Author: Werner Lind

The Complete Adventures of Senorita Scorpion, by Les Savage, Jr.

  By

Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆

scorpion1Action adventure fiction, in the pulp era, tended to be a male-dominated field; the writers and readers were overwhelmingly male, and the protagonists having the adventures and engaging in the derring-do tended to be correspondingly male. The culture of that day had deep-rooted stereotypes about the unfitness of the “weaker sex” for strenuous physical challenges, and about the inappropriateness of combat as a role for females who were supposed to be naturally gentle and demure. But there were writings that bucked these assumptions, particularly in the Western genre. Senorita Scorpion, the creation of Les Savage, Jr. (1922-1958), wasn’t actually the first pistol-packing cowgirl to be featured in the Western pulps of the 30s and 40s; but she proved to be the most popular, one of the most unique, and probably the subject of the longest running and thickest corpus of material of any of these fictional ladies: seven stories, originally published in Action Stories from 1944-49. Through its Altus Press imprint, (CreateSpace is just the printing service) Pro Se Press seeks to bring the best fiction of the early modern pulp magazine era back into print, in book form now, for a new generation of fans. These stories (plus one by Emmett McDowell, which used the Senorita Scorpion name for an entirely different character) were a felicitous choice for one of their first projects, in two volumes.

The stories included here are: “Senorita Scorpion” (1944); “The Brand of Senorita Scorpion” (1944); “Secret of Santiago” (1944); “The Curse of Montezuma” (1945); “Brand of the Gallows-Ghost” (1945); “Lash of the Six-Gun Queen” (1947); “Gun Witch of Hoodoo Range” by McDowell (1948); and “The Sting of Senorita Scorpion” (1949). For purposes of this review, the McDowell story is considered separately; the main body of the comments below refer just to the stories by Savage.

Our setting here is Brewster County, Texas in the 1890s. This is a real county, located in the Big Bend area west of the Pecos and north of the Rio Grande, and the geography of the area as depicted by Savage is real, including the inhospitable Dead Horse Mountains. When we first meet protagonist Elgera Douglas, a.k.a. “Senorita Scorpion,” she’s a girl outlaw pulling off a daring robbery, but she’s not an outlaw who wants to prey on others in order to live without working; her motivations are considerably different. They’re rooted in the background of the story series, which is gradually disclosed in the first tale; but it won’t be an undue spoiler to explain it here.

In 1681, a grandee of New Spain, Don Simeon Santiago, discovered a gold mine in the Dead Horse Mountains, originally worked by the local Indians. He built a house and ranch there, in the only valley in the range with enough water to support humans and cattle, and sent several fantastically rich shipments of gold south to Mexico. Soon, however, the ranch was attacked by raiding Comanche, who killed everyone they could find and, when they left, sealed off entrance or egress to the valley by caving in the mine tunnel which served for that purpose. The only survivors were George Douglas, a British-born slave originally captured from an English ship in the Caribbean, and a Mexican Indian slave woman. From these two, over the next two centuries an inbred Douglas clan of mixed Anglo-Indian ancestry and culture grew up in the valley. In 1876, they finally succeeded in digging through the mine and re-uniting with the rest of the world, though they kept the location of their valley secret.

By 1891, clan leader and official landholder John Douglas, Elgera’s father, lies in a coma, and the Santiago lands are under the covetous eye of ruthless cattle baron Anse Hawkman, who owns everything in the area worth owning and has used legal chicanery to force the smaller landholders off their claims. Elgera (“El Gera” is Spanish for “the blonde one”) is one of three children, the only girl, and not the oldest; but with her father disabled she’s the undisputed leader of the family. Savage never actually explains why; we’re left to infer that it’s because of her strong, born-leader personality –which is definitely evidenced– and the respect commanded, in a situation where fighting is a necessity, by her formidable gun skills, which considerably surpass those of most men. She’s become an outlaw, as the law defines it, in order to strike back at Hawkman and his interests.

scorpion2From this beginning, the first four stories proceed in a chronological arc; each is self contained, but the following ones build on the preceding ones in terms of character and situational development, so that what we have is a genuine story cycle. In the later three stories, the chronological relationship to the rest of the corpus isn’t as clear, except that they all take place after the events of the first story, and that “Lash of the Six-Gun Queen” is set near the end of the decade. Savage makes statements inconsistent in details with what he wrote earlier in one story, and another tale also gives some evidence of forgetfulness on his part. The rest of the Douglas clan simply disappears in the later stories, and their unique sociological circumstances aren’t explored at all, while the Santiago Ranch functions about like a set or a piece of furniture; there’s not much attention to its fortunes or the practicalities of running it. Elgera’s supposedly well-known skill at cards is only brought out in “Brand of the Gallows-Ghost,” and never mentioned elsewhere.

The major characters are well-developed, and several appear in more than one of the stories. (Chisos Owens tends to play as large a role in most of the stories as Elgera does, and actually does more of the fighting.) Savage develops his plots with considerable originality and artistry, and the stories benefit from his trademark serious research to ground his work in actual Western history. (The fraudulent so-called “History of Montezuma,” for instance, really was produced in 1846 under the conditions he describes in “The Curse of Montezuma;” and while I haven’t been able to check his details about 17th-century Native American and Spanish mining/smelting practices in “Secret of Santiago,” they have a ring of truth.) He writes action scenes well; he’s an excellent prose stylist, and has a good sense of pacing, and the stories employ elements of mystery which are very effective in adding to the suspense he conjures. Elgera’s a likable character, as are the various good guys who assist her; and the villains are the sort you love to root against. A half-Indian heroine is as much of a trail-blazing feature, in this period, as a combat-capable one, and Savage’s treatment of Hispanic and Indian characters isn’t racist; some are villains, but others are treated very positively.

Critics might complain that some plot elements are a bit exotic (such as a character who’s a Satanist, or the premise of a peyote-based cult in one story), or that there’s some reliance on coincidence in places. But peyote use really is historically a feature of Southwestern Indian religion, and coincidence IS at times a feature of real life, too. There’s not much bad language in the stories (McDowell uses more of it than Savage does), and what there is isn’t particularly rough.

In terms of her action chops, we’re told much more often about Elgera’s gun skills than we’re shown them –but we are shown them occasionally. She uses lethal force sparingly (and only in defense of herself or others), though when she has to, she takes it calmly in stride. (Bad guys who take her on hand to hand –and she’s no slouch at that type of fighting, either!– usually wind up killing themselves accidentally; but as a group, they’re too stupid to recognize that pattern and avoid it. :-) )

Will Murray contributes introductions to both volumes; the second one deals mostly with the genesis and publication of the stories, but the first one regrettably concentrates mostly on the sex appeal of the pulp cowgirl characters in general and the more salacious aspects of the cover art. To be sure, many males then and now were, and are, culturally conditioned to view both real and fictional women only, or primarily, as sexual commodities. But that’s not, IMO, the most helpful lens here for viewing the character –nor the primary one that Savage invites us to use. Yes, he depicts Elgera as powerfully attractive to most of his male characters (and she tends to be fickle in her own romantic attractions –one of my primary quibbles with his portrayal of the character). But the stories certainly aren’t about sex, Elgera and her male admirers never do anything more than kiss, and her sexuality is just an ancillary part –not the be-all-and-end-all– of who her character is.

A brief word will suffice about McDowell’s story. My wife considered it out of place, and a detriment to the book; it’s included because Savage’s publishers, when he was too busy working on a novel at the time, enlisted McDowell to write a Senorita Scorpion story, and this is what they got. He used the name, but makes the woman’s character and circumstances totally different from Savage’s Elgera, and changes the setting to Arizona in the early 1880s to boot. Essentially, it’s a story about a completely different woman with the same nickname. Taken on its own terms, though, it’s actually a solid story with an excellent twist, and one of my favorites in the book.

Author: Les Savage, Jr.
Publisher: Altus Press, available through Amazon, both for Kindle and as printed books: Volume 1 and Volume 2

A version of this review previously appeared on Goodreads.

Coyote, by Bran Gustafson

  By

Literary rating: ★★★★
Kick-butt quotient: ☆☆☆☆

coyoteFull disclosure up front: the author and I are in a couple of Goodreads groups together, so I was aware of his debut novel; and I knew he’d offered a free review e-copy to group members. I didn’t request one, since I prefer to read in print format; but on the recommendation of my friend David Wittlinger, I did put my name in for the paperback Goodreads giveaway (which is still ongoing!). When Bran became aware of my preference for paper, he kindly gifted me with a paperback copy, which I really appreciate. His openness to honest feedback is also appreciated; he made it clear from the outset that he’d appreciate even a bad review as long as it was honest and provided him with feedback. It didn’t take me long to read enough to tell that my review wasn’t going to be a bad one!

Coyote (the relevance of the title becomes clear eventually, but it has a symbolic significance as well, IMO) is set in the fictional Western U.S. state of Montezuma, “the Untamed State.” Montezuma is a state in economic and moral free-fall since the depletion of its oil deposits and the resulting decamping of the industry, and the closing of its one interstate highway due to maintenance and safety issues. Much of it is inhospitable mountain and desert terrain, unable to sustain a large population without outside resources, so population (especially decent, wholesome population) is declining and social pathology is on the rise. Crime and violence flourish, but not much else does. To this not very inviting place comes Mai, our 20-something protagonist, with no resources but a Bronco (the four-wheeled type) and a .38. She was born here; but what motivates her to return isn’t immediately revealed. Her Bronco breaks down in a declining town, where she soon finds that its bleak, shabby exterior masks a festering, rancid mass of lucrative vice and corruption, over which two murderous redneck clans vie for control.

Author Gustafson has elsewhere cited “spaghetti Westerns” as a major literary influence on this novel (an opener for a projected series), and the noir tradition (more so in its extremely grungy modern state, rather than the more restrained classic models) is clearly another serious one. But the kind of central role Clint Eastwood so often played in Westerns of this stripe is Mai’s here, and the switch to the distaff side creates a subtly different dynamic of its own. One reviewer has said he’s not sure if Mai is a good or a bad person, nor sure if even she knows. Personally, I’m not that doubtful. Some significant choices Mai makes and significant things she does clearly show me that she is basically a good person at her core, who listens to her conscience. And while I’ve used the word “noir,” the author’s own vision clearly isn’t morally anarchic; in its own way, we could even call this a morality tale.

That said, readers have to be prepared for a journey through a world of moral and physical grunge that can almost be nauseating in places. Mai herself is no plaster saint. Raised without roots by a now-dead, peripatetic con man father (the Bronco was basically their home), she had virtually no positive rearing, by example or precept. Hard-living and sometimes hard-drinking, in desperate circumstances, she’s not above stealing what she needs; her speaking style can be profane or obscene, and she’s too emotionally-constipated and wary of others to form a relationship with any other person, but not averse to one-night sexual stands –more, I think, as a lonely way of reaching out for even illusory human connection than as a deliberate attempt to exploit others. (At this point in his life, that seems to me to describe bar owner/tender Slim’s sexual psychology, too.) She’s also got a savage temper that can be dangerous, though not to the inoffensive.

Slim has some qualities, good and bad, similar to hers; and flawed as they are, this pair actually represents, in the town of Maquina, the closest thing it has to forces of goodness and light. At the other end of the spectrum, we have the forces of real darkness and evil, embodied in the worst sadistic dregs of the Skaggs and Carter clans. In between these poles, we have a continuum of characters varying in their shades of gray, who may provide textbook examples of the unwillingness of most people to actively oppose evil if it involves any risk or inconvenience, and of the remarkable ability of humans to convince ourselves that our behavior is justified (even when we know it’s totally wrong).

On the plus side, all of these characters are drawn with wonderful precision and distinctness. The pace of the story is fast and non-stop, and it’s deliberately designed to be a quick read, with short chapters (some only a page long) that entice you into turning pages. (And you won’t need much enticement; the need to know what’s going to happen next here is compulsive!) Mai’s self contained and stand-offish, hard to get to know, much less like (though that doesn’t mean you won’t, by the time you close the book!), but she’s easy to side with and care about, and she’s a more dynamic character inside than she initially seems to be. In a novel where action is an important component, the author handles action scenes well. (Some are a bit graphic; there are a couple of mental images that aren’t best read by the squeamish.) As an action heroine, Mai’s got guts and resolve (she may not be the biggest dog in the fight, but she’s got more fight in her than some), but she’s not a trained pro with her gun, and she can make mistakes with it (one of them a lulu). In her situation, that makes her believable, where a super firearms expert wouldn’t be. And the ending is so perfect it raised the rating at least a quarter star. (There’s no cliffhanger as such, either.)

A final thought: obviously, in creating this setting, which is practically post-apocalyptic though not actually so, the author is trying to establish a modern American milieu where he can let his characters operate in an essentially lawless environment. Beyond that, though, I think there is some real social commentary here –an implication that it might not take much in the way of economic and moral collapse for the whole U.S. to go the way of Montezuma; and there are real life tendencies pushing in that direction. (And if that happens, decent people won’t have 49 other states to move to; they’ll have to keep a moral compass, and make their stand where they are.)

Note: Readers should be strongly warned that there’s a LOT of bad language here (f-words, profanity, vulgarism, etc., which characterizes the speech of most characters, some to the point where it’s clear they can’t communicate any other way. (Mai and Slim aren’t really any more profane than the average person with their background would be.) And although there’s really no explicit sex as such, there are very definite sexual situations and implied sex (the town brothel is a key part of the setting), and the exploitative sexual attitudes and raunchy, sexually-oriented talk from some characters is very pervasive. These factors were what cost the book a fifth star; just because they impacted my enjoyment that negatively. But it’s important to note that Bran is not trying to promote bad language or raunchy sex, and that these aren’t what the book is about; rather, it’s about morality and healthy relationships in the midst of a bad and raunchy world. And readers less bothered by these points might easily rate the book as even a five-star read.

Author: Bran Gustafson
Publisher: Self-published, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Informationist, by Taylor Stevens

  By

Literary rating: ★★★★
Kick-butt quotient: ☆☆☆☆

informationistThe jacket copy for this opening volume of the author’s Vanessa Michael Munro series gives the impression that our heroine’s adolescent career, as part of a gang of gunrunners in the African jungle, lasted for years. It didn’t –she fled from Africa at the age of 15, after about a year with the gang. (They also weren’t mercenaries, and their smuggling operations included drugs as well as guns.) Otherwise, the information is accurate as far as it goes. We meet her nine years later, when she’s 24 years old. Before we do, though, we’re treated to a two-page, attention-grabbing prologue, set somewhere in West Central Africa, describing a terrifying experience which we quickly realize is related to our main plot, and which gives us a little bit of information and a whole lot of tantalizing ambiguity.

Four years later, Michael is approached by super-wealthy oil tycoon Richard Burbank, who wants to hire her to trace the now four-years-cold trail of his adopted step-daughter, who vanished somewhere in Africa on the cusp of adulthood. Finding a missing person isn’t something she’s ever done; she’s an information broker, a compiler of deep background on foreign countries, for governments, NGOs and corporations. But she’s extremely good at this, blessed with a facility for learning languages, strong computer skills, a powerful intelligence and single-minded focus and determination.

She’s also a mistress of disguise, who (with her hair cut short and her bosom tightly bound) can pass for a male if she needs to. Some reviewers focus on this, and on her preference for using her middle name, to make “androgyny” a central aspect of her character. IMO, this idea has been overstated; her character comes across as essentially female, without any ambiguity (though she’s more in touch with her kick-butt side than many women are). Passing for a male is a tactical device that can come in handy in some situations (and she’s not the only fictional heroine to find it so; Madeleine E. Robins’ Sarah Tolerance, for instance, does it frequently), and doesn’t entail any repudiation of her femininity. As for preferring “Michael” over “Vanessa,” she’s not the first person in literature or real life to want to change the way she’s addressed after a major transition in her life –especially from a traumatic period that she’d like to forget. (Her African associates knew her as Essa.) Anyway, Burbank has been assured that these skills will be transferable to ferreting out the fate and whereabouts of a person, and that Michael can succeed where others have failed.

Combat-capable females aren’t as rare in literature as they once were, but her fighting skills aren’t what make Michael a rather unique fictional heroine. (Though she has few peers where those skills are concerned –she’s adept with both guns and blades, and could kill you with a set of car keys if she has to). She’s a very complex and nuanced character, with aspects of her personality that aren’t all pretty. Her missionary parents, who didn’t plan for or want her, raised her in a mindset that sees God as an angry and condemning Judge rather than a loving and forgiving Father. The experiences of her African adolescence left her with massive internal abysses of guilt and anger which she uses her work to keep at bay; she has hardly any friends, and walks a psychological knife edge between moral decency and a homicidal darkness she could easily plunge into for keeps. Now, with the quest for Emily Burbank taking her back into a world she left nine years ago, she’ll face external conflicts with some very nasty villains; but her most desperate and consequential battle will be inside herself, and she’ll come to a moral decision that may save her –or destroy her.

Taylor Stevens’ unique personal upbringing gave her a first-hand knowledge of a number of world locales; this is probably reflected in the vivid way settings in several countries on three continents are realized. (Some of Michael’s formative experiences may have something in common with Stevens’ own as well –though one hopes not.) The African milieu that forms the main setting is particularly life-like, with a you-are-there immediacy especially marked in the portrayal of the dangerous, paranoid Twilight-Zone nation of Equatorial Guinea, the model for Frederick Forsythe’s setting in The Dogs of War (a novel that Stevens references here –conditions there haven’t improved much since Forsythe wrote). Her prose style is crisp and quick-moving, with a wealth of realistic detail that lends verisimilitude. All of the major characters are fully three-dimensional, adding to the texture and emotional evocative quality of the storyline. Plotting here is a tour-de-force, with major twists and surprises in store; the quality of suspense is very taut through much of the book, and comes right down to the wire.

This is an action-adventure novel, so the reader should expect that it’s going to have some violence; more than a few people are going to get killed here. None of the violence is gratuitous, and it isn’t over-described for its own sake; but some readers might find one scene a bit disturbing. There’s no explicit sex, but some sexual encounters are noted without being described in detail, and Michael’s sexual behavior is, like every other aspect of her life, affected by the psychic damage she carries. Readers concerned about bad language should note that there’s a fair amount of use of f-word, and profanity/cursing. For perhaps the first third or more of the book, this isn’t so marked, but it gets worse. (A couple of the English-speaking characters could be expected to have barracks-room vocabularies, but it’s less realistic when English obscenities are put into the mouth of non-English speakers.)

In a couple of place, I have a quibble or two with details. (A camera affixed to the peephole of a hotel door, for instance, would register images directly in front of it –NOT the adjacent door. And one tactical action near the end seems to have no credible reason for being done, except that it serves the author’s ultimate plotting purposes.) But quibbles don’t interfere with the fact that this is, overall, a very strong first novel. And, although there are sequels in the series, this opener comes to a very satisfying conclusion in itself; for readers who don’t want to get sucked into another open-ended series, this book can function perfectly well as a completed stand-alone.

Author: Taylor Stevens
Publisher: Broadway Books, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Gooodreads.

Brianna’s Reprisal, by David Wittlinger

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆☆

reprisalAlthough this book was just published on Jan. 3, I actually had the privilege of beta reading it last month, so this review is based on that read. (The final text has some minor additions, and a slight re-working of one incident.) This sequel to The Strong One is set about six months after the events of the first book, and our principal setting is Vineland, New Jersey (which is a real city, population 54,800).

Author Wittlinger didn’t originally intend to create a series character in Brianna, but he found her so captivating that he had to explore her story further. That’s an understandable reaction; I noted in my review of the first book that I was invested in her myself, and eager to see more of her personal growth. She’s one of the more interesting characters I’ve encountered in modern fiction, and the author brings her to well-rounded life with impressive skill. Despite her potty mouth, misguided sexual attitudes, and the emotional baggage she carries from a childhood and young womanhood that no human being should have had to suffer through, she has a basic core of kindness and honor, with a gritty pluck and will to better herself, that makes you naturally tend to root for her. The woman she was at the end of the first book had grown significantly from the person she was at the beginning. Her journey will continue in this volume, and it will take her to a crossroads where she has to make a crucial moral choice. How readers will feel about her decision will depend on the person –it’s a thought-provoking dilemma that forces us to put ourselves in her shoes and ponder how we’d react, or how we should. But whether you agree or disagree with her choice, you’re apt to continue to care about her.

The strengths of the first volume ate present here, too: lifelike characterization, well-handled prose, suspense, plotting that’s credible but that has some serious twists and surprises, good handling of action scenes, and considerable evocation of real emotion. While there are still a couple of sex scenes, there’s less explicit sexual content here than in the previous book –though this tale also explores another facet of the slimy underbelly of America’s illicit sexual culture, this time the horrors of human trafficking in sex slaves. (And yes, this goes on in real life in the good ol’ U.S.A.)

IMO, the series should be read in order. This book makes reference to events of the previous one that you won’t really be familiar with without having read it, and to fully understand who Brianna is, you have to follow her development and story arc from the beginning. (Both books are quick, compulsive reads –I read this one in three days.) Neither book ends with anything like a cliffhanger –there’s resolution of the particular events depicted– but both set the stage for a succeeding volume; Brianna’s adventures will be at least a trilogy. I’m committed to following them for the long haul; and if you read this far, I think you will be, too!

Author: David Wittlinger
Publisher: Self-published, available through Amazon, currently only as an e-book.

A version of this review previously appeared on Goodreads.

Wreaths of Empire, by Andrew M. Seddon

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆

wreathsIt’s often frustrating to me that in today’s two-tiered fiction market, in which the big-time tier is practically a closed caste and the tier that admits everybody else is so glutted that gems get easily buried beneath the mountains of slag (and nobody knows where to look for them), it’s really difficult for some first-class authors to get the recognition and readership they deserve, and would have had a generation ago. Andrew M. Seddon is definitely one of these authors. He and I have been Internet friends for over ten years; I had the privilege of beta reading this excellent novel a couple of years ago (and Andrew is kind enough to mention me in the acknowledgments, though he truly didn’t need much if any help from me!) and now, since he’s generously given me a signed copy, I have the added privilege of being one of the first persons to review it anywhere.

Andrew writes high-quality historical and supernatural fiction, but it’s probably fair to say that his literary first love is science fiction. A medical doctor, his training and experience in the life sciences gives him a predilection for the genre’s “hard” tradition, in which science is handled accurately and the speculative element builds on credible extrapolation from actual knowledge. Wreaths of Empire stands in this tradition; it’s also a work of “space opera,” set in a far-future galaxy with far-flung human settlement, against the background of “a clash of civilizations,” humans vs. aliens in a high-stakes interstellar war, with battle scenes, intrigue, and plenty of action. In its roots and for much of its history, this tradition tended to be associated with shallow characterization, a simplistic “us against them” orientation, and heavy concentration on description of hardware and display of technological and scientific speculation to the neglect of the human element. Happily, none of those features have ever characterized Andrew’s work, and don’t here. This is a novel where the key element is people (whether they’re human or alien) and the choices they make –people and choices we come to care about greatly.

Readers of Andrew’s earlier novel Iron Scepter will recall that there we find the malevolent Hegemony, which dominates human space, plotting to gin up a war against another space-faring race, the Gara’nesh, in order to use fear and hatred of an outside enemy to solidify its own control over its hapless subjects. This new novel is set in the same universe, like much of Andrew’s SF. (Despite the broad chronological framework that ties them together, though, these books aren’t a “series;” they can each stand alone and be read independently.) Here, though, our setting is much later; the bloody Gara’nesh war has dragged on for decades, shaping the lives and attitudes of a whole generation that’s never known anything else. When we meet Jade Lafrey in the prologue, she’s an ensign in the Hegemony’s space fleet –an ensign who’s destined to make a crucial choice that will have far-reaching consequences, for the galaxy and for two sentient species.

Eleven years later, as peace negotiations are finally opening, Jade’s a (space) Naval Intelligence officer, called on to deal with a complex behind-the scenes intrigue that may threaten the diplomatic efforts, if not the survival of humanity itself; and it will be very difficult to tell friend from foe. She’ll get her share of fighting action and physical jeopardies and challenge as a result. As an added bonus for action heroine fans, the author actually gives us two action-oriented ladies here; besides our protagonist, one of the secondary female characters, interstellar smuggler Trevarra, can also handle herself well in a fight. (In fact, while the one-star kick-butt quotient above rates Jade’s performance, if I’d rated Trevarra’s it would have been three.)

Earlier this year, I was asked if I could provide a blurb for the cover copy of this book. I can’t think of a better way to finish this review than to quote it. “Top-notch SF author Seddon creates possibly his best novel yet in Wreaths of Empire, bringing a new depth and freshness to the space opera tradition. A wonderful heroine to cheer for; a well-crafted, character-driven plot; some of the genre’s finest writing; excitement, suspense, and food for thought –what more could a reader ask for?”

Author: Andrew M. Seddon
Publisher: Splashdown Books, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Petty Treason, by Madeleine E. Robins

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆

pettytreasonThis second volume of Robins’ high-quality Sarah Tolerance series has much in common with the first book, (Point of Honour, which I’ve already reviewed here) in style and literary strong points; and of course it shares a protagonist and other continuing characters (and an ethos) with its predecessor, and builds on the premise and events laid out there. While it could be read first and still be enjoyed, IMO the series should be read in order to fully understand the characters and relationships (and Sarah’s unique situation), and appreciate their development here.

Six months have passed since the events of Point of Honor; we’re now in November, 1810. In the background, the Napoleonic Wars still drag on, with widespread dissatisfaction on the home front with the sacrifices the government demands to support and provision the troops abroad; and Queen Charlotte’s poor health fuels the poisonous infighting of Whig and Tory factions as they jockey for the possible appointment of a new regent. The book’s cover copy gives a basically accurate explanation of the case confronting Sarah here –except that this is actually NOT a locked room mystery, classic or otherwise; whoever wrote the description didn’t read the book carefully. It’s not her usual type of investigation, and she undertakes it reluctantly; she’s accustomed to inquire after lost articles, errant spouses, social skeletons in the closet, etc –not to track down murderers. But the events of the previous book have demonstrated that she can do the latter; and since the investigating authorities are inclined to pin this crime on the widow, her brother believes that hiring Sarah might be his desperate last chance to find the real culprit and clear his sister.

Robins has crafted a challenging mystery that will satisfy genre fans, and keep them guessing down to the wire; the deceased had secrets that don’t immediately meet the eye, and he wasn’t the only one with things to hide. The pace of the storytelling and investigating is slow, in keeping with transportation by foot or by horse and communication by written messages; we see investigation conducted as it actually would be in this cultural context and with this kind of technology (or lack of technology). We’re also immersed very much in the daily life of a young woman in the Regency world; the way the author brings the milieu to life is a great strength of the series.

That said, the action component here is significantly greater than it was in the first book, reflected in the kick-butt quotient above, which here goes up a star. There’s also much less in the way of actual sexual situations, though Sarah still lives out back of her aunt’s high-society brothel and is close friends with a prostitute, and though her inquiries here will expose her to the ugly world of sexual sadism, where some brothels called “birching houses” cater to the tastes of males who get sexual satisfaction from beating and brutalizing women. As in the first book, there’s not much bad language here; low-life characters use the f-word three times, but in a context where it’s actually the Anglo-Saxon verb these people would use (rather than as an all-purpose expletive, as we hear it nowadays).

Sound historical research underlies the story here, as Robins makes clear in her appended “History and Appreciation.” The details of English criminal law of that day, as given in the book, are accurate; and the attempt to kill one of the king’s sons, the Duke of Cumberland, by his valet Sallis (who committed suicide when it failed) really did take place in May 1810. (In her alternate world here, Robins took the liberty of moving it to August.) And Cumberland actually was, as here, a scandal-ridden High Tory who wasn’t much loved by the populace. An equalitarian feminist subtext set against the backdrop of a very chauvinistic society (and ours really isn’t much less so, though we’re more hypocritical about it) is another strong point here.

Sarah’s a great heroine, who readily earns this reader’s respect and admiration. The snobbier members of Regency High Society don’t consider her a “lady” (and she doesn’t claim to be), and think an unwise choice made in the passion of teenage love should forever brand her as a moral pariah. But most readers will recognize her as a lady, and a classy one, with a very solid moral compass and integrity. And as the best literature always does, this novel focuses on very real moral choices, that will further temper the precious metal of her integrity in a crucible.

There’s no second-in-the-series slump here; if anything, I actually liked this novel even better than the first one! Next year, I’m hoping to read the third installment of the series, The Sleeping Partner.

Author: Madeleine E. Robins
Publisher: Tor, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Willow, by Wayland Drew

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆½

willowTheoretically, this book by Canadian author Wayland Drew is the novelization of the 1988 movie Willow. However, it’s not based directly on the movie itself, but on Bob Dolman’s screenplay (which was itself developed from a guiding storyline written by George Lucas). Much of this screenplay was omitted –and some of it apparently changed, usually to condense and simplify the dialogue and action– in filming the actual movie, and one of the stars (Val Kilmer) ad-libbed most of his dialogue. So the movie actually differs significantly from the book; the latter is much richer in world-building and character development and has a number of significant events that aren’t in the former, and that help to explain some character’s attitudes and choices that are only weakly explained in the film. This means that the relationship of the two is more like that of a movie adapted from a book than that of a typical novelization. It also means it’s harder to identify Drew’s individual modifications and contributions than it would be with most novelizations.

Regardless of the prehistory of the book’s text, though, the finished novel is a fine work of epic fantasy, with well-developed characters, a stirring plot that doesn’t have logical holes, and vivid prose. In general conception, it owes something to Tolkien’s monumental Lord of the Rings series –but few works of post-Tolkien epic fantasy do not, and it has its own distinct premise, plot, characteristics and flavor; any literary influence is simply that, not slavish dependence. Like Sauron, Bavmorda is a power-freak magic-wielder hungry for world domination; but where Sauron is an impersonal, off-stage evil force, Bavmorda is a fully human character we see up close and personal, in all her ugly glory. Drew’s short-statured Nelwyn race has some general similarities to hobbits, and perhaps more to dwarves; but in the final analysis, they’re neither, a race and culture all their own. (And the basic structure of a quest narrative in fantasy goes back long before Tolkien, as do other archetypes that appear here.) But like the LOTR saga, it has a very clear conflict of good and evil, and a recurring theme of the necessity and important consequences of the moral choices we’re called to make and the responsibilities we’re called to shoulder, whether we see ourselves as well-qualified heroic types or not.

Lucas’ influence is evident in a few places, where the Mystery of magic is presented in terms vaguely reminiscent of the Force in his Star Wars saga (the kind of thing Francis Schaeffer referred to as “contentless mysticism”), but this is a minor note that has no real significance for the storyline. A more prominent (and more positive) theme is the strong affection for the natural world that’s evident, with the idea that good people care about the latter, while evil results in defilement and destruction of nature. (This is brought out much more in the book than in the movie.) The book is also grittier and more violent than the movie in places, but it has no bad language (Madmartigan’s h-words in the film resulted from Kilmer’s ad-libbing) and no real sexual content, beyond the implication of womanizing by Madmartigan with an innkeeper’s wife at one point. (That aspect of his character isn’t glorified, and is explained as a reaction to an earlier event in his past.)

The action-heroine aspect of the book is embodied in the character of Sorsha (played in the movie by Joanne Whalley), the most important female character in the tale. She’s Bavmorda’s daughter, raised not to question her mother –but there’s another side to her heritage, too. Her moral journey, and the choice before her, will be one of those most central to the book. She’s also definitely raised as a warrior, really comfortable only in battle, in the camp or on the march, or in the hunt for dangerous game, thoroughly accustomed to handling weapons (she sleeps with a dagger under her pillow), and as tough as nails; we hardly ever see her out of her armor. For fans of the action-female motif, the one complaint here is that she doesn’t have much in the way of actual fighting scenes –just a couple in the entire book, although she acquits herself bravely and capably in both of them. It’s arguably a pity that the plot here didn’t allow more scope for the display of her butt-kicking abilities.

In a fantasy genre that’s overrun by bloated series, this one also has the advantage of being a stand-alone book with a contained storyline and a clear-cut resolution. Lucas actually intended to make sequels to the film, but never did; instead, he wrote a series of follow-up books, the Chronicles of the Shadow War. But these are set after the events here, and aren’t directly related to them, or at least that’s my impression –I’ve never read them. (That’s why Goodreads labeled the book “Chronicles of the Shadow War 0,” rather than giving it a number as an actual part of the sequence.) So this would be a great choice for fantasy readers who don’t want to commit to a multi-volume series! But it’s a solid, rewarding read for any epic fantasy fan.

Author: Wayland Drew
Publisher: Ballantine Books, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

Operation Chaos, by Poul Anderson

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆½

operationchaosPoul Anderson (d. 2001) was one of the leading lights of speculative fiction in the latter half of the 20th century. He’s perhaps best known for his science fiction; but this excellent novel is a sample of his fantasy.

We’re in an alternate mid-20th-century U.S. here, in a world where magic, though dormant since the Bronze Age, somehow reasserted itself around the turn of the 20th century, and became the major force (rather than technology –although here technology adapts to and works with it) that revolutionized modern society, industry and daily life. (For instance, rather than using cars, people travel by broomstick or magic carpet.) The magical system is normally incantational, manipulating impersonal and morally neutral paranatural forces in the world (but the villains may also invoke demonic powers). It’s also a world where science has demonstrated and accepted the reality of Deity, the afterlife, atonement, moral law, and the angelic and the demonic, without establishing (or denying) the truth of any particular theistic creed. That represents our hero/heroine’s take on the spiritual (and apparently Anderson’s as well) –and it’s a theme taken seriously here.

Steve and Ginny, the aforementioned H/h, are, respectively, a werewolf (Anderson’s werewolves, like Anthony Boucher’s, are simply people who can shapeshift into wolves –that doesn’t make them vicious or madly homicidal) and a white witch. When we first meet them, they’re Army officers serving in World War II –but in this reality, the Allies’ main adversary is a restored, brutal Islamic Caliphate (considered heretical by some other Muslims) that’s out to conquer the world and impose its version of theocracy. (This book was published in 1971; it’s interesting to see how subsequent history has developed in the Middle East, with ISIS, etc.) And of course this is a war in which magic is the principal weapon employed by both sides. At the book’s outset, our co-protagonists are tasked with a probably suicidal mission that’s vital to the war effort, and from there the action and the jeopardies continue thick and fast. But their real battle is much bigger than the war, and the real Adversary isn’t the Caliphate. Who is he? Well… he’s our Adversary, too.

Steve serves as our narrator; Anderson uses the conceit that he’s in a trance state, communicating across the ether between alternate realities to share the benefit of his experiences with any receptive inhabitants, who share a common cosmic struggle and destiny. IMO, that device works well. The author’s prose style is conversational, but erudite, with a rich substratum of dry, dead-pan humor in the way things are phrased and the matter-of-fact acceptance of how magic permeates daily life. But this is also a serious book, with lethal violence and life-and-death (or worse) danger, defining moral choices, real psychological depth in places, and underlying spiritual and social messages that are as serious as a heart attack. Anderson’s solid knowledge of worldwide mythology and occult lore enriches the tale, as does his accurate understanding of Gnosticism and its significance. Steve and Ginny are characters readers can readily like, admire and root for. Bad language here is limited to an occasional h- or d-word, and there’s no inappropriate sexual content.

Ginny is a strong, capable woman with a cool head in a crisis, iron nerves and will, quick reflexes and an ability to handle physical challenges thrown at her by demons and elementals. She acquits herself well in combat situations; though she’s mostly up against non-human foes. During the war, though, she proved herself a lethal fighter against enemy soldiers as well (although we don’t actually get to see her most deadly exploit directly –Steve just finds the bodies after the fact!).

All in all, I found this a great read, from a master writer at the top of his game. My wife greatly liked the book, too, as well as another of the author’s novels we’ve read together years ago, The High Crusade. The main female character there, Lady Catherine, isn’t really an action heroine as such for most of the book –but when the chips are down, she can come through, and that book can also appeal to fans of strong heroines.

Author: Poul Anderson
Publisher: Baen Books, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Screaming Staircase, by Jonathan Stroud

  By

Literary rating: ★★★★½
Kick-butt quotient: ☆

screamingstaircaseThis opening installment of the author’s Lockwood and Company series is a brisk-paced tale with easily flowing prose that would be a quick read for most folks. It’s a novel that will appeal to fans of the supernatural, as well as of feisty heroines.

Technically, this could be called fantasy, since it’s set in an alternate England. Aside from the Problem and its ramifications, the setting is much like the real world. (I originally thought it might be supposed to be our world, decades into the future, but a reference to capital punishment existing in England at the time of a 50-year-old murder precluded that idea.) But the ramifications of the Problem are big. For half a century, ghostly apparitions have become VERY common in England (it’s not said whether that’s true in the rest of the world), and universally recognized as real.

The ghostly Visitors aren’t always malevolent; but they can be, and their touch can kill. Curfews keep people indoors at night, iron and other charms are commonly used to ward buildings and people, and agencies that deal with apparitions are respected and profitable. But though most agencies are run and supervised by adults, only some children gifted with the sensitivity can see, hear or sense ghosts directly; and they lose this sensitivity as they become adults. So the field operatives of these agencies are tweens and teens; well-paid for their work, but subject to lethal danger all the same. Lockwood and Co. is atypical in not having adult supervisors; the teen owner and his two associates (one of whom is our narrator, Lucy Carlyle) are on their own.

This brings us to one point that’s admittedly unrealistic. I don’t mean the idea that society would countenance putting minors in harm’s way. If that’s what it took to handle something like the Problem, politicians and pundits who now wax eloquent about protecting children and the merits of child labor laws would hesitate about one nanosecond (if that). But it’s not likely that they’d tolerate three teens living together on their own and running their own business. True, Lockwood’s an orphan. But he’d been “in care” at one time, and I can’t see them voluntarily letting him out of it. Lucy’s a runaway, though not without some reason; and the fact that her Talent made her the main breadwinner for her mother and sister would give the former a big incentive to want her back. (Her cavalier abandonment of her family is the one blot on her character for me; I can see leaving, but not just abandoning without a goodbye or any further thought or contact.) We don’t know where George’s parents are; they’re not even mentioned.

This is Stroud’s way of freeing his teen characters to act on their own without adult guidance, and let his teen readers vicariously fantasize about being free to have their own adventures and show the mettle they think ((sometimes with a basis!) that they have, even if adults don’t agree. It’s certainly a conceptual flaw in the premise, though. (Like Ilona Andrews in her Kate Daniels series, he also doesn’t deal with the massive revolutionary social and ideological implications that a cultural admission that the supernatural is real would have.) But I still found this a great read!

With its teen characters, this is marketed as a YA novel. In keeping with that, it has no sex, hardly any bad language, and no wallowing in ultra-grisly or gross violence (though the feeling of danger is very real). But it’s not in any sense a dumbed-down or pablum read; it’s a quality work, which can easily command the appreciation of adult readers. Stroud delivers a well-constructed plot, excellently drawn main characters whom you readily like (with the single caveat above) and root for, and a style that’s about as pitch-perfect as one could ask for. The tone is mostly serious, and the author is one of the best I’ve read at evoking a menacing Gothic atmosphere in the right places. (If you’re a buff of haunted house yarns, you owe it to yourself to “visit” Combe Carey Hall –vicariously, with the light on.)

But he also knows when to insert a light leavening of humor, and the interactions of his three teens are as real-seeming as they come. Lucy has a great narrative voice. I classified her as an action heroine based on how she handles herself here in life-threatening physical challenges that demand guts, speed, and agility, although the foes she’s combatting aren’t flesh-and-blood humans. Intensely romance-allergic readers can take note that there’s none of THAT here –though I could imagine Lucy and Lockwood as a couple in a few years. And Lockwood’s a smart, resourceful, capable hero, in the psychic detective mold.

Bottom line: this is good, clean supernatural fiction, as it’s meant to be! I think most readers of that genre will eat it up with a spoon.

Author: Jonathan Stroud
Publisher: Doubleday, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Son of the Morning, by Linda Howard

  By

Literary rating: ★★½
Kick-butt quotient: ☆

sonofthemorningTime travel! A smart, strong-inside heroine who learns to kick some butt! Secrets buried in long-lost documents! Medieval knights, and a castle in the Highlands! Action! Danger! Romance (sort of)! What more could one want for a great read? Well –quite a bit, actually, as my literary rating indicates. (To be fair, though, the book has genuine positive points, and my wife –we read it together as our “car book”– has stated that she’d give it four stars.)

The most obvious positive feature is main character Grace St. John. An intellectual, gentle, slightly overweight woman of about 30, who’s never been exposed to violence or significant hardship, in the first chapter she witnesses the sudden, brutal murders of both her husband and her brother, who are her only family and the center of her world. Framed for their killings and forced to flee for her life, with no warning and nothing but the clothes on her back and her laptop, she’s forced to learn to survive on the street, and off the grid. Driven by a determination to avenge her loved ones, take down the killer, and translate the documents that contain the mystery he’s willing to kill for, and needing to stay alive to do that, over time she believably transforms into a street-smart woman who can take care of herself, fight and use a gun if she has to. (And on a couple of occasions she does have to.) She’s a very well-drawn, admirable character that the reader readily likes and roots for.

All of the other major characters are also vivid and well-developed, including a really hateful villain. The plot is nicely constructed, in the main; some aspects are broadly predictable, but it also included a couple of major surprises I did not see coming. Howard writes well, for the most part; there are a lot of finely-turned phrases, touches of wry humor that balance the serious tone, and effective construction of scenes and evocation of atmosphere. (One reviewer complains about the time devoted to Grace’s paralyzing terror, right after the trauma of the killings, over crossing a street to use an ATM machine, and to her problem in finding a place to relieve herself; but to me this was a way of showing the situation she started from, in all its extreme difficulty, and gets us right inside of her head in the midst of it, with no sugarcoating.)

For me, though, the negatives were significant. A major one is the treatment of the Templar angle. Since the 1950s (beginning with a now-discredited hoax which any number of pundits and writers still pass on as fact) a pop-culture mythology has grown up around the Templars as guardians of Deep Dark Secrets that supposedly discredit Christianity. The classical version is that Christ didn’t die on the cross, but rather lived on to marry Mary Magdalene and sire the line that became the Merovingian royal family of France. Howard leaves out the Mary Magdalene-Merovingian scenario, but she creates her own wrinkles on the theme. Regardless of their beliefs about religion, readers with any grounding in serious historical or biblical studies will recognize this as the kind of thing that you might read in a supermarket tabloid. It’s not helped here by the fact that, even taking the book on its own terms, the Templars’ interpretation of the physical evidence that leads them to their supposed theological discoveries is so logically flawed and implausible as to be ludicrous. But this whole motif isn’t introduced until the penultimate chapter. (And on the other hand, Howard does take the existence of God seriously, and has a relatively high Christology; and Grace, in the same chapter, offers an excellent simple explanation of theodicy in terms of free will. So while many Christians will have problems with the book, it won’t please hardcore religion-phobic readers either.)

Howard’s writing background and credentials are rooted in the romance genre; and though the cover of this edition and the cover copy don’t clearly identify this book as a romance, it does embody some of the genre conventions. One of these is explicit sex –of course, not all romance novels feature this, but this one does, to a considerable degree. Except where crucial dialogue is embedded in these scenes, they can usually be skipped over by readers who don’t appreciate that sort of thing (so if you want detailed evaluation of those parts, you’re reading the wrong review!). But the problematic elements here go deeper; for a “romance” genre novelist, Howard can be singularly tone-deaf to what makes for real romance.

It’s no spoiler that Grace and medieval Templar knight Black Niall will be a couple, since the cover copy tells us so. Grace and Niall, during the course of the book, experience a cross-time psychological connection (at first, just in dreams) that allows them, at times, to experience each other’s voice and presence. This is never explained, and doesn’t really come across as credible. But it focuses strictly on intense sexual attraction; there’s very little if any element of getting to know each other as anything but sex objects. That continues when they meet in person. Given that Grace is portrayed as a person who takes sex seriously and has never been with any man but her husband, this comes across, as even she recognizes, as out of character. It isn’t really plausible either, and rather than making the relationship come across as a “love for all time,” as the cover copy bills it, it seems more like a heat period. I didn’t feel any kind of personal emotional connection between hero and heroine for most of the book. And while I respect Grace for her past scruples, the juxtaposition with Niall’s background of womanizing, and the unspoken implication that this somehow verifies his virility and desirability as a partner, tends IMO to reinforce a really unhealthy double standard for males and females.

A couple more quibbles are worth mentioning. Howard has done some historical research, shown by the array of apparently accurate factoids she can muster here and there. But it’s apparent that her research consisted of mining for factual snippets in areas where she realizes that she’s ignorant. She does not have a general warp-and-woof knowledge of the medieval world, and that allows her to make a few noticeable (to me, at least) errors. I was also frustrated with the plot device of a character being secretive without any good reason to be, simply to artificially exacerbate the conflict. So on balance, I did like the book; but it wasn’t the four or five-star read it could have been with different handling.

Note: There is some bad language here, including a number of f-words, which come mostly from the villain(s); but even some of the good characters cuss some.

Author: Linda Howard
Publisher: Pocket Books, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.