in the house? Now? All right, I’ll go and check. Have you heard him moving about – do you think he’s still in your room? Should we call someone?’

Instinctively she grabbed his arm. She felt cool skin, the roughness of his hair, and she realised he was wearing only T-shirt and shorts. He must be freezing. ‘No, don’t – I don’t think— that wasn’t it, Charlie. No one’s broken in. At least, I don’t think they have. I— it’s hard to explain, but it didn’t feel like that.’

He frowned. ‘What do you mean? Did you dream it, Emma, or should I go looking?’

She paused. ‘No, I didn’t dream it.’ Her voice faltered. ‘He was real. I saw someone. I felt him looking back at me. I had to go straight past him to get out of the room. I was scared he’d touch me when I went past.’

‘And did he? Did he try to grab you?’

She shook her head. It hadn’t been like that, not someone who could grab and hold on. But someone trying to touch her would have been bad enough. She just wasn’t sure if she’d have felt it as a physical thing, a real thing. Now she didn’t know which would be worse, her feeling it or not feeling it. She reached out for him again. This time it felt more intimate, chosen rather than a reflex. She closed her fingers over his arm. ‘I’m sorry,’ she said. ‘It wasn’t a dream – or I don’t think it was – but it wasn’t real either. I knew he wasn’t real even while he was looking straight at me. Don’t ask me how I knew that. I just knew. He wasn’t there, not like we are, but he was still real.’

He looked at her and she replayed her words in her head, realising how stupid it sounded.

But Charlie didn’t tell her she was being fanciful. He didn’t tell her there was nothing there and he didn’t try to reason with her or name her fear. He simply twisted around so that he was standing at her side and he put his arm around her. After a while he squeezed her shoulders and he said, ‘I’ll go and take a look.’

She couldn’t see his expression as he walked out of the room. His footsteps receded, steady and sure, and there came the faint creak of a door opening and then silence. Emma listened to the sound of her own breathing. She tried to remember if she’d heard him breathing, the man in her room; she didn’t think so. She wasn’t sure what it would mean if she had. She still didn’t think he had been a real person.

After a time she heard footsteps again but they didn’t come back to this room. Instead they faded into another, and then came louder on the landing and then rhythmic on the stairs. After a time the same rhythm sounded, getting louder this time, and before the thought had fully formed in her mind that it might not be Charlie, it might be him, the door swung wide and she saw the outline of Charlie’s hair. He walked in and smiled reassuringly. ‘There’s no one there,’ he said. ‘I had a good look around – I even looked under the bed and in the cupboard, and in the other rooms and downstairs. Unless someone kept slipping into a different room while my back was turned, we’re on our own.’

She took a deep breath. ‘No, I— I didn’t think there would be. Sorry, Charlie.’

He frowned as the words sank in, and he tensed. Now he would say it: There’s nothing there, Emma. You’re just being fanciful. She could already hear the note of contempt that would be in his voice when he said it.

But he didn’t say that. Instead, she heard a low chuckle. ‘Well, you know what this means.’

I’m crazy, she thought. That’s what it means.

‘This house is even more interesting than you thought. It looks as if you’ve got a real live ghost.’

She turned the word over in her mind. Ghost. Had she really thought of it that way? She had only known that the person

in her room had come from somewhere else, that it belonged somewhere else. She hadn’t thought of it as a ghost – she hadn’t thought to name it – but now she couldn’t get the word out of her mind. It didn’t fit with the way she thought of herself. She wasn’t the sort of person who saw ghosts, or even believed in them. She pushed the idea away, something to think about later, and she forced herself to nod at Charlie. She really didn’t want to go back to her room, not now, but she couldn’t stay here.

‘Thank you, Charlie,’ she started. She found she wanted to say something else, to explain the whole thing away perhaps, but tiredness had overtaken her. She didn’t want to think about it, not now. Later maybe, when she couldn’t sleep or when she was alone. Charlie showed her out and she stood in the hallway, looking at the door to her room.

*

She knew her room was empty even before she flicked on the light and it flooded across the dingy floor and into the dusty corners. The cupboard door was open, though she couldn’t see inside. The sense of presence which had been so strong when she’d awakened was gone.

She went to the door, reaching out to push it closed once more, and froze. The suit was back again. It was hanging on its yellowing padded hanger, not pulled awry but straight and neat, the trousers sharply creased around the white shine of the bulked-out knees, the jacket hanging squarely over the top. At once she thought of grabbing the thing and taking it downstairs and throwing it out of the door, but she stopped herself even before the movement began. She didn’t want to feel that fabric on her fingers. Would the owner of the thing still be looking for it? Perhaps she’d feel his hand on her shoulder after all.

But maybe he’d already found it – she had thrown it out, hadn’t she? She’d put it in the bin outside or left it in the drawing room, she wasn’t sure which. It hadn’t been something she’d wanted in the house. He must have come looking for it, and he’d found it and placed it in here. If she was to move it again, she might make everything worse. It might even call him back.

Then a thought struck her and she flushed with heat. Charlie had come in here, hadn’t he? He’d been checking the place, being helpful. And he knew about the suit. More Savile Row, the old man.

He’d been downstairs too, while she hid in his room. Had he found the suit down there and brought it back up with him? The whole thing might have been some kind of joke. Heat spread through her. She’d thought he was helping, that he was being kind, and all the time he’d just been pulling some kind of trick. She frowned. Had she really seen a stranger in her room or had that been only another kind of trick? The kind that meant standing and watching her, in the dark – watching her sleep, maybe?

She shook her head. The suit was still there, in front of her eyes. Tomorrow she would take it outside and banish it forever; it would be gone and so would Charlie and she would get on with all the things she’d planned to do. For now, though, she had no intention of touching it. Let it stay there. She backed away and closed the door, making sure it snicked into place. It wouldn’t open on her again; she didn’t even have to think about it until morning.

She turned, still not liking to have her back to that door, just as if she were a child again, afraid of the monster in the wardrobe, and she got back into bed. The sheets had grown cold and she pulled them up to her shoulders, watching the door as she nestled her head into her pillow. Charlie had comforted her. He had been kind to her, had gone to see what was wrong, looking around the house in the dark and the cold. It couldn’t have been him. She had seen a ghost, for God’s sake. If she accepted that, it wasn’t too much of a step to suppose it could have found its suit and put it back. And that was enough to worry about, without inventing trickery of another kind: without souring the kindness of the one person in her life who appeared to be intent on helping her.

***

Artwork: Ian McDonald’s NECROVILLE (Audible)

McDonald-NecrovilleAUD

Ian McDonald is an author I have always wanted to read, but either never got around to, or I have just not had the chance to get hold of his books. This year, Audible are releasing new audio editions of a handful of his earlier novels (some of which have also been released as eBooks by Open Road Media). One novel of his in particular that I’ve been interested in is Necroville, which was released as an audiobook this week. And I just really liked that new cover (above), which has a certain Cinquo de Maio feel to it – alternatively spooky and groovy. It would make a great rock/metal album cover, too, I think. Here’s the synopsis…

In the Los Angeles ghetto of Necroville, the yearly celebration of the Night of the Dead – where the dead are resurrected through the miracle of nanotechnology and live their second lives as non-citizens – becomes a journey of discovery and revelation for five individuals on the run from their pasts.

With his customary flair for making the bizarre both credible and fascinating, McDonald tosses aside the line of demarcation between living and dead in a story that confronts the central quandary of human existence: the essence of non-being.

Necroville is published by Gollancz in paperback and eBook. In the US, it is Terminal Café for reasons that I cannot fathom.

Guest Post: “Tower of Babel” by Aidan Harte

AidanHarte-AuthorPicMasons, like writers, learn the hard way to choose their foundation carefully. The strength of that first stone defines the structure, sets the tone. Accordingly, Chapter One of Spira Mirabilis begins with blasphemy. The Last Apprentice of Concord whips up a Children’s Crusade and instead of sending them to fight the approaching coalition led by Contessa Scaligeri, he sets them to construct a new cathedral. This is a recreation of the Tower of Babel, that structure torn down by an outraged God who then “confounded the language of all the Earth,” for good measure.

Finishing The Wave Trilogy, I found myself toiling in Babel’s shadow. This influence can be partly ascribed to the setting – cathedral building was medieval society’s engine, the focus of mathematics, engineering, art and devotion – but what troubled me was what Nimrod’s Tower says about creation. It condemns all creation as a blasphemous encroachment. What more damning indictment of the hubris of storytelling than a tower reaching to heaven, swatted aside by the greatest creator of all? The Middle East’s attitude to idolaters has always swayed between hostility and ambivalence. No accident then that Scheherazade, like Babel, springs from the fertile soil between the Euphrates and the Tigres. The lovely slave girl forever spinning yarns to keep her head from tumbling is, I like to think, the patron saint of storytelling. Her story reveals the secret of all stories: once you get in the habit of it, it’s easier to keep going than to stop.

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There’s always a new twist, a cliff-hanger to escape, a long lost uncle to appear, a reconciliation or – better yet – a quarrel to be had. The deeper one is immersed, the more improbabilities one will accept. Watch the end of any Hitchcock film; it will seem overwrought, even silly, but only because you haven’t earned the heightened emotions the last act demands. Plenty of wonderful stories, like political careers, simply capsize before the finish line. The final season of The Wire is a catastrophe, but it seems churlish to say so. Instead we echo the builders of Babel: ‘Shame how it ended, but wasn’t she splendid?’

It’s a bittersweet thing to leave a place you’ve lived in for years but I’m finally saying addio to Etruria. No matter how much we rehearse farewells, they are almost always anticlimactic. Only a committed Austinian can recall the last lines of Pride and Prejudice:

“With the Gardiners, they were always on the most intimate terms. Darcy, as well as Elizabeth, really loved them; and they were both ever sensible of the warmest gratitude towards the persons who, by bringing her into Derbyshire, had been the means of uniting them.”

I know – yawnsville, right? Dear Jane is simply putting the chairs away and turning out the lights, but we’ve enjoyed the evening’s entertainment so much that we can’t complain if it ends in diminuendo. First impressions matter. Endings? Not so much. That last Parthian shot won’t mar a wonderful story or salvage a dull one. The battle’s won or lost long before then. Famous farewells, then, are necessarily a rare species. There’s Gatsby with his green light and boat going nowhere and Sydney Carton doing that far, far better thing. My favourite comes from Tracy Chevalier’s The Girl with the Pearl Earring. ‘A maid comes free’ is the final bittersweet flourish which makes this poignant tale linger.

Parting pickings are slim because it is a truth universally concealed that most writers are too preoccupied leaving the stage with dignity to craft something beautiful. But endings should be fashioned as carefully as the keystone that completes the arch, and not afterthoughts. Readers are well used to preposterous final acts when the air suddenly escapes. The sound of that rushing air is usually a Calvary horn. When it toots, it’s time to get your coat. The technical term is Deus Ex Machina, or God from the Machine. The phrase, as every eager Lit Grad know, originates in Greek theater when Zeus or one of his progeny would drop down and resolve things with a thunderbolt.

In Spira Mirabilis I throw a spanner in the divine machinery, asking what if God wants to help, but is powerless. I posit that God was not merely offended by Nimrod’s Tower, He was threatened. The Apprentice’s Tower is a knife to sever earth and heaven, and Contessa Scaligeri is the only one who can stop him. High stakes then. Does it come off, or does it come crashing down, leaving me with the poor hod-carriers at Babel, unpaid and gibbering nonsense?

Let’s see when the dust settles.

***

Aidan Harte is the author of The Wave TrilogyIrenicon, The Warring States and Spira Mirabilispublished in the UK by Jo Fletcher Books. Spira Mirabilis will be published on March 27th (eBook) and April 3rd (hardcover).

Also on CR: Interview with Aidan Harte, Guest Post (Yesterday That Never Was), Excerpt of Irenicon

“Stormseer” by David Annandale (Black Library)

AnnandaleD-SMB-StormseerWhite Scars vs. Orks, with a dash of Eldar…

The green-skinned hordes of the Overfiend of the Octavius system have long been a thorn in the Imperium’s side – and now, with human worlds caught in the crossfire between the orks and eldar, that thorn will be removed. Temur Khan and his brotherhood descend upon Lepidus Prime to cleanse it of the green taint. The swift and brutal hammer to the Imperial Guard’s anvil, the White Scars strike hard and fast – but when the orks reveal a super-weapon, it may take more than just power to win the day?

I’m a big fan of Annandale’s Black Library fiction, and Stormseer is a great example of just why I think he’s so good. This is the first of three novellas in the Space Marine Battles series, all of which are connected to the same campaign. Fast and furious, excellently written and well-paced, this is an excellent novella. A must-read for fans of the White Scars and Warhammer 40,000 in general.

The story starts off with an excellent battle scene, which is a perfect example of the White Scars’ rather headlong approach to warfare. The action on the battlefront is only half the story, however, and we alternate between there and a lone Stormseer’s mission behind enemy lines. Accompanied by some scouts, and driven by a vague psychic vision, he infiltrates and investigates an ork manufacturing plant, joined by some mysterious Eldar. What they find explains the orks’ mysterious ability to be everywhere on the battlefield.

The story was less battle-heavy than I was expecting, but of course Annandale does not skimp on the action, which is well-presented and described (without going over the top). He does an excellent job of providing a proper story, rather than just an excuse to kill some orks in ever more brutal fashion (or “bolter-porn”, as it’s known).

There’s some mystery, and also allusion to what else is going on elsewhere in the wider campaign, with a mention of the Salamanders and Raven Guard (who, I assume, are the stars of the other two novellas). Despite the brief length, Annandale’s characters are well-rounded and believable (as super-humans and aliens go). His prose is fluid and well-constructed.

David Annandale is one of Black Library’s best new(ish) authors. If you haven’t read any of his stuff yet, you really should. Stormseer is a great place to start.

Mini-Review: “La Santasima” by Teresa Frohock

Frohock-LaSantisimaA brilliant, dark short story from one of my favourite authors.

It’s also a story that any review of length will ruin. It’s timely, incisive and haunting – it is a blending of the supernatural with the ongoing illegal immigration across the US-Mexican borders. Frohock has written a brilliant story that highlights the dangers and issues that those desperate to enter the States will face, as well as the people who will take advantage of and prey on their desperation. At the same time, it is a touching story of family ties.

Here’s the synopsis…

Sebastian’s friend Carlos claims that La Santa Muerte watches over the poor, the ones that the Church abandons. He promises Sebastian that La Santa Muerte will be his patron saint, that she will protect him and grant his wishes.

Death comes for us all. Keep her as your friend.

Sebastian is disappointed as prayer after prayer is rejected by the saint, and he loses faith. One night his sister Lucía joins him, and La Santa Muerte answers their prayer to bring their brother home…

On top of that, the eBook has a great piece by the author at the end, talking about the genesis of the story. If you haven’t read Frohock’s work, yet, you must. Best of all, La Santisima is free on Smashwords!

Excerpt: AGE OF SHIVA by James Lovegrove (Solaris)

LovegroveJ-AgeOfShiva2014

This April, Solaris Books publishes the sixth novel in James Lovegrove’s New York Times-bestselling Pantheon series, Age of Shiva. Below, you will find the first three chapters!

AGE OF SHIVA

This is a confession.

This is an apology.

This is an origin story.

This is the tale of ordinary people who became extraordinary, became heroes, and the price we all paid.

It’s completely true.

I know.

I was there.

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CHAPTER 1

KIDNAP IN CROUCH END

I stepped out of my flat to get my lunchtime sandwich and cappuccino, and never went back.

There was a coffee place round the corner from my house. It styled itself like one of the big chains, calling itself Caffè Buono and boasting baristas and leather armchairs and a Gaggia machine, but it was the only one of its kind in existence and it never to my knowledge opened any other branches. The sandwiches were all right, though. The coffee too.

I didn’t notice the jet black Range Rover with tinted windows prowling after me as I sauntered along the street. It was spring. The sun was out, for a change. I’d been slaving away at my drawing board since breakfast. Daylight on my face felt sweet. To be among people – the usual milling midday Crouch End crowds – was pleasant. My work was a kind of solitary confinement. It was always good to get out.

I was thinking of a plump, tasty BLT and also of the plump, tasty new barista at Caffè Buono. Krystyna, her name badge said. From Poland, to judge by the spelling and her accent. Farm-girl pretty and very friendly. Flirtatious, even. It was never likely that I would ask her out, she being at least fifteen years younger than me, but seeing her brightened my day and I chose to think that seeing me brightened hers. If it didn’t, she did a very creditable job of pretending it did.

I moseyed along, a million miles from where I was, and all the while the jet black Range Rover was stealing ever closer to me, homing in from behind, a shark shadowing its prey.

I was coming to the end of my latest commission – another reason I was so preoccupied. I was on the final straight of eight months’ solid work. Five pages left to go on a four-issue miniseries. Full pencils and inks, from a script by Mark Millar. I liked collaborating with Millar; he gave the bare minimum of art direction. Usually he offered a thumbnail description of the content of each panel, with a caption or two to fit in somewhere, along with an invitation to “knock yourself out” or “make this the best fucking picture you’ve ever drawn.” So few restrictions. Happy to let the artist be the artist and do what an artist was paid to do. I was fine with that.

But it had been a long haul. I was slow. Had a reputation for it. A stickler; meticulous. Notoriously so. Every page, every panel, every single line had to be exactly right. That was Zak Zap’s unique selling point. You only got top-quality, ultra-refined product, and if you had to wait for it, tough titties. I’d been known to tear up a completed page rather than submit it, simply because a couple of brushstrokes weren’t precisely as I’d envisaged they’d be, or the overall composition was a fraction off. Just rip that sheet of Bristol board in half and bin it. Three days’ effort, wasted. And I’d rage and fume and yell at the cat, and then maybe neck down a few beers, and then next morning I’d plonk my backside down in front of my drawing desk and start all over again.

Stupid, but that’s how I was.

It was why Francesca left me.

Not the tantrums or the fits of creative pique. She could handle those. Laugh them off.

It was the pressure I put on myself. The sense of never being good enough which constantly dogged me. The striving for unrealisable goals. The quest to be better than my best.

“It’s not noble to be a perfectionist, Zak,” Francesca told me as she packed her bag. “It’s a kind of self-loathing.”

I was within spitting distance of the coffee place, just passing the Louisiana Chicken Shack, when the Range Rover drew alongside and braked.

The doors were already open before the car came to a complete stop.

Men in suits bundled out.

I glimpsed them out of the corner of my eye. They were Hugo-Boss-clad barrels in motion. My first thought was that they must be bodyguards for some movie star. Someone famous, over in the UK from Hollywood to promote the release of his latest action-fest, had had a sudden hankering for southern fried chicken, and his security detail were forming a cordon so that he could go in and buy a bucketful. Will Smith, maybe. Bruce Willis. The Rock. One of those guys.

And then I thought, In Crouch End? This wasn’t even the fashionable end of Crouch End. This was the crouchy end of Crouch End. And no movie star in his right mind, however hungry, would want to sample the battered scrag ends of battery hen they served at the Louisiana Chicken Shack.

And then the nearest of the men in suits grabbed hold of me. And then another of them did too, clamping a hand around my elbow and whispering in my ear, “Don’t shout. Don’t struggle. Act natural, like this is nothing out of the ordinary. Otherwise you’ll regret it.”

Then, loudly so that passersby would hear, he said, “All right, sweetheart. That’s enough now. You’ve had your fun, but it’s time to go back to the Priory. Your management is paying all that money for your rehab. They don’t want it wasted.”

With that, they dragged me towards the Range Rover – literally dragged, my heels scraping the kerbstones. I was helpless, inert, a flummoxed idiot, no idea what was going on. Even if I hadn’t been warned to act natural, I’d have been too dumbfounded to resist or protest.

It happened so fast. Just a handful of seconds, and suddenly I was in the back seat of the Range Rover, squashed between two of the suited goons, and the car was pulling out into the traffic, and I wasn’t going to have that BLT or that cappuccino today and I wasn’t going to cheer up Krystyna with a smile and she wasn’t going to cheer me up either.

CHAPTER 2

KNUCKLEDUSTER RING, HILLBILLY MOUSTACHE AND FRIENDS

There are moments in your life when you do what you have to, simply because you’re too scared to do anything else.

I was no Jedi knight, no master of kung fu. I hadn’t been in a fight since secondary school, and that was more of a pathetic bitch-slap contest than anything, and besides, I lost. Now I was in a car with four blokes, each of whom weighed twice as much as me, each of whom had a shaven head and no-bullshit mirrored sunglasses and seam-straining muscles and looked as though he could snap my neck just by breathing hard on me.

Compliance was the only logical course of action. I wasn’t going to karate chop my way out of this predicament. I didn’t have super powers like the characters in the comics I drew for a living. No eye beam to blast a hole through the car roof. No webbing to truss up my kidnappers. No frigging Batarang. I was stuck, a victim, panic-stricken, hyperventilating, only human.

They could kill me, these men. Were they going to kill me? Who were they? What did they want with me?

We had driven perhaps half a mile before I finally found some gumption and piped up. “Piped” was the word; my voice sounded like a piccolo.

“You must have the wrong man,” I said. “I haven’t done anything. I’m nobody.”

“You Zachary Bramwell?” said the goon on my immediate left, who wore a gold sovereign ring so large it could easily double as a knuckleduster.

It didn’t really seem to be a question, which was why I said, “Yes.”

“Then we’ve got the right man. By the way, you got a phone on you?”

“No.”

“I’m going to check anyway.” Knuckleduster Ring ransacked my pockets, finding nothing but lint and loose change. “Left it at home, eh?”

I had. I nodded.

“Good. No need to confiscate it, then. Now shut your trap.”

I shut my trap, but after another mile I couldn’t keep it shut any longer. My anxiety wouldn’t let me.

“What was all that stuff about ‘the Priory’ and my ‘management’?”

“What do you think? To make it look like we were staging an intervention.”

“Oh. But you are sure you’ve got the right Zachary Bramwell, not a different one? Same name but, you know, minus the substance addiction issues?”

“Hundred per cent.”

“So where are you taking me? Who do you work for? Are you cops? The government?”

Knuckleduster Ring smiled. The goon on my right, who had the type of drooping moustache favoured by bikers and hillbillies, smirked. The guy driving the car actually laughed, like I’d cracked a joke.

“Nah,” said Knuckleduster Ring. “They pay shit.”

“Private contractors, you could call us,” said Hillbilly Moustache. “Available to the highest bidder.”

“Well, who is that, then?” I said. “Who in God’s name has it in for me so badly that they’ve hired you to snatch me off a London street in broad daylight?”

“Christ, this fucker talks a lot,” said the fourth goon, who was the spitting image of Knuckleduster Ring and could only have been his identical twin brother. “Can’t I give him a crack upside the head? I don’t want to listen to him jabber all the way.”

“Unharmed, intact,” said the driver, who I reckoned was the boss of the outfit. He had a diamond inset into one of his upper incisors. “That’s the brief. But,” he added, “maybe you should think about quietening down, Mr Bramwell. My boys have a pretty low threshold of tolerance for nonsense, if you know what I’m saying. Here, I’ve got an idea. How about some nice soothing music? Help us all chillax.”

Diamond Tooth switched on the radio, tuned it to Classic FM, and there we were, tootling along the North Circular, me and this quartet of brick-shithouse abductors, listening to a sequence of plinky-plonk sonatas[*], with comments from the nerdy posh announcer spliced in between. At one point Knuckleduster Ring’s twin brother raised his hand off his knee and started stroking patterns in the air as though conducting an orchestra. It was ridiculous, and I might have thought it funny if I hadn’t been trying so hard not to soil my pants.

We drove for an hour, leaving London behind. We headed northbound up the M1, turning off somewhere before Milton Keynes and then wiggling around in the Buckinghamshire countryside on A-roads and B-roads until I was thoroughly disorientated and couldn’t have found my way back to civilisation even with a map.

In my head Diamond Tooth’s words – “Unharmed, intact” – rang like a church bell, offering solace and hope. Whoever my kidnappers’ employer was, he didn’t want me hurt. There was at least that.

Or could it be that he didn’t want me hurt until he himself got his hands on me? I was the pair of box-fresh sneakers that no one else could touch and that only his feet could sully.

I racked my brains, thinking of people I’d pissed off during the nearly forty years of my life so far. It wasn’t exactly a short list. I’d aggrieved more than a few editors in the comics biz with my propensity for handing in work at the very last minute, or else blowing the deadline completely. I’d hacked off my previous landlord but one with my complaints about mice droppings in the kitchen and mould on the bathroom walls, but those were legitimate gripes and he had no right to be upset with me for pestering him about things he was duty-bound to fix. I’d left behind a trail of women who to a greater or lesser degree found me lacking in the attentive boyfriend department, up to and including Francesca, who had stuck it out with me the longest but had ultimately come to the same conclusion as the rest: that I wasn’t worth the time, trouble and effort. And then there was that financial advisor at the bank who I’d lost my rag with, just because he told me I wasn’t in a “reliable occupation with regular income” and therefore didn’t deserve to be offered a more preferential mortgage rate. In hindsight, I shouldn’t have swept his pot of ballpoint pens onto the floor of his cubicle and told him to stick his flexible variable rates up his backside. It was petty and childish of me. I should have done the mature, manly thing and thumped the tosser.

All these people and others had cause to dislike Zak Bramwell. They might well wish to curse me under their breath and think ill of me during the long watches of a sleepless night.

But hate me so much as to have me brought to them so that they could inflict prolonged and nefarious revenge upon my person at their leisure? And at great expense, too?

I didn’t think so.

Who, then? Who the hell was I being taken to meet?

I couldn’t for the life of me rustle up an answer.

Finally the Range Rover arrived somewhere. And by “somewhere” I mean the middle of nowhere.

To be precise: a disused, dilapidated aerodrome that had once served as a US airbase during World War 2 and subsequently the Cold War, and was now a collection of grass-covered hangars, mouldering Quonset huts, and sad, sagging outbuildings.

An air traffic control tower with smashed-out windows overlooked a shattered concrete runway criss-crossed by strips of weed.

And on the runway stood the most extraordinary vehicle I had ever seen.

CHAPTER 3

THE GARUDA

Most of you reading this will be familiar with the Garuda. How can you not be? You’d have seen it on TV or the internet, maybe been fortunate enough to watch it in flight, zipping overhead with scarcely a sound. You’d no doubt have been startled the first time you clapped eyes on it, perhaps a little in awe, certainly impressed.

Back then, virtually nobody knew about the Garuda. Maybe no more than a couple of hundred people in total were aware that it existed.

So imagine my feelings as the Range Rover bumped out onto that runway and pulled up in front of this sleek metal angel with its folded-back wings, its downturned nosecone, its jet vents, its high-arched undercarriage, its rugged spherical wheels, its all-round air of lofty magnificence. It didn’t seem to be standing on the ground so much as perching, a forty-ton bird of prey that had briefly alighted to survey the lie of the land.

I was gobsmacked, all the more so in those shabby surroundings. The incongruity was striking. It didn’t belong here in a disused Midlands aerodrome. It belonged somewhere in the future, perhaps docking with a space station in near Earth orbit.

I think I fell a little bit in love with it, there on the spot. And bear in mind, this was before I had any idea what the Garuda was capable of, all the things it could do.

The goons hauled me out of the car and lugged me over to the aircraft, from which steps unfolded like a carpet unrolling. A door opened, so smoothly it seemed to melt inwards, and a woman emerged, extending a hand to me in welcome.

I can’t deny that things were suddenly looking up. She was quite beautiful. She was Asian – Indian, if I didn’t miss my guess – with almond-shaped eyes and soft features. Her hair was pure black gloss and her figure was full, just the way I liked. I wasn’t into the skinny, self-denying type of woman. I preferred someone who ate and drank with an appetite and wasn’t guilt-ridden or ashamed.

Her dress was smart and immaculate, from pale blue silk blouse to hip-hugging skirt. Her makeup was subtle but effective. Her nails were varnished chocolate brown.

I think I fell a little bit in love with her, too. Maybe I was just glad to see a face that was utterly unlike the hard, expressionless faces of the four goons. Maybe it was a relief to meet someone who looked friendly and wasn’t acting as though I needed to have my head stove in.

“Aanandi Sengupta,” she said, introducing herself. “I hope you’ve had a pleasant journey, Zak. Sorry if it’s been a bit… abrupt. Our employers are not patient men. When they want something, they tend to reach out and grab it. Often without asking permission until afterwards.”

“Ahem. Yes, well…” I felt scruffy and uncomfortable in front of the crisply turned-out Aanandi Sengupta. I hadn’t shaved that morning, I was in my oldest, baggiest sweatshirt and jeans, and there were ink blotches on my fingers as I shook her hand. I was a mess, and she was as far from a mess as one could be. “Can’t say they were the finest conversationalists I’ve ever met.”

I glanced over my shoulder as I said this. The goons were keeping their distance from the aircraft, standing at ease, soldiers relieved of a duty. I was passing from their care to Aanandi’s. And don’t think I was unhappy about that, but I also figured I had no choice about getting on the plane. If I turned and made a run for it, Diamond Tooth, Hillbilly Moustache and the twins would be on me in a flash. I could walk aboard willingly or I could be frogmarched aboard with my arm twisted up between my shoulderblades. Either way, I was making the flight.

“Come on in,” Aanandi said. “I promise I’ll answer every query you have, once we’re wheels up and in the air.”

“Every query? Because I have loads.”

“Almost every. Some stuff is off-limits for now. All right?”

“Fair enough.”

The main cabin was spacious and fitted with large, plush seats; about a dozen, all told. Shagpile carpet whispered underfoot. I caught a whiff of a fragrant scent – incense?

“Make yourself at home, Zak. I can call you Zak?”

A woman like her, she could have called me anything she liked.

“How about a drink? Coffee? Tea? Something stronger?”

My body was crying out for alcohol. Something to de-jangle the nerves. But I settled for mineral water. I had a feeling I ought to remain compos mentis for the time being. Whatever wits I had, I needed to keep them about me.

The water came in a cup with a plastic sippy lid, like a takeaway coffee. This should have struck me as odd, but didn’t. So much else here was off-kilter, what was one more thing?

Aanandi hit an intercom button. “Captain? We’re ready for takeoff.”

She sat beside me. She buckled her lap belt and I followed suit and buckled mine. Through the window I saw the Range Rover depart with its full complement of goon, veering out through the broken gateway it had come in by. I gave it a little farewell wave.

The aircraft began to move, those ball-shaped wheels rolling along within armatures that clutched them like talons, and then, before I even realised, we were airborne. The abandoned aerodrome shrank below. England disappeared. Within moments we were soaring among the clouds, our climb so steep it was all but vertical. Other than a plummeting sensation in the pit of my stomach, there was little to tell me we were actually in ascent; our rise was smooth, turbulence-free and eerily quiet.

“What is this thing?” I asked Aanandi. “It’s like something out of a Gerry Anderson show.”

“It’s the Garuda. It’s the only one of its kind; a multi-platform adaptable personnel transporter, equally at home in five different travel environments.”

“It’s ruddy quiet, is what it is. My bicycle’s louder.”

“I don’t know the technicalities, but the engine design incorporates sound reduction technology way in advance of anything else currently on the market. The turbofans have the highest conceivable bypass ratio and feature multilobe hush kit modification baffles. And of course the cabin is comprehensively soundproofed with layers of porous absorbers and Helmholtz resonators.”

“That’s an awful lot of jargon for someone who says she doesn’t know the technicalities.”

Aanandi gave a brief, self-effacing smile. “I listen well. I pay attention. I have a good memory.”

“Your accent,” I said. “American?”

“Born and bred. Second-generation Indian from Boston.”

“And who are these ‘employers’ you mentioned?”

“That I can’t tell you, Zak. Not yet. You’ll find out in due course. What I can tell you is that you’re under no obligation to co-operate with them. You’re under no obligation to do anything. I’m pretty sure you’ll want to be a part of what’s happening, once you learn what it is, but there’s no coercion involved. We’re after willing recruits, not slaves.”

“It did seem like I was being pressganged,” I said.

“Not so. Those four were perhaps a little insensitive and overenthusiastic, I imagine, but they had to get the job done quickly and with minimum fuss. Like I said, we work for people who are not patient and have no time for messing around.”

“Well, where are we going? Is that one of the queries you can answer?”

“Certainly. The Indian Ocean. The Maldives.”

“Seriously?”

“Is that a problem?”

I looked at her. “Normally I’d say no. Who wouldn’t want to visit a tropical paradise? Especially when someone else is paying for the ticket. But… You can see it from my point of view, can’t you? I’m in a super-duper fancypants James Bond aircraft, with someone I’ve never met before, being flown halfway across the world. How long does it even take to get to the Maldives? Twelve hours?”

“Ten by conventional means. In the Garuda, a third of that.”

I shot past that little nugget of information. I was in full spate, mid-rant. All the outrage and disquiet of the past hour was pouring out, and not much was going to stem the flow. “And there I was, not so long ago, just walking down the street, minding my own business. I still can’t help thinking this is a case of mistaken identity. You’ve picked up the wrong Zak Bramwell. What the hell would anyone who can afford a plane like this want with someone like me? I draw comic books for a living, for heaven’s sake. I don’t have any practical skills besides that – and it’s not even that practical.”

“You are Zak Zap, though,” Aanandi said.

I winced a little. The name sounded dumb, coming from her. Even dumber than usual. “That’s me. I know, I know. Pretty lame. I was young when I chose it. Teenager. Seemed cool then. Now I’m stuck with it and there’s not much I can do. Too late to change it.”

“The same Zak Zap who drew the Deathquake strip for 2000 AD, and did brief but well-respected runs on Fantastic Four and Aquaman, and recently illustrated Robert Kirkman’s Sitting Ducks miniseries for Image.”

“Yeah. Don’t tell me you’re a fan.”

“I’m not. But the people I work for are.”

“Oh.” I digested this fact. It sat pleasantly in my belly. “Right. And, er… Am I going to some sort of convention? Is that what this is? Maybe a private one?”

“Not as such.”

“I just thought… I mean, I’ve done Comic Con. Plenty of others, too. Crap hotels, mostly. Teeming hordes of cosplayers and fanboys. Pros all hunkered down at the bar trying to avoid them. I thought this might be the same deal only, you know, classier.”

“Afraid not.”

“Shame.” The professional freelancer instinct kicked in. “But you say there’s work involved? Actual paid work?”

“There could be,” said Aanandi, “if you want it. Very well paid.”

I was beginning to like the sound of this. I was still unnerved and discombobulated. It had not been an ordinary day so far, and the dread evoked by my “kidnap” had yet to subside. But work was work, and I was never one to turn a job offer down. I could hardly afford to: plenty of comics artists made a pretty decent wage, but they were the fast ones, the guys who could churn out a book a month, twenty-odd pages bang on schedule, no sweat. As I’ve already established, that wasn’t me. My financial situation was definitely more hand-to-mouth. I’d never been asked to draw any of the mega-sellers; Fantastic Four had been in the doldrums when I was assigned to it – and then fired six issues later. And as for Aquaman… Who the hell buys Aquaman? I only took the gig because I was short on cash at the time and I liked drawing underwater stuff. [†]

So I didn’t have a steady stream of backlist royalty revenue to rely on, and no editor with any sense was going to hire me to do Superman or Amazing Spider-Man or any of the other DC and Marvel flagship titles. Readers wouldn’t stomach the indefinite delays between issues or the inevitable rushed fill-ins by other artists. They’d desert in droves.

So somebody was interested in employing me? And was flying me to the Maldives for the job interview?

I can handle that, I thought.

I felt a flush of smugness, the kind you get when your talent is recognised, when you’re acknowledged as being skilled at what you do. The pardonable kind. A sort of giddiness overcame me. I undid my lap belt, thinking that a victory stroll up and down the cabin aisle was in order, a moment by myself to clench my fist and go “Yes!” under my breath.

“I wouldn’t do that if I were you,” Aanandi advised.

Too late. I was already on my feet. And then I was off my feet. I was somehow standing without standing. My toes were in contact with the carpet, but only just. The giddiness wasn’t an emotion, it was a genuine physical sensation. I was bobbing in the air, a human balloon.

“What the hot holy…?”

Aanandi took my wrist and pulled me back down into my seat. I refastened the belt, tethering myself.

“I would have warned you,” she said, “but you had so much to say.”

The empty cup floated free from the armrest tray. Tiny sparkling droplets of mineral water poured from its lid aperture like reverse rain.

I glanced out of the window.

We were high up.

Oh, God, so fucking high up. I could see the curvature of the Earth, the horizon line of pale blue sky giving way to the blue-blackness of the void. Continents were small enough that I could blot them out with my hand. Cloud forms were rugged Arctic snowscapes.

“Space,” I breathed. “We’re in fucking space.”

—–

[*] Vivaldi? Haydn? One of those guys.

[†] There’d never been any great fan-love for the King of the Seas with his daft orange and green swimsuit and his power to exert mental control over, er, fish. After my brief tenure on the title, no one liked him much more than they had before.

***

AGE OF SHIVA is published by Solaris Books on April 10th 2014. The rest of the Pantheon series is out now: Age of Ra, Age of Zeus, Age of Odin, Age of Aztec, Age of Voodoo, Age of Godpunk (Anansi, Satan, Gaia)

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