Pile by the Bed reviews The Violent Century by Lavie Tidhar an alternate twentieth century history with X-men style powers that asks what it means to be a hero.
Pile by the Bed reviews Lost Acre, the last volume in Andrew Caldecott’s very English fantasy Rotherweird trilogy
Pile by the Bed reviews Shadows of the Short Days by Alexander Dan Vilhjalmsson – grimdark, urban fantasy based in Icelandic mythology.
Pile by the Bed reviews and recommends Jade War by Fonda Lee, second book in the Green Bone trilogy.
Pile by the Bed reviews Lovecraft Country by Matt Ruff using pulp horror and science fiction tropes to explore racism in America in the 1950s.
Pile by the Bed reviews the novel version of Pan’s Labyrinth by Guillermo del Toro and Cornelia Funke – a “stunning work of fantasy”.
Pile by the Bed reviews The October Man by Ben Aaronovitch a stand alone novella set in his Rivers of London universe
Pile by the Bed reviews Crossings by Alex Landragin, a body hopping romp across the centuries.
Pile by the Bed reviews Magic for Liars by Sarah Gailey – a post Harry Potter magic academy / noir crime fiction mash up.
Pile by the Bed reviews The Ice House by Tim Clare, follow up to his 2015 fantasy debut The Honours.
Pile By the Bed reviews the Black Leopard, Red Wolf, the new fantasy novel by Booker Prize winner Marlon James
Pile by the Bed reviews String City by Graham Edwards
Pile by the Bed reviews The Raven Tower by Ann Leckie, a book that reinvents the ground rules of the fantasy genre.
Pile by the Bed reviews Someone Like Me by M R Carey
Pile by the Bed reviews Lies Sleeping by Ben Aaronovitch, Book 7 of the Rivers of London Series
Paraic O’Donnell’s debut novel The Maker of Swans was one of the standout fantasy novels of 2016. In a genre that often deals in warmed over tropes, The Maker of Swans was a work of beguiling originality. So the question was, how would O’Donnell follow this debut up. Much like another debutant of the previous year, Natasha Pulley, he does so with an emphatic change in direction which maintains the features that made his debut so enjoyable. The Maker of Swans was set in a more contemporary time but always had the feel of a more Victorian novel. The House on Vesper Sands is Victorian so allows O’Donnell more licence to lean into period flourishes (also drawing further comparisons with Pulley’s works which are both set in this era). In the cold open a seamstress, suffering from some undisclosed medical condition, who is brought to the house of Lord Strythe late at night to complete a secret commission commits suicide. The story proper opens with young Gideon Bliss coming down from Cambridge to see his uncle and failing to find him runs into a young woman from his past. At the same time, society reporter Octavia Hillingdon has happened on…
You could imagine the elevator pitch for Patrick Ness’s new novel And the Ocean Was Our Sky: “Think Moby Dick, but from the whale’s point of view”. But while Moby Dick is a touchstone, fantasy writer Ness, responsible for A Monster Calls, the Chaos Walking trilogy and the Doctor Who spinoff Class, takes this well known story into new territory. The book opens with “Call me Bathsheba” a riff on that famous opening line. Bathsheba is a whale who has been told that she has a destiny as a hunter of men. In Bathsheba’s world, whales hunt humans as much as humans hunt whales in a war that seems to never have an end. The whales carry harpoons and drag boats behind them underwater as a way of storing and transporting human bodies which they use as resources. These whales have developed an underwater civilization and have a breathing technology that enables them to only venture to the ocean’s surface, known as the Abyss, infrequently. Bathsheba’s story centres around a hunt for the great white ship of legendary whale killer Toby Wick. After picking up the lone survivor of a massacre of humans which hints at the work of Wick,…
Michael Eisele’s latest book of short stories, as the name suggests, is full of spirits and fae creatures and is rich in mythology. The opening story “Mouse” is one of many stories in this collection where humans interact with otherworldly beings and so sets the tone for most of the book. In this story, a struggling artist finds that his mentor is caring for a small spirit creature that has lived in the town from when the town was still a forest. The artist is inspired to paint a canvas of the spirit creature’s lost world, a painting that opens up much more. In “Tree Spirit”, a wood carver makes a deal with the spirit of a fallen tree to turn her into a boat so they can both see the world. In these, and many of the other tales of deals with the spirit world, the outcome is driven by the mythology that the spirits inhabit and is never quite what the humans might have expected. Many stories follow a similar trajectory of discovery, interaction and twisted resolution but draw on a range of different traditions, including Irish, Germanic and Native American. While many of the stories feel like…
The Empire of Ashes is the final book in Anthony Ryan’s Draconis Memoria trilogy so there may be mild spoilers ahead. The Empire of Ashes delivers more of what series fans would have enjoyed in the previous two volumes – a heady mix of steampunk, quest, and politics in a well realised world threatened by an implacable dragon army. The plot supercharged by the powers given to a select few who can drink the blood of dragons. And most importantly for page turning purposes, Ryan manages to deliver a series of continually cascading cliffhangers. After a very brief introduction which will only make sense to series regulars, Ryan catches back up with his four main characters, all of whom had been left in some form of peril or distress. Adventurer Clay, fresh from a bizarre subterranean adventure but with new information and an ally who could turn the war; kick-arse intelligence agent Lizanne leading a ragtag group of refugees; mutinous captain Hilemore who has put the safety of his world above his commission; and Silas, one of the “spoiled” – humans magically converted to follow and unquestioningly obey the vengeful White Dragon that is gathering an army to take over the…
Claire North used the travels of the main character in her last book The End of the Day to highlight global inequities and social issues. Despite its fantastical premise (that character we the harbinger of Death), that book focussed on the present. In 84K, North takes this social commentary into frighteningly plausible dystopian vision of the future. There is nothing particularly original about the starting point for 84K – concentration of corporate power, collusion between a monolithic Company and the Government, the wealthy coming out on top and a population sleepwalking into servitude in the pursuit of the good life. But North takes this premise further – into a monetised society, where everything, including human life, literally has a value. Theo Miller works at the Criminal Audit Office, assigning indemnity value to different crimes, If you can pay you get on with your life but if you can’t, you go into government mandated menial work – essentially slave labour or worse. Miller, is much like Charlie from The End of the Day, a grey English bureaucratic exterior hiding a revolutionary soul. And that soul slowly emerges and he is forced to take action when a face from the past emerges and he is forced to reevaluate his life. The book jumps between three time periods – Miller’s backstory, his…