Excerpt: THE REVOLUTIONS by Felix Gilman (Corsair)

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CHAPTER ONE

It was the evening of what would later be called the Great Storm of ’93, and Arthur Archibald Shaw sat at his usual desk in the Reading Room of the British Museum, yawning and toying with his pen. Soft rain pattered on the dome. Lamps overhead shone through a haze of golden dust. Arthur yawned. There was a snorer at the desk opposite, head back and mouth open. Two women nearby whispered to each other in French. Carts creaked down the aisle, the faint tremors of their passing threatening to topple the tower of books on Arthur’s desk, which concerned explosives, and poisons, and exotic methods of murder.

He was writing a detective story. This was something of an experiment. Not knowing quite how to start, he’d begun at the end, which went:

That night the dome of St. Paul’s Cathedral broke through London’s black clouds as if it were the white head of Leviathan rising from the ocean. The spire and the cross shone in a cold and quite un-Christian moonlight, and diabolical laughter echoed through the night. The detective and his quarry stood atop the dome, beneath the spire, each man ragged from the exertion of their chase.

“Stop there, Vane,” the detective called; but Professor Vane only laughed again, and began to climb the spire. And so Dr Syme pursued.

GilmanF-RevolutionsUKPBWhich was not all bad, in Arthur’s opinion. The important thing was to move quickly. It was only that month that Dr Conan Doyle had sent his famous detective off into the great beyond — chucking him unceremoniously from a waterfall in Switzerland — and the news that there would be no more stories of the Baker Street genius had thrown London’s publishing world into something of a panic. In fact, there were nearly riots, and some disturbed individuals had threatened to torch the offices of the Strand Magazine. The hero’s death left a gap in the firmament. The fellow who was first to fill it might make a fortune. It was probably already too late.

For the past two and a half years Arthur had been employed by The Monthly Mammoth to write on the subject of the Very Latest Scientific Advances. He wasn’t any kind of scientist himself, but nobody seemed to mind. He wrote about dinosaurs, and steam engines, and rubber, and the laying of transatlantic telegraph cables; or how telephones worked; or the new American elevators at the Savoy; or whether there was air on the moon; or where precisely in South America to observe the perturbations of Venus; or whether the crooked lines astronomers saw on the fourth planet might be canals, or railroads, or other signs of civilization — and so on. Not a bad job, in its way — there were certainly worse — but the Mammoth paid little, and late, and there was no prospect of advancement there. Therefore he’d invented Dr Cephias Syme: detective, astronomer, mountain-climber, world-traveller, occasional swordsman, et cetera.

Vane dangled by one hand from the golden cross, laughing, his white hair blowing in the wind. With the other hand he produced a pistol from his coat and pointed it at Syme.

“What brought you here, Syme?”

The Professor appeared to expect an answer. Since Dr Syme saw no place to take shelter, he began to explain the whole story — the process by which, according to his usual method, he had tackled each part of Vane’s wild scheme — how he had ascended that mountain of horrors — from the poisoning at the Café de L’Europe, to the cipher in the newspaper advertisements that led to the uncovering of the anarchists in Deptford, which in turn led to the something or other by some means, and so on, and thus to the discovery of the bomb beneath Her Highness’s coach, and thus inevitably here, to the Cathedral.

Arthur sketched absent-mindedly on his blotting paper: a dome, a cross, inky scudding clouds.

The notion of the struggle on the dome had come to him in a dream, just two nights ago; it had impressed itself upon him with the intensity of a lightning flash. Unfortunately, all else remained dark. How did his detective get there? How precisely had they ascended the dome (was it possible?). And above all: what happened next?

Nothing, perhaps. In his dream, Dr Syme fell, toppling from the dome into black fog, nothing but hard London streets below. Not the best way to start a detective’s adventures. Something would have to be done about that. Perhaps he could have poor Syme solve his subsequent cases from the afterlife, through the aid of a medium.

Dr Syme lunged, knocking the pistol from the Professor’s grip, but his enemy swung away, laughing, and drew from his coat a new weapon: a watch.

“We have time,” the Professor said. “Dr Syme, I confess I have arranged events so that we might have time and solitude to speak. I have always felt that you, as a man of science, might see the urgent need for reform — for certain sacrifices to be made —”

Arthur’s neighbour began to pack his day’s writings into his briefcase. This fellow — name unknown — was stand-offish, thin, spectacled. Judging from the pile of books on his desk, on which words like clairvoyance and Osiris were among the most intelligible, his interests tended to the occult. He closed his briefcase, stood, swayed, then sat back with a thump and lowered his head to his desk. Arthur sympathised. The dread hour and its inexorable approach! Soon the warders would come around, waking up the sleepers, emptying out the room, driving Arthur, and Arthur’s neighbour, and the French women, and all the scholars and idlers alike out to face the night, and the rain, and the wind that rattled the glass overhead.

Midnight! The Professor waited, as if listening for some news to erupt from the befogged city below.

“Well,” Syme said. “I dare say I know your habits after all this time. I know how you like to do things in twos. I knew there would be a second bomb. At the nave, was it, or the altar? I expect Inspector Wright’s boys found it quick enough—”

A terrible change came across the Professor’s face. All trace of civilization vanished, and savagery took its place—or, rather, not savagery, but that pure malignancy that only the refined intellect is capable of.

Howling, the Professor let go of the cross and flung himself onto Dr Syme.

Pens scratching away. Rain drumming on the glass, loudly now. A row of women industriously translating Russian into English, or English into Sanskrit, Italian into French. Arthur’s neighbour appeared to have fallen asleep.

Arm in arm, locked together in deathly struggle, the two men fell — rolling down the side of the dome — toward

Toward what, indeed!

“By God,” said Inspector Wright, hearing the terrible crash. He came running out into the street, to see, side by side, dead, upon the ground —

Arthur put down his pen, and scratched thoughtfully at his beard.

His neighbour moaned slightly, as if something were causing him pain. Concerned, Arthur poked his shoulder.

The man jumped to his feet, staring about in wild-eyed confusion; then he snatched up his briefcase and left in such a hurry that scholars all along the rows of the Reading Room looked up and tut-tutted at him.

***

Rain sluiced noisily down the glass. Lamps swayed in mid-air. Thunder reverberated under the dome as the Reading Room emptied out.

Arthur’d thought he might try to bring out his friend Heath for dinner, or possibly Waugh, but neither was likely to venture out in that weather. Bad timing and bloody awful luck.

He collected his hat, coat, and umbrella. These items were just barely up to the Reading Room’s standards of respectability, and he doubted that they were equal to the challenge of the weather outside. Certainly the manuscript of Dr Syme’s First Case was not — he’d left it folded into the pages of a treatise on poisons.

Outside a small band of scholars, idlers, and policemen sheltered beneath the colonnade. Beyond the colossal white columns, the courtyard was dark and the rain swirled almost sideways. In amongst it were stones, mud, leaves, tiles, newspapers, and flower-pots. Some unfortunate fellow’s sandwich-board toppled end-over-end across the yard, caught flight, and vanished in the thrashing air. Arthur’s hat went after it. It was like nothing he’d ever seen. A tropical monsoon, or whirlwind, or some such thing.

He was suddenly quite unaccountably afraid. It was what one might call an animal instinct, or an intuition. Later — much later — the members of the Company of the Spheres would tell him that he was sensitive, and he’d think back to the night of the Great Storm and wonder if he’d sensed, even then, what was behind it. Perhaps. On the other hand, anyone can be spooked by lightning.

He was out past the gates, into the street, and leaning forward into the wind, homewards down Great Russell Street, before he’d quite noticed that he’d left the safety of the colonnade. When he turned back to get his bearings, the rain was so thick he could hardly see a thing. The Museum was a faint haze of light under a black dome; its columns were distant white giants, lumbering off into the sea. The familiar scene was rendered utterly alien; for all he could tell, he might not have been in London any more, but whisked away to the Moon.

His umbrella tore free of his grip and took flight. He watched it follow his hat away over the rooftops, flapping like some awful black pterodactyl between craggy, suddenly lightning-lit chimneys, then off who-knows-where across London.

*   *   *

The Revolutions by Felix Gilman is published tomorrow in the UK by Corsair.

Upcoming Orbit Titles (Spring/Summer 2015)

Orbit unveiled the covers for their Spring/Summer 2015 releases today (US/UK – although, they’re mostly the same), and I thought I’d share some of the ones that caught my eye, here. I present them without commentary, but I will say the Peeler cover is rather eye-catching not only because of its bold colouring, but because it’s rather amusing.

Daniel Abraham, The Spider’s War (Dagger & Coin #5)

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James S.A. Corey, Nemesis Games (Expanse #5)

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N.K. Jemisin, The Fifth Season

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This is the way the world ends. Again.

Three terrible things happen in a single day. Essun, a woman living an ordinary life in a small town, comes home to find that her husband has brutally murdered their son and kidnapped their daughter. Meanwhile, mighty Sanze – the world-spanning empire whose innovations have been civilization’s bedrock for a thousand years – collapses as most of its citizens are murdered to serve a madman’s vengeance. And worst of all, across the heart of the vast continent known as the Stillness, a great red rift has been been torn into the heart of the earth, spewing ash enough to darken the sky for years. Or centuries.

Now Essun must pursue the wreckage of her family through a deadly, dying land. Without sunlight, clean water, or arable land, and with limited stockpiles of supplies, there will be war all across the Stillness: a battle royale of nations not for power or territory, but simply for the basic resources necessary to get through the long dark night. Essun does not care if the world falls apart around her. She’ll break it herself, if she must, to save her daughter.

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Nicole Peeler, Jinn & Juice

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Cursed to be a jinni for a thousand years, Leila nears the end of her servitude – only to be bound once again against her will. Will she risk all to be human?

Born in ancient Persia, Leila turned to her house Jinni, Kouros, for help escaping an arranged marriage. Kouros did make it impossible for her to marry – by cursing Leila to live a thousand years as a Jinni herself.

If she can remain unBound, Leila’s curse will soon be over. But Ozan Sawyer, a Magi with the ability to See, Call, and Bind jinn has other plans.

Oz needs Leila to help him penetrate Pittsburgh’s steel-soaked magic, a juice potent but poisonous to supernatural creatures, in order to find a missing girl with her own mysterious connection to Kouros. Unfortunately for Leila, becoming Bound to Oz may risk more than just her chance to be human once more – it could risk her very soul…

Jinn and Juice is the first in a new series by fantasy writer, Nicole Peeler, set in a world of immortal curses, powerful jinni and belly dancing.

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Kim Stanley Robinson, Aurora

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Angus Watson, Clash of Iron (Iron Age #2)

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LEADERS ARE FORGED IN THE FIRES OF WAR

Iron Age warriors Dug and Lowa captured Maidun castle and freed its slaves. But now they must defend it.

A Roman invasion is coming from Gaul, but rather than uniting to defend their home, the British tribes go to battle with each other – and see Maidun as an easy target.

Meanwhile, Lowa’s spies infiltrate Gaul, discovering the Romans have recruited British druids. And Maidunite Ragnall finds his loyalties torn when he meets Rome’s charismatic general, Julius Caesar.

War is coming. Who will pay its price?

Guest Post: “Writing in the devastating wake of the Teenage Mutant Ninja Turtles” by Jonathan Wood

JonathanWood2To the best of my recollection, the first thing I ever had published was a review of the 1990 Teenage Mutant Ninja Turtles movie. I was ten. I belonged to a local Youth Club that put out a small paper ’zine every month or so. You could write in and volunteer to review movies. I was devotee of the TNMT cartoon, and had been awaiting the release of the movie with growing anticipation for months. I wrote in, and to my shock and delight was selected. I even got free movie tickets. Few ten year olds have known the height s of ecstasy I reached.

This is typically the point in the story where my dreams are all crushed, and I leave the theater shaking my fist at an unrepentant Hollywood heaven. But in fact, the movie fulfilled my every pre-teen wish. I laughed, I gasped, I demanded pizza afterward. As for the review itself… it was a breathless plot summary that descended into excruciating detail. My father cut me off when I was about halfway through – a mercy killing if ever there was one. As I recall, the final immortal line was, “And the rest was great too.”

These days, I’m in my mid-thirties. But sitting beside me on my desk while I write this is a Teenage Mutant Ninja Turtles mug. Raphael, Donatello, Leonardo, and Michelangelo all stare on.

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Again, this should be the point where I launch into a tale of dark obsession involving terrapin pit fighting, and a restraining order. But honestly, the Turtles have actually never been my #1 nerd. They’ve just always been there – clinging tenaciously to their spot in my heart for over 25 years. Like that album that never quite leaves the lower reaches of the Billboard charts, just sitting there year after year, desperately clinging to relevance.

Recently I finally started to wonder why the Turtles have had such lasting appeal for me.

EddingsD-B1-PawnOfProphecyFor a long time, I couldn’t work it out. But then I had another encounter with another old childhood passion: eighties epic fantasy. I’d been going through something of a reading crisis. I just could not find a book I wanted to stick with. And then, one way or another I stumbled over David Eddings’ Belgeriad series. It was the sort of thing I’d have chewed through in a week or two as a kid, but I’d missed it back then. These days, while I still enjoy the occasional epic tome, I don’t read it with the same alacrity I did in my youth. But I devoured this series. All five books in two months, which is a decent pace for me. And I loved it to bits.

And examining that reaction, and staring at my TMNT mug, I realized there was a connection. Both were stories that, at their core, were about a team of friends.

TMNT has lasted for me, not because of the stories, and not even because of the individual characters (Michelangelo is the best, all you Raphael-lovers can suck it), but because of the interplay between those characters. The adventures are fun yes, but seeing the way these characters deal with it, and the way they trip over each other, and then help each other up as they go through everything – that’s what I love. That’s why through all of their various iterations, no one has messed with the basic archetypes of the characters. Raphael is always aggressive, Michelangelo always a goofball. Because seeing the way the four main characters play off each other is what has people like me continuously coming back to the franchise.

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A lot of fiction, these days, seems to focus on the lone hero. Not that there’s anything wrong with that. I’ve read and loved many books with that focus. But the stories of my childhood, the ones that are all wrapped up with nostalgia and love, they were stories about groups of friends united by a single purpose. The focus was on the group dynamic as much as on any individual character’s growth. I miss that.

And then I realized, that without consciously doing it, that was what I’d written about in my own books. There may be a distinct lack of heroes in a half-shell, but they’re definitely stories about a group of friends, all driving each other crazy, all working towards the same goal.

And, having realized that, it’s actually kind to think that ten-year old me, could actually be proud of the guy I’ve grown up to be.

*  *  *

Jonathan Wood is the author of No Hero and Yesterday’s Hero – both published by Titan Books. Be sure to follow him on Twitter and Facebook.

WoodJ-3-AntiHeroThe third novel in the series, Anti-Hero, is due to be published in March 2015, also by Titan Books. Here’s the synopsis:

What do you do when your best friend becomes a supervillain? Agent Arthur Wallace is used to dealing with danger that is extraterrestrial, supernatural, or generally odd. But when a drone-strike interrupts his best friend’s funeral, it becomes clear that his next assignment is going to be stranger than usual. When it turns out that the drone was hijacked by a rogue, digital version of that friend… well then nothing is clear to Arthur any more.

Now the man Arthur counted on most is set on destroying humanity in a grand scheme to save the natural world. And the CIA is set on destroying that man. And Arthur can’t work out who the hero is any more. But he has to work out the all the answers fast, because now he’s staring into the bloody maw of the zombpocalypse itself.

Upcoming: THE SHOTGUN ARCANA by R.S. Belcher (Tor/Titan)

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Two very cool, very different covers for R.S. Belcher’s follow-up to The Six-Gun Tarot. On the left, the US cover (Tor Books); and on the right, the UK cover (Titan Books). Here’s the US synopsis:

1870. A haven for the blessed and the damned, including a fallen angel, a mad scientist, a pirate queen, and a deputy who is kin to coyotes, Golgotha has come through many nightmarish trials, but now an army of thirty-two outlaws, lunatics, serial killers, and cannibals are converging on the town, drawn by a grisly relic that dates back to the Donner Party… and the dawn of humanity.

Sheriff Jon Highfather and his deputies already have their hands full dealing with train robbers, a mysterious series of brutal murders, and the usual outbreaks of weirdness. But with thirty-two of the most vicious killers on Earth riding into Golgotha in just a few day’s time, the town and its people will be tested as never before — and some of them will never be the same.

I really want to read this series. I have no idea why I haven’t done so yet… I shall make that a goal for the rest of 2014. Watch this space…

You can read an excerpt from The Shotgun Arcana over on Tor.com.

The first book in this series, The Six-Gun Tarot had equally interesting covers, but I must say in that case the UK cover was by far the best. Here’s the US and UK covers, side-by-side:

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Review: THE MAGICIAN KING by Lev Grossman (Plume/Arrow)

GrossmanL-M2-MagicianKingUSA superb follow-up to The Magicians

Quentin and his friends are now the kings and queens of Fillory, but the days and nights of royal luxury are starting to pall. After a morning hunt takes a sinister turn, Quentin and his old friend Julia charter a magical sailing ship and set out on an errand to the wild outer reaches of their kingdom.

Their pleasure cruise becomes an adventure when the two are unceremoniously dumped back into the last place Quentin ever wants to see: his parent’s house in Chesterton, Massachusetts. And only the black, twisted magic that Julia learned on the streets can save them.

In an effort to catch up for the third volume in Lev Grossman’s Magicians series, here’s my very quick review of The Magician King: it’s an excellent follow-up to a brilliant first installment. If you haven’t read this series yet, I strongly urge you do so. I don’t think you’ll be disappointed. Continue reading

Guest Post: “Saying Goodbye” by Tom Pollock

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So that’s it then, it’s done.

It’s a strange thing, finishing a trilogy. It comes with a sense of dislocation. I’ve spent the last five years – a sixth of my life – in a dream world: a London where the streets are lit by glass-skinned dancers with phosphorescent blood, and where the statues conceal a priesthood entombed by their Goddess in stone and bronze as a punishment, a London where the scaffolding can slide from the face of a building, rearticulate itself into a snapping, snarling steel wolf, and pounce.

It’s not letting go of the world that’s the strangest thing, though it’s letting go of the people. Because I’ve also spent the last five years in the heads of two teenaged girls. I’ve done my best to feel what they felt as they fell in love, and fought with their friends and were kidnapped by sentient barbed-wire parasites and took on the powers of urban gods. I’ve pretzel-twisted my thoughts into the shapes of theirs. To put it simply, within the bone enclosure of my skull, I’ve been them. And it’s been a trip.

I am little sceptical of the claim that writing is ‘hard.’ I mean, it is, but so is everything. By nature, I’m a monkey that wants to sit in the sun and eat bananas and unselfconsciously scratch unsociable parts of myself when they itch and… that’s it. There is no deviation from that state of simian bliss that doesn’t count as hard for me. However I’m pretty sure writing doesn’t compare to the difficulty, and let’s be honest – the courage – of doing something really difficult, like farming, or teaching or soldiering or midwifery

Still, it’s not all been fun and games and hijinks with blood-chilling monsters. Side effects of fantasy writing may include: fever, cramps, dizziness (from lack of sleep), diahorrea (verbal, about your book, which when it’s half-conceived no one else cares about), hallucinations, an inability to talk in complete sentences and the growing worry that you may not in fact be human.

That last comes from core activity of writing: grubbing around inside yourself for the truest and most important and most human thing you can lay your hands on and putting it on the page, and then showing it to other people. Because there’s a very real possibility they’ll look at that page and say ‘nope, doesn’t seem human to me’ and then what do you do? Like a lot of writers my ego is the size of the Yukon but has the damage resisting qualities of a Kleenex caught outside on a stormy day, and I think that would have felt like the most undeniable judgment, a kind of reverse Turing test, a double-blind, clinical trial of my soul.

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Until now, that was the scariest thing about writing, but now I’ve got something to top it: letting go. I need to stop being these people now, and make up someone else to be. After five years, I won’t lie, that’s a little intimidating.

I’ll do it though. I have to. I’ll put one sentence in front of another until I’m back gibbering incoherent bits of plot to innocent tourists who stop me on the tube to ask for directions. You know, back to normal.

It’s either that or learn to be a teacher, or a soldier, or a midwife. And you know what? I’m not sure I’m up to that.

***

Inventor of monsters, hugger of bears, Tom Pollock is the author of the Skyscraper Thrones series – The City’s Son (shortlisted for the Kitschies Golden Tentacle); The Glass Republic (shortlisted for the British Fantasy Award); and Our Lady of the Streets, which is out in August. All three are published by Jo Fletcher Books in the UK. The City’s Son is also published in the US by Flux Books (cover below).

For news on Tom’s novels and next projects, be sure to check out his blog and the Skyscraper Throne website, and follow him on Twitter. AND, if you’re in London, be sure to go to Tom’s signing at Forbidden Planet, on August 7th.

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Excerpt: OUR LADY OF THE STREETS by Tom Pollock (Jo Fletcher Books)

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I. THE FEVER STREETS

Chapter One

A girl hurried barefoot through the streets of what had once been East London.

She stumbled, clumsy in her haste, and caught herself with the iron railing she carried in her right hand. Her skin was covered in scales of tiny terracotta rooftops. A fringe of rubberised cable fell across her forehead from under the hood of her sweatshirt. The hair-fi ne streets that crisscrossed her back were flooded with oily sweat. As she ran, her shadow loomed and shambled in front of her, stretched by the dawn.

Beth could barely keep her eyes open. Hunger, exhaustion and week after week of pretending to be fi ne had hollowed her out. She licked her dry lips. She could sense the pulse of the street under her, but instead of slapping her soles flat to the pavement and replenishing herself from that tantalising thrum of energy, she ran on tiptoes like she was trying to avoid broken glass. She looked up at where the houses had used to be and swallowed fearfully. Hungry as she was, she didn’t dare feed here.

Brick terraces rose on both sides of her, their façades unbroken but for the zigzag of mortar: no windows, no doors. Gravel paths led through the overgrown front gardens to dead-end against the featureless walls. No one knew exactly when Hackney had fallen to the Blank Streets, or how many people had been trapped in their homes when all the entrances and exits had suddenly vanished. Beth had heard rumours of fat beads of blood rolling down the cracks between bricks like marbles through children’s toy mazes, but she’d never witnessed it. All she knew for certain was what everyone knew: the cries for help had fallen silent quickly – far too quickly for those entombed inside to have starved to death.

Oscar, nestled in her hood, growled and curled tighter into her neck.

I hear you, little buddy, she thought. She reached back into her hood and let the little lizard lick her fingertips. I hear you.

She paused at the end of the street and bent double. Her breath sawed in and out of her lungs, rattling like a troubled engine. Get a grip, she ordered herself. She straightened slowly, feeling the steel hinges in her vertebrae click into place.

She heard a noise and froze.

It was very faint, like a shoe-scuff, but the city was all but silent now and such small sounds carried. She felt a brief impulse to open herself up to the street, to push her consciousness into the asphalt and feel what it felt – but she held back, eyeing the windowless walls. On these streets, she didn’t know what might push back into her. She imagined her eyes, nose, mouth, ears, even her pores, sealing over with the same seamless brick and shuddered.

She inhaled deeply and all the minuscule lights that dotted the city on her skin flared in response to the fresh oxygen.

Thames, she whispered inside her head, please, dear Christ, let me be in time.

She turned the corner – and stared.

If her voice had still belonged to her, she would have laughed, but instead she just stood there in silence, her mouth open, while her chest heaved and her jaw ached.

Garner Street, the road where she’d lived all her life until three months ago, had been spared.

She stumped towards number 18 in a relieved daze. Wilting plants and dead bracken blocked the gate from opening more than a few inches, but she knew that gap well and squeezed through it with ease. Chapped paint surrounded a letterbox with so fierce a spring that when she was a kid she’d imagined it was the snapping jaws of a brass wolf.

She smiled to herself. Back when we had to pretend.

The place looked the same as always, the same as it had the night she’d fled it: the night Mater Viae returned.

*

She relived it between eye-blinks: the blue glare from the blazing Sewermanders reflecting off the walls; the stink of burning methane and wet cement; the terrified faces of London’s Masonry Men pressing out of the brickwork, their mouths silently shaping pleas for help. The walls had rippled as Mater Viae’s clayling soldiers swarmed under them, clamping red hands over those screaming mouths and pulling them back beneath the surface; the Sodiumites had fled their bulbs in bright panic, leaving darkness and silence in their wake when everything passed on.

And the cranes…

A spindly shape caught her eye and she looked up. A crane loomed over the tiled roofs at the far end of the street. It was stock-still.

If you’re looking for something to be grateful for, Beth, she told herself, there’s always that.

When Mater Viae first stepped through the mirror, the cranes had started to move. For three days and three nights they’d torn at the flesh of the city, but then, as suddenly as they’d woken, they’d stopped, fallen silent. Not a single crane had moved since. No one knew why, but it was the smallest of small mercies, and Beth wasn’t complaining.

She fumbled in the pocket of her hoodie, but came up empty.

You’ve got to be kidding me. What kind of Street Goddess locks herself out of her own damn house?

Lizard claws pricked their way down her arm and Oscar appeared on her hand, growling at her questioningly. Beth sighed and nodded; the Sewermander rolled an eye and moved towards the lock. There was a faint hiss from inside the house, from the direction of the kitchen. Beth smelled gas.

Oscar’s tongue flicked out. Blue flame flared in the keyhole and with a snap-sizzle the lock vanished and was replaced by smoke, charred wood and a hole two inches across. Beth stroked the back of Oscar’s head and he let out a self-satisfied purr.

Ah, the Sewer Dragon. What self-respecting burglar would be seen without one?

She pushed inside and let her feet settle flat on the carpet. For a moment she swayed in place, stretching her feet, wiggling her toes and relishing the return of her balance as the tension ran out of her insteps. The place smelled of dust and next door’s interloping cat.

The house felt smaller than it had when she’d left it, like a three-quarter-scale mock-up for a film set. She hurried up the stairs, passing photos of her mum and dad and herself as a kid. She trailed her tile-clad fingertips across them as she passed, but she didn’t look at them.

A cobweb stretched across the doorway to her room and she broke it like a finishing-line tape. A sunbeam shone in through the skylight. Old sketches were strewn all over the floor. She accidentally kicked a mug over, and cold, mouldskinned tea crept over a half-finished flamenco dancer with swirling charcoal galaxies for eyes.

She yanked her wardrobe open, shovelled armfuls of clothes out of the way and pulled out a battered Crayola carry-case. Over the years that yellow plastic box had held her diaries, her love letters (both the ones she’d received and the ones she hadn’t had the guts to send; sadly, they were seldom to the same boys), condoms, a handful of razor blades and her first-ever eighth of ganja, still wrapped in cellophane: everything she’d ever been scared of her dad finding.

She snapped the clasps and tipped out the current contents – a round-bottomed chemical flask and a yellowing paperback novel – onto the bed. She picked up the book and turned it over. The cover had fallen off and the pages had the texture of ash. The Iron Condor Mystery: she’d locked it away in her box the day after Dad gave it to her. She remembered her mum leafing through it when she was alive, and her dad obsessively doing the same after her death. She ran her thumb delicately along the spine, then pulled her hand back like she’d been burned.

Even after the cranes and the trains and the metal wolves, even after the chemicals had changed her skin to concrete and her sweat to oil, Beth feared the traces this book had left on her heart. She stuffed it into her back pocket and turned to the flask. The liquid inside it glimmered like mercury and reflected the green light of Beth’s eyes back at her as it clung to the inside of the glass. A label taped to it read: Childhood outlooks, proclivities and memories: traumatic and unusual. Dilute as required.

She pulled the label off and turned it around. The words were written on the back of a sepia photo of a boy with messy hair and a cocky smile.

So here we are, Petrol-Sweat. Beth looked from the photo to the room and back again. With everything we used to be.

She lifted the bottle and peered into her reflection in the glass. And here’s what I am now. What you made me. She felt a dull ache set into her forearm from the simple act of holding up the flask. A drop of sweat fell from her brow and stained the duvet black.

But did you know any way to save me from it?

‘That him?’

Beth looked up sharply. The skylight was open and a girl in a black headscarf was looking in, her chin resting on folded arms. The scars on her brown skin bracketed her mouth as she smiled, a smile Beth returned with an openmouthed stare.

‘Anyone else, I’d say this was an awkward silence,’ Pen said. ‘But since it’s you, I’ll let it pass.’ She swung her legs in through the window and dropped into the room.

Recovering herself, Beth rummaged in her pocket for her marker pen and grabbed a scrap of paper from the floor.

Told you to wait back at Withersham, she scrawled on the back of it. Her surprise made the words jagged. Blank Streets, fever Streets. Not safe here.

Pen lifted her scarred chin the way she always did when Beth implied she couldn’t take care of herself. ‘Chill, B. I came over the rooftops. The tiles aren’t deadly yet, far as we know, anyway. Besides, you were taking so long – I got worried.’ She frowned, puzzled. ‘What gives? I covered the distance here in forty-five minutes, which means you could have run it less than five. But you’ve been gone more than an hour. What happened?’

Beth swallowed, her rough tongue sticking to the roof of her mouth as she wrote her reply. Being careful. Masonry Men at junction with Shakespeare Ave. Didn’t know whose side they were on.

She passed the note over, watching Pen carefully. One advantage of losing your voice, she thought to herself. Lies go over easier on paper.

Pen’s frown deepened. She sat on the end of Beth’s bed, crossed her legs under her and started drumming her palms against her kneecaps. ‘Weird being back in this room after all the nights we spent sitting up in it,’ she said. ‘You remember the very first time? When we were bitching about Gwen Hardy? I was so worried you’d tell her I could barely get the words out.’ She laughed and showed the scarred back of her hand to Beth. ‘It felt like the riskiest thing I’d ever do.’

Beth smiled carefully, keeping her church-spire teeth hidden behind her lips. She went to sit beside Pen.

‘You miss it?’ Pen asked. ‘Talking like that?’ She paused, but Beth made no move towards her paper. Pen started to pick at the cuticles on her hands, peeling the skin back from around her nails like pencil shavings.

Quickly, Beth put a hand over hers to stop that little self-demolition. She mouthed, What is it?

Pen looked right into her eyes. Beth could see the green glow from her own gaze fill her friend’s eye sockets. ‘Could you use your other voice, B?’ Pen asked quietly. ‘Your new one? I miss hearing you talk back.’

Beth hesitated, but then she opened her hands in front of her. The lines in her palms were streets, dark canyons between miniature rooftops. As she concentrated, tiny lights began to traverse them: the wash of headlights from invisible cars. She heard the growl of their engines and the faint protest of their horns. Water gurgled through turbines on her shoulder. A train rattled over tracks near her heart.

The sounds were faint, but if you knew how to listen, you could hear words in the edges of them where they blended into one another: a precise and literal body language.

‘What’s wrong, Pen?’ Beth asked.

Pen sighed. ‘Glas sent a pigeon,’ she said. ‘She found my parents.’

Beth started forward in concern. ‘Thames! Are they okay? Are they—?’

‘They’re alive,’ Pen said. ‘They’re not hurt. They made it to the evacuation helicopter when Dalston fell – they manage to dodge the Sewermanders and get out. They’re staying in Birmingham right now—’

‘Pen! That’s grea—’

‘—with Aunt Soraya.’

Beth sat back. ‘Oh.’

‘Yes.’

‘Your favourite Aunt Soraya? The one whose house I stayed at?’

‘That’s the one.’

‘The one with pictures of you up all along her hall? The one who named her cat after you?’

‘Yeah. Can’t imagine that was awkward when my folks turned up, what with them not even remembering I exist.’

‘Pen, I—’

‘I did that to them, B,’ Pen cut her off, her voice still quiet but stony, matter-of-fact, brooking no argument. She kept her eye on the shred of skin she was flicking on her thumb. ‘I was the most important thing in their lives and I stole myself from them.’ Her gaze fell on the bottle of Fil’s memories. ‘Just like that. I thought that what they couldn’t remember couldn’t hurt them, but damn, it’s hurting them now.

‘Glas had her bird sit right on the window ledge. It listened in to a whole conversation. You’d be amazed how many words that trash-spirit has to use to say, “You’ve made your parents think they’re crazy.” when she’s trying to be nice about it.’ She sniffed like she’d been crying, though no tears had fallen, and rubbed the sleeve of her jacket across her eyes.

After a moment she continued, ‘Anyway, Glas just told me, and since we were here anyway, it felt kind of appropriate to tell you here, for old time’s sake, you know?’

Beth nodded, but she couldn’t hold her friend’s gaze so she studied the swallow pattern on her duvet cover instead.

‘B?’

Beth didn’t look up.

‘Is there anything you want to talk about?’

Beth stilled her shaking right hand by making a fist.

For old time’s sake, she thought. Her old backpack was tucked under her desk, stuffed with aerosol cans and stencils and markers. The smile she gave Pen was almost shy. ‘You feeling inspired, Pen?’

Pen returned the smile, stood up and stretched. ‘I think I might have some game, sure.’

untitled

***

Tom Pollock’s OUR LADY OF THE STREETS is the third novel in his Skyscraper Throne series, and will be published in the UK by Jo Fletcher Books on August 7th, 2014. The series also includes The City’s Son and The Glass Republic.

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Upcoming: WE ARE NOT GOOD PEOPLE by Jeff Somers (Gallery)

SomersJ-WeAreNotGoodPeopleUSThis seems to be a re-issue of the author’s previous urban fantasy, Trickster.

According to the publisher’s page, this is “Book One in the Ustari Cycle, the first portion of We Are Not Good People was originally published in an altered form as Trickster (Pocket Books)”. Not sure what this means for people (like me) who bought Trickster, or how “altered” this version will be, but here’s the synopsis for this version:

The ethics in a world of blood are gray – and an underground strata of blood magicians has been engineering disasters for centuries in order to acquire enough fuel for their spells. They are not good people.

Some practitioners, however, use the Words and a swipe of the blade to cast simpler spells, such as Charms and Cantrips to gas up $1 bills so they appear to be $20s. Lem Vonnegan and his sidekick Mags fall into this level of mage, hustlers and con men all. Lem tries to be ethical by using only his own blood, by not using Bleeders or “volunteers.” But it makes life hard. Soon they might have to get honest work.

When the pair encounters a girl who’s been kidnapped and marked up with magic runes for a ritual spell, it’s clear they’re in over their heads. Turning to Lem’s estranged master for help, they are told that not only is the girl’s life all but forfeit, but that the world’s preeminent mage, Mika Renar, has earth-shattering plans for her—and Lem just got in the way. With the fate of the world on the line, and Lem both spooked and intrigued by the mysterious girl, the other nominates him to become the huckleberry who’ll take down Renar. But even if he, Mags, and the simpletons who follow him prevail, they’re dealing with the kind of power that doesn’t understand defeat, or mercy.

We Are Not Good People is due to be published by Gallery Books (Simon & Schuster) in October 2014. One thing that’s clear to me is that the publisher is aiming for a new – or at least broader – audience: this cover is less “urban fantasy” and a bit more thriller. I’d love to know what, if any, difference this makes to its sales figures.

A Quick Chat with CARRIE PATEL

PatelC-AuthorPicLet’s start with an introduction: Who is Carrie Patel?

I’m an expatriate Texan living in California where I work as a narrative designer for Obsidian Entertainment. In my free time, I write books!

Your debut novel, The Buried Life, is due to be published by Angry Robot Books in July 2014. How would you introduce the novel to a new reader? Is it part of a series?

It’s the first in a series about a stratified underground society that forms after a world-shaking catastrophe. The Buried Life follows two different characters – an inspector and a laundress – trying to unravel a series of murders surrounding the wealthy and powerful.

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

For me, inspiration is about taking these quick, impressionistic mental snapshots of different places, moments, and people, and remixing them into something different. A lot of the inspiration for The Buried Life came from a study trip to Argentina, but it’s not the kind of thing that would necessarily be apparent from reading the book.

How were you introduced to reading and genre fiction?

My parents are both readers, so I developed a habit early. They always encouraged leisure reading when I was young, and having a good school library went a long way, too. Picking out the books I wanted to read was an important act of expression and freedom at that age.

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

Now that I have external deadlines, balancing writing with everything else is a greater challenge, but it’s rewarding, too. After spending years as an unpublished author, selling work feels incredible.

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Do you have any specific working, writing, researching practices?

Scheduling time is key. I’m a morning person, so I make regular time before work every day to write. Research is important, but I’ve found that it can also be a convenient way to put off the actual writing, so I make sure that I spend some of my time every day actually drafting and revising.

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?

As a reader, writing was always in the back of my mind, but working myself up to committing to a story in 90,000 words was another matter!

My very first effort was a short story about a medieval battle that I wrote in sixth grade. It’s not something I’d want to put up on the refrigerator now, but I had a blast writing it back then. For an early effort, the thrill and satisfaction are probably what matter most.

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

Speculative fiction is expanding and bringing us a wider set of stories from a wider array of authors, which is wonderful. We’ve got more novels like Saladin Ahmed’s Throne of the Crescent Moon that tell great adventure stories in settings that aren’t explored as often. And then we’ve got novels like China Miéville’s The City and the City, which is also a fantasy but unlike anything else in the genre. It’s an exciting time to be writing!

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I’d like to see my work push at the boundaries of the genre, too, which is one reason I’m thrilled to be published by Angry Robot. The Buried Life is part fantasy, part mystery, and part something else, and it’s not something that would traditionally fit in a really clear subcategory of speculative fiction, either.

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

Right now, I’m working on Cities and Thrones, which is the sequel to The Buried Life. I’ve got another project on hiatus right now that’s very different but that I’m also very excited about – it’s a near-future science fiction novel about colonizing Mars with “bare branches” youths from India and China.

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

Since I can never make up my mind between fantasy and sci-fi, I’m reading N.K. Jemisin’s The Hundred Thousand Kingdoms and George Wright Padgett’s Spindown.

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

I have gone bungee jumping from the Bloukrans Bridge in South Africa, which is the highest bungee bridge in the world! I did it hours before my phone interview with Obsidian.

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For more on Carrie Patel’s writing, be sure to check out her website and follow her on Twitter. You can also check out an extract from The Buried Life here.

An Interview with KENDRA LEIGHTON

LeightonK-AuthorPicLet’s start with an introduction: Who is Kendra Leighton?

I’m a YA writer and chocolatier living in Cambridge. I run an organic chocolate company called Rawr Chocolate with my partner during the day, and the rest of the time I’m either reading or writing YA (usually whilst eating chocolate).

Your debut novel, Glimpse, is due to be published tomorrow by Much-In-Little. How would you introduce the novel to a new reader?

Glimpse is a YA paranormal novel inspired by Alfred Noyes’ classic poem “The Highwayman”. It isn’t a retelling, but relies on the events of the poem to tell a whole new story. The main character, Liz, is a seventeen year old girl with numerous problems, the biggest being the ability to see things that shouldn’t exist. When her grandfather dies, she inherits his home – the five-hundred year old Highwayman Inn – and moves there with her dad, hoping for a fresh start. Her problems only get worse…

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

I’ve always loved gothic fiction, from the classic novels I studied at university to modern-day paranormal. It was a given that my first book would be somewhat gothic in tone. When I decided I wanted to write a ghostly love story, I thought instantly of the “The Highwayman” poem – it’s already the perfect romantic ghost story – and from there the idea for Glimpse was born.

Classic poems are my current favourite source of inspiration, but ideas can come to me from anywhere – documentaries, books, the news, you name it.

How were you introduced to reading and genre fiction?

I’d always been a big reader, but after university I fell off the reading-wagon. I struggled to find modern books I enjoyed as much as the classic gothic fiction I’d studied. Then my teenage sister persuaded me to read some of her YA paranormal novels, and I fell in love – they had a similar combined darkness and innocence as gothic novels, but updated to the present day. Since then, I’ve read almost solely YA, and branched out into every possible genre within it.

How do you enjoy being a writer? Do you have any specific working, writing, researching practices?

I love writing, it’s my absolute passion. As for specific practices, I’m not too fussy about how I write since my days are pretty unpredictable! The main constants are that I need it to be quiet, I always start by rereading what I wrote the time before, and I write better in the mornings.

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?

Unlike a lot of authors, I didn’t always want to be a writer – it was only after discovering YA that the desire sparked. As for my first foray into writing, Glimpse is it! I’ve re-written it so many times in the last five years, however, that it feels more like my fourth novel than my first.

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

YA paranormal romance as a lot of people think of it – vampires, werewolves, angels, love triangles – seems to be have passed its peak. There’s still a readership for dark romantic fiction, though, it just needs to be a bit more creative, which is something I strove for with Glimpse.

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

That would be telling! I’ve completed another novel and a half since finishing Glimpse – one a sci-fi and one based on another classic poem – so we’ll see what happens with them.

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

I’m reading Raging Star, the final novel in Moira Young’s Dustlands trilogy. I don’t read much non-fiction other than writing books, but I am trudging through one book at the moment for research purposes: Merchant Seamen, Pirates and the Anglo-American Maritime World, 1700-1750 by Marcus Rediker.

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

Despite loving paranormal and gothic novels, I have a low threshold for horror. I easily wimp out when faced with scary films and books!

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

The obvious answer is Glimpse’s release, but since that’s happening this week I’ll pick something else too! I’m really looking forward to next month’s YA Literature Convention at London Film and Comic Con. It’s the UK’s first YA convention, and I can’t wait to geek out with other YA authors, bloggers and readers.

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For more on her writing and thoughts, be sure to follow Kendra on Goodreads, Facebook, and Twitter.

Glimpse is published tomorrow in the UK by Much-In-Little.