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An Interview With DAVE HUTCHINSON by George Sandison

61b127488e3dc8bfdaca50ccc7ccc062_original 2084

Unsung Stories (unsungstories.co.uk)

Currently on Kickstarter: unsungstories.co.uk/2084

Indie publisher Unsung Stories are currently running a Kickstarter project to fund the release of 2084, an anthology of dystopian fiction from some of the biggest names in the genre. Fully funded within the first 24 hours, the anthology is now heading towards its third stretch goal. You can find out all the information you need, and back this awesome project, here. In case you need any further encouragement, check out the current list of contributors:

    • Jeff Noon
    • Christopher Priest
    • James Smythe
    • Lavie Tidhar
    • Aliya Whiteley
    • David Hutchinson
    • Cassandra Khaw
    • Desirina Boskovich
    • Anne Charnock
    • Ian Hocking
    • Oliver Langmead
    • Courttia Newland
    • Irenosen Okojie

To celebrate the birth of this ambitious anthology, Unsung Stories publisher, George Sandison, has interviewed author Dave Hutchinson about his story, the anthology and lots more. So, sit back, relax and enjoy the video below.

The 2016 Round-Up

Another year coming to an end (and one many of us will be very happy to see the back of), which means its time for me to do a quick round-up and list my favourite books of the year. I’m late getting this out this year, so if you’re looking to buy any of these books as presents, you’ll need to get the finger out!

THE ROUND-UP

Goodreads informs me that I have read 84 books during this year, which is considerably more than any previous year. A massive 55 of these were by authors I haven’t read before, and 23 of those were debut works. 2016 was an excellent year for fiction debuts, and my debut Top Ten below was much more difficult to produce than the non-debut Top Ten. This years figures also include a miserable 4 pieces of translated fiction.

Unfortunately, last year’s laziness persisted, meaning that not every book that I read got a review on Reader Dad. My aim is to do much better in 2017, and I have given the site a bit of a spruce-up in anticipation of a much more active year. As a result, many of the books in the lists below don’t have links to existing reviews, but I’ll try to summarise quickly why I loved them so much. The books appear in the order in which they were read and, as always, only books originally published in the UK during 2016 are included.

So, without further ado…

MATT’S TOP DEBUTS OF 2016

IN A LAND OF PAPER GODS by Rebecca Mackenzie (Tinder Press)

The first book I failed to review is also one of the earliest I read this year. Rebecca Mackenzie’s In a Land of Paper Gods introduces us to 10-year-old Henrietta Robertson, the daughter of British missionaries attending a boarding school in China. As the threat of war looms in the background, Etta finds herself at the heart of the Prophetess Club, convinced that she is privy to God’s divine will. A beautiful coming-of-age story that is by turns hilariously funny and darkly sinister.

   
TALL OAKS by Chris Whitaker (twenty7)

Welcome to Tall Oaks, the epitome of small-town America, a town in mourning following the disappearance of a young child. As the child’s mother leads the search, constantly bombarding the town’s sheriff with requests and information, the rest of the small town’s residents try to get on with their lives, despite the ever-present spectre. Comic noir at its very best, Tall Oaks is a showcase for Chris Whitaker’s already-impressive talent. The characters are the driving force behind this story, and they will remain with you long after the story has finished. This is an absolute gem.

   
HEX by Thomas Olde Heuvelt [trans: Nancy Forest-Flier] (Hodder & Stoughton)

HEX reads like the work of a much more mature and developed author, so it’s a surprise to discover that it is Thomas Olde Heuvelt’s debut. Tension and horror combine to make this a story that is impossible to put down, as the deepening sense of unease suddenly flares into all-out shivers that run the length of your spine. Wonderfully written – and presented here in an excellent translation by Nancy Forest-Flier – and perfectly-judged, HEX is old-fashioned horror with a modern-day twist done right. It’s a story that will stay with you long after the lights have gone out, and places Thomas Olde Heuvelt high on this reader’s must-read list.

   
THE LAST DAYS OF SUMMER by Vanessa Ronan (Penguin)

While The Last Days of Summer doesn’t appear to be my usual fare, this is one of those cases where the book cover seriously lets down the story within. This is humanity laid bare, with all of our foibles and petty arguments on show for the world to see. This is a book that I can’t help but unashamedly and unreservedly recommend to anyone, and Vanessa Ronan proves that she has a talent that will quickly set her amongst the greats of whichever genre she chooses to write in. I’m an instant fan, and will be watching Ronan’s career with an eagle eye in the years to come. Do not miss this book.

   
SOCKPUPPET by Matthew Blakstad (Hodder & Stoughton)

Brilliant writing and a story that is relevant to every person who has ever used a networked device combine to make Sockpuppet one of the standout debuts of the year. Behind the apt (if coincidental) grinning pig on the front cover is a story that grips you from the outset and leaves you wishing for more as the final page is turned. Darkly comic but intrinsically frightening, this is a cautionary tale of an all-too-possible near future and marks Matthew Blakstad as an extremely talented new voice in the world of speculative fiction.

   
THE COUNTENANCE DIVINE by Michael Hughes (John Murray)

Deftly tying together four different stories from four different time periods, Michael Hughes’ debut novel is a sublime work of art. Beautiful writing gives us four very distinct and recognisable voices as we follow John Milton’s seminal work from its creation in 1666 to its significance on the Millennium bug in 1999. This is, quite possibly, the best book I’ve read this year.

   
THE WOLF ROAD by Beth Lewis (The Borough Press)

The Wolf Road is a novel that ignores genre boundaries in order to be the best story it can be. Beth Lewis writes with a confidence and sense of control that belies her debut novelist status. Through the characters, the language, the geography, the brief world history, she has constructed a complex and satisfying story that is at once thriller and horror, Western and crime drama, speculative fiction and character study. The result is so much more than the sum of all these components: an engrossing story built around a unique and memorable protagonist, a standout piece in a year filled with big-name releases. Get on at the ground floor – you’ll be hearing a lot about Beth Lewis in the coming months and years, so take the time to enjoy that sense that you’ve discovered The Next Big Thing before everyone else.

   
VIGIL by Angela Slatter (Jo Fletcher Books)

Vigil is a brilliant debut novel from an exciting writer who cut her teeth on short stories. Pacy and engaging, it’s a book that demands to be finished once it has been started. Verity Fassbinder is a name, and a character, not quickly forgotten by the reader, sure to become a staple of the genre as the series progresses, as instantly recognisable as, say, Sookie Stackhouse or Katniss Everdeen. Angela Slatter is a confident and talented writer whose ability to build worlds is surpassed only by her skill in populating them. A complete story in its own right, Vigil is, nevertheless, the first book in a series, and it leaves the reader gasping for more as it draws to a close. Already one of my favourite books of the year, I can’t help but recommend this to everyone.

   
SECURITY by Gina Wohlsdorf (Algonquin Books of Chapel Hill)

One of this year’s gems, Security is one of the finest horror novels to be produced in quite a while. Slick, clever and with a clear, engaging voice it should put author Gina Wohlsdorf firmly on the map, alongside some of finest young writers working in the genre today: Lebbon, Keene, Littlewood, Langan. It’s a book that cries out for a second read, if only to plug the inevitable gap until the author’s second novel, and is a must-read for anyone who enjoys intelligently-written horror fiction. I really can’t recommend this highly enough.

MATT’S TOP NON-DEBUTS OF 2016

TRAVELERS REST by Keith Lee Morris (Weidenfeld & Nicholson)

Reminiscent of King’s Desperation and Jackson’s The Haunting of Hill House, Keith Lee Morris’ latest novel – the first to be published in the UK – is an intense and gripping story that succeeds in its aim to unsettle the reader, to turn what we think we know on its head and leave us stranded with the Addison family in the strange little town of Good Night, Idaho. Wonderful writing and excellent characterisation combine to keep the story very much grounded in reality, despite the unnerving and unusual sights we will see during our stay in the Travelers Rest. A fine new voice in horror fiction, Keith Lee Morris shows an impressive talent and a deep understanding of his chosen genre. I’m interested to see where his talents take him next; in the meantime, Travelers Rest should be on your list of books to read this year.

   
13 MINUTES by Sarah Pinborough (Gollancz)

Having skimmed through my reviews of previous Pinborough novels, I can see they are overflowing with gushing hyperbole. 13 Minutes shows that every word of it is true, as if we needed any further confirmation following last year’s stunning The Death House. This is the work of a writer at the very top of her game, one who is comfortable turning her hand to any subject, any genre. It’s a book that you won’t want to put down once you’ve started it, drawn in by the characters who are barely restrained by the book’s pages and by the author’s glorious ability to manipulate the reader in the same easy manner that she manipulates her creations. If you haven’t read Pinborough before, 13 Minutes is as good a place to start as any. If you have, then what are you waiting for? While you may not know what to expect story-wise, there’s one guarantee: there are very few writers as talented and as readable as Sarah Pinborough and 13 Minutes is an excellent new addition to an unsurpassed body of work.

   
THE FIREMAN by Joe Hill (Gollancz)

In all, The Fireman is an excellent showcase for the talents of Joe Hill. I mentioned earlier that I think it’s likely to be his breakout novel, the story that spreads his name outside the genre. Yes, this is a grim look at post-apocalyptic America, but it’s a very different take than anything we’ve seen before. And more than that, it’s a story about people, about humanity’s acts of kindness and of evil. It’s a story about love, community, family. A story about hope, and how we cope when hope seems lost. Intense, beautiful and completely engrossing, The Fireman is Joe Hill’s finest novel to date, the work of a confident and mature writer for whom words are the building blocks of pure magic. It’s amongst the best novels I – or you – will read this year, and one I will be revisiting with the same frequency that I do its forebear. Essential reading for everyone, this is not to be missed.

   
THE ARRIVAL OF MISSIVES by Aliya Whiteley (Unsung Stories)

Aliya Whiteley’s follow-up to her first novella, The Beauty, is as deeply affecting and beautifully written as its predecessor. A very different beast, The Arrival of Missives weaves history and speculative fiction together and presents us the link in the form of the characters at the centre of the tale. While the novella seems to be Whiteley’s medium of choice – and it is one that certainly works well for her – this reader yearns to see her turn her hand to the much longer form in the near future. An incredible talent, Aliya Whiteley continues to astound and delight, and The Arrival of Missives confirms what anyone who read The Beauty already knew: these books, and this writer, are not to be missed, under any circumstances.

   
END OF WATCH by Stephen King (Hodder & Stoughton)

Perhaps the strongest book of the trilogy, End of Watch is a welcome return to the unnamed city that is the home of Bill Hodges and the assortment of characters with whom he consorts. As with all of King’s work, the characters are key, though the reader can’t help but be impressed by the groundwork the author has already laid in earlier volumes to support the grand finale that he presents here. Despite his age, King shows that he is still as relevant, still as in-touch with the world we live in, as younger generations of writers, and proves, once again, that when it comes to transporting the reader into his fictional worlds, he remains without equal.

   
THE CITY OF MIRRORS by Justin Cronin (Orion Books)

Without a doubt the best of the trilogy, The City of Mirrors provides a satisfying conclusion to the story started over six years ago. I can almost guarantee that readers will come away from this volume with an intense desire to go back to the start and read through to the end. It’s a project I will be undertaking myself in the near future. Justin Cronin is a master storyteller and his post-apocalyptic vision stands alongside the genre’s finest. With The City of Mirrors, a wonderful story in its own right, he also shows an ability to deliver on the promises he made in earlier volumes. An engrossing plot coupled with characters who are at once familiar and strangely changed – whether because of the four years that have passed in real time since we last met them, or because of the twenty years that have passed in the course of the narrative it is difficult to say – brings a fitting close to one of the best pieces of horror fiction produced in the past decade. This is hopefully not the last the genre has heard of Justin Cronin. I can’t help but recommend this – and the preceding two volumes of what can only be described as his masterpiece – unreservedly.

   
LYING IN WAIT by Liz Nugent (Penguin Random House)

Liz Nugent’s writing is beautiful, the voices of the three narrators perfectly pitched, the quirks and tics we might expect in their speech beautifully translated to the written form. From the opening page, Nugent holds the reader in the palm of her hands, so the gut-punch she delivers as the novel draws to a close feels like a physical thing, leaving the reader stunned and disbelieving, emotionally drained yet already hoping for more more MORE! I missed Nugent’s debut, Unravelling Oliver, when it came out in 2014, but it’s definitely on my must-read list even as I try to recover from the effects of this one. An incredible novel, Lying in Wait is a lightning-fast read that should be an essential item for anyone packing for holiday. It cements Liz Nugent’s place as one of Ireland’s finest living novelists, and places her, at the very least, on this reader’s “must-read” list.

   
UNDYING: A LOVE STORY by Michel Faber (Canongate)

Undying: A Love Story is less love story and more love letter, the poems all addressed to Eva herself. It’s an intimate and devastating insight into what can only be described as a very personal experience of two people who are obviously very much in love. It is essential reading, but should only be started when you’re sure you have time to read it cover to cover. Keep a box of tissues handy, but be prepared for moments of pure beauty amidst the darkness. Beautiful, life-changing, unmissable.

   
A CITY DREAMING by Daniel Polansky (Hodder & Stoughton)

Shifting his focus from fantasy worlds to the one in which we live, Daniel Polansky gives us his version of New York. Well, the dark and magical underbelly at any rate. With writing and characterisation that made The Low Town Trilogy such a success, A City Dreaming is engrossing, captivating and, at times, very VERY funny. Reminiscent of Gaiman at his best, A City Dreaming shows Polansky back on top form.

   
THE WONDER by Emma Donoghue (Picador)

Emma Donoghue’s latest novel takes readers back to the Irish Midlands in the middle of the 19th Century. Hired by the council of a small village, Nightingale alumnus Lib Wright’s job is to watch 11-year-old Anna O’Donnell for two weeks in an attempt to determine how the girl remains healthy despite the fact that she hasn’t eaten a bite in four months. With a fine grasp of how the Irish work, and an uncanny ability to tell a story that keeps the audience captivated start to finish, Emma Donoghue’s latest novel is her finest since Room.

   
PAINKILLER by N. J. Fountain (Sphere)

Part examination of the oft-misunderstood phenomenon of chronic neuropathic pain, part thriller, N.J. Fountain’s latest novel takes the reader on a twist-filled journey through the life of Monica Wood. A full review of Painkiller will appear on Reader Dad soon.

AND AN HONOURABLE MENTION…

Technically, since this book was originally published in 2006, it shouldn’t be included in this year’s list. But the release of the beautifully-illustrated Tenth Anniversary Deluxe Edition is all the excuse I need to give it an honourable mention.

THE BOY IN THE STRIPED PYJAMAS by John Boyne & Oliver Jeffers (Doubleday)

From its light-hearted opening line to its inevitable and horrific end, The Boy in the Striped Pyjamas is a gripping and essential take on one of humanity’s darkest moments. Boyne pulls no punches, despite the child’s-eye view that he uses to tell much of the story, and the reader comes away from the experience a changed – and extremely damp-eyed – person. While it is ostensibly a book aimed at children (I can’t wait until my own child is old enough to read it with me), this is a book that deserves to be read by everyone, an important story that – especially in these dark times where many seem to be forgetting the lessons of the past – is perfectly-pitched to give our children an early glimpse of the horrors inflicted on the world by Nazi Germany. A tough read (especially when you know what’s coming), The Boy in the Striped Pyjamas remains one of the best books I’ve ever read, and this tenth anniversary edition marks both John Boyne and Oliver Jeffers as national treasures, men in whose hands the education and edification of our children are safe. If you haven’t read The Boy in the Striped Pyjamas, I would urge you to do so. If you have, don’t you think it’s about time for a revisit?

COMING SOON . . .

2017 is already shaping up to be an excellent year of fiction, with the first three books I have read that are due out in January already almost certainly claiming a place on next year’s best-of lists. Expect a revitalised Reader Dad in the New Year with a busy January already planned.

All that remains is for me to thank the wonderful publicists and publishers who keep me stocked with such excellent reading material; the fantastic authors who not only provide these excellent reads but who, in many cases, give up time and energy to write guest posts or provide answers to my inane Q&As; and you, the readers, for your continued support: without you, I’d just be talking to myself.

Wishing you all a very Merry Christmas, and a Happy, Safe and Prosperous 2017.

THE ARRIVAL OF MISSIVES by Aliya Whiteley

THE ARRIVAL OF MISSIVES - Aliya Whiteley THE ARRIVAL OF MISSIVES

Aliya Whiteley (aliyawhiteley.wordpress.com)

Unsung Stories (www.unsungstories.co.uk)

£9.99

The Great War is a not-too-distant memory, and England is still in the process of recovering from the horror and loss that it wreaked. Teenager Shirley Fearn lives in the small village of Westerbridge, where she attends the local school taught by Mr Tiller and harbours the desire to become a teacher herself. As the village prepares for the annual May Day celebrations, Shirley discovers Mr Tiller’s terrible secret, and learns of the missives he receives from a mysterious source. Mr Tiller has made it his life’s work to change the future of mankind, and enlists Shirley’s help. But where Mr Tiller sees something that must be avoided at all costs, Shirley sees only opportunity and a new form of repression that isn’t much different from that which rules her everyday life.

When we first meet Shirley Fearn, she appears to be much like any stereotypical young lady from the early twentieth century: she is madly in love with her teacher, the mysterious Mr Tiller, and spends her days planning their future together. But Shirley has a spark of individuality, an ambition to become a teacher that sets her at odds with her family and friends. The Shirley who takes over the story as May Day arrives is a much different person to the young girl who has accompanied us thus far: she is more determined, surer of her own value to humanity.

Mr Tiller has recently returned from the front lines, a limp the only outward sign of the terrible injuries that he has received. The women in the village see him as less than a real man while Shirley, blinded by her childish crush on him, sees his differences as a good thing.

No, Mr Tiller is not what passes for a real man in these parts, and all the better for that.

As the story progresses we learn the true nature of Mr Tiller’s injury, and the mental torture that comes along with it. Like Shirley, we are drawn into his confidence and become complicit in his plans to obey the plea that his mysterious missives carry, and of the possible future that awaits humankind.

The Arrival of Missives, for all its brevity, is a story of two distinct halves. From the start, it’s a wonderfully-written examination of life in rural post-War England, and of the mind-set and mores of the people who populate it. In Shirley Fearn we have the perfect protagonist to guide us through this strange old world – a teenage girl who has hopes and dreams of her own, but whose life has already been mapped out in this male-dominated world by her parents to a certain extent, but mainly by the town and the town’s expectations. She feels herself inexorably drawn towards Daniel Redmore, a young man not much older than she is, but finds herself resisting partly because of Mr Tiller, and partly because it is assumed by everyone that they will end up setting up home together.

The latter part of the story is an allegorical feminist manifesto of sorts, though by no means the hectoring, anti-male rhetoric that those two words suggest to many. When Shirley hears Mr Tiller’s missives first hand, something inside her breaks, and forces her to question her very nature. Mr Tiller’s future disaster seems much less troubling to Shirley, especially when she works out why. The reader is drawn into this argument and forced to decide for themselves: in much the same way that history differs depending on the teller, surely, too, the future must look different depending upon through whose eyes it is viewed.

‘It shows humanity,’ he says.

‘One part of it. One part, one group, with a message that has truth only to those who choose to believe it.’

What is interesting is how directly the book speaks to the speculative fiction community, and the frequently lambasted male-dominated science fiction community in particular.

My only clue lies in the fact that they have one thing in common. They are all pale old men…how can there be no people of China, or the East Indies? No youths? No women, no women at all? How is that possible?…I will not be a foot soldier for pale old men, no matter where they live or what pretty patterns they weave.

It is, undoubtedly, an important message, but one that is interwoven so closely with Shirley Fearn’s tale that it comes as a natural consequence, rather than as the aforementioned feminist manifesto around which a story has been constructed.

Aliya Whiteley’s follow-up to her first novella, The Beauty, is as deeply affecting and beautifully written as its predecessor. A very different beast, The Arrival of Missives weaves history and speculative fiction together and presents us the link in the form of the characters at the centre of the tale. While the novella seems to be Whiteley’s medium of choice – and it is one that certainly works well for her – this reader yearns to see her turn her hand to the much longer form in the near future. An incredible talent, Aliya Whiteley continues to astound and delight, and The Arrival of Missives confirms what anyone who read The Beauty already knew: these books, and this writer, are not to be missed, under any circumstances.

GUEST POST: The Arrival of Opportunity by ALIYA WHITELEY

Name: ALIYA WHITELEY

Author of: THE BEAUTY (2014)
                 THE ARRIVAL OF MISSIVES (2016)

On the web: aliyawhiteley.wordpress.com

On Twitter: @AliyaWhiteley

Aliya Whiteley’s second novella, The Arrival of Missives, goes on sale on Monday 9th May. To celebrate the book’s launch Reader Dad is very pleased to welcome Aliya back to talk about the book’s origins.

There are lots of brave young women out there in literature but I never wanted to write one myself.

I’ve certainly loved many of them. I reread Jane Eyre many times and winced at Emma Woodhouse’s mistakes. I recognised the yearnings of Ursula Brangwen and held my breath for the nameless bride in Rebecca. Modern books have given me female leading characters who are perhaps more action driven (which you could say is a trend in popular entertainment generally) in the form of Halo Jones, Lisbeth Salander, and Lyra Belacqua. But the more these characters found themselves in incredible and dangerous situations, the less able I felt to create one myself. I wouldn’t be writing from a position of empathy. I didn’t feel I would make the same choices if I ever got thrust into such interesting perils. As a teenager I was bookish and quiet (well, I still am). I wished for excitement and did nothing about finding it in any place other than within the pages of the stories I loved. And I certainly didn’t want to create a heroine like myself – what would be the fun in reading about that?

But then The Arrival of Missives popped into my head, and I started to write a story that, as a writer, terrified me. I didn’t have the emotional distance from my lead character that I thought I needed to make it work. My own experience of being a young woman, dreaming of a future I was also scared of, kept getting in the way.

Somerset in 1920. Shirley Fearn is a bright young woman who has opinions about the immorality of war and the importance of love. She feels passionately about education as the tool that can guide young men towards making a better world. She also feels passionately about her mysterious schoolmaster, Mr Tiller. She has plans for her future. For everyone’s future.

When I first started to get into her voice I thought of her as the opposite of me. I soon realised that she was utterly recognisable: not in deeds, but inside her head. I was giving her thoughts and feelings that I had experienced as a teenager. I might have been quiet, but I had lots of opinions. It’s not a question of what both Shirley and I were thinking, but when and where the opportunity arose to express those thoughts.

Writing Shirley made me realise that character and opportunity are not automatically the same thing. Often the situation of the book controls characterisation, feeding into the idea that we learn from our experiences and become the sum of them. This is the act of making meaning from our lives. So Ursula Brangwen (a huge influence on The Arrival of Missives) becomes a teacher and finds the experience changes her. She recognises the intense, seething battle taking place between the young and the old for power, and therefore must decide on what side of that battle she lies. DH Lawrence was a master of this organic growth from event to action to internalisation, I think, and the struggle this creates in us all.

How Ursula views that relationship between age and youth is, though, entirely a creation of her mind. She has such strength of will, and it paints the world around her. That’s what helped me to write Shirley. Very strange things happen to her (events that we might characterise as science fiction or even horror in terms of literary genre) and yet she sees them all as a reinforcement of her world view. I found that I loved writing Shirley’s forceful decision to interpret all the things that happen to her, and her small village, as steps towards the future she wanted.

When I reached the end of Shirley’s story she had changed; what’s the point of writing if people, characters or otherwise, aren’t changed by it? But I’m still not sure if the change within her breaks my heart or reassures me. I suppose we all have to alter to grow. We can’t stay the same, and character can’t be an excuse for stagnation on the page or in real life.

Having said that, I’m still quiet and bookish. But it doesn’t worry me so much any more. It turns out that being afraid of whether life will ever give you an opportunity – whether the unique things inside of you that makes up your character will be wasted – is a big part of being young. Writing Shirley Fearn reminded me of that, and also proved to me that the thoughts are equally as important as the actions. It’s how the two relate to each other that decides the future, whatever it may be.

missives tour

The 2015 Round-Up

As 2015 draws to a close, it’s time to take a step back and reflect on the year that has been. As is now “traditional”, I’ll be using this post to talk about my favourite books of the year, but first a quick blast through some of the non-bookish stuff that happened in the past twelve months.

For me, 2015 was always going to be significant because it’s the year in which I turned forty (so old!) and, thanks to my wife, I spent my fortieth birthday fulfilling the lifelong ambition of visiting KL Auschwitz and the nearby city of Kraków (I’ll talk more about this early in the New Year). 2015 also saw the release of the much-hyped latest instalment in the Star Wars franchise, a film that did not disappoint, and which reawakened (pun most definitely intended) something of the child buried deep within this forty-year-old body, helped in no small way by the fact that I was able to share the experience with my six-year-old son, who bears all the hallmarks of becoming twice the nerd his father is.

THE ROUND-UP

As the reading year closes, Goodreads informs me that I have read 74 books, and I’m likely to finish both my current paperback and audiobook reads before the end of the day. Of these, 34 are by authors I have never read before, and 13 of those were debuts. A miserly seven were translated fiction, and you’ll find a few of them on the lists below.

Eagle-eyed readers will spot that only 34 reviews were posted on Reader Dad during 2015, which falls way short of the 74 books completed. I can only apologise, and my only excuse is laziness. My aim for 2016 is to get back to a more regular review schedule and to review, if not everything I read, then the vast majority of it. As a result, many of the books in the top ten lists below don’t have links to existing reviews.

The lists, as always, are presented in the order in which the books were read, so don’t attach any importance to their relative positions.

MATT’S TOP DEBUTS OF 2015

ARAB JAZZ by Karim Miské [trans: Sam Gordon] (MacLehose Press)

Arab Jazz, I have on good authority, is the first novel in a proposed trilogy. Based on the strength of this stunning debut novel, consider me signed up for the rest of the journey. Beautifully written – and translated, for that matter, by Sam Gordon – this is a wonderfully-plotted novel by a man who obviously has deep respect – if not love – for the genre, and for the authors and filmmakers who have practiced it before him. An exceptional debut from an exceptional talent, watch out for Karim Miské: his is a name you will be hearing a lot in the future.

THE DEFENCE by Steve Cavanagh (Orion Books)

The Defence heralds the arrival of a fresh new voice in Irish crime fiction, a voice that is as authentically American as the character at the centre of this excellent debut novel. A gripping read from first page to last, it is a new breed of thriller that nevertheless pays its dues to those who have come before: Jack Reacher, John McClane and, maybe, Perry Mason. Cavanagh’s is a name you should expect to hear a lot of in the coming years, and Eddie Flynn is destined to become as instantly recognisable as his forebears. In a word: unmissable.

DARK STAR by Oliver Langmead (Unsung Stories)

One of the most interesting and original books you’ll read this year, Oliver Langmead’s Dark Star is one of those gems that creeps up and takes you by surprise. Beautifully written, masterfully plotted, and built around a character that is at once a complete stranger and an old friend, it sucks the reader in from the opening stanza, and holds the attention to the very last word. There are ideas and concepts here that will leave you wide-eyed with wonder, alongside wise-cracks that might have dropped fully-formed from the nib of Raymond Chandler’s pen. In short, a masterpiece, and a story you really won’t want to miss.

JAKOB’S COLOURS by Lindsay Hawdon (Hodder & Stoughton)

Beautiful and horrific, Jakob’s Colours is an intense and gripping examination of one person’s experiences during the Second World War, written in a way that examines how an entire race of people suffered during that war. Lindsay Hawdon’s writing is beautiful, her characterisation pitch perfect, her ability to terrify and sicken eclipsed only by her ability to make us smile, to appeal to our maternal or paternal instincts for this small boy on his own. Like any book whose subject is genocide, it is difficult to come away from Jakob’s Colours feeling that you’ve enjoyed yourself, but it is an important book, a story that is still very relevant seventy years after its setting; this is a book that demands an audience and I can guarantee that you will not come away disappointed.

THE ENCHANTED THE ENCHANTED by Rene Denfield (Weidenfeld & Nicolson)

I didn’t review this book at the time because I didn’t think I could do it justice. Told from the point of view of a prisoner on death row, it intertwines his story with that of an investigator tasked with getting the sentence of a fellow inmate commuted. Beautiful and haunting, it’s an accomplished first novel that will leave you gasping for more.

Small Angry Planet THE LONG WAY TO A SMALL ANGRY PLANET by Becky Chambers (Hodder & Stoughton)

Without doubt, the best piece of science fiction you’ll read this year, or any year. Following Rosemary Harper’s first few months as a member of the Wayfarer’s crew, this wonderful novel focuses very much on the characters as a way to tell its tale. And what a bunch of characters they are! Reminiscent of the dear-departed Firefly, the novel has an episodic structure that means each chapter is a self-contained “story” that, when combined, produces a fun, action-packed space opera adventure that should not be missed.

DRY BONES IN THE VALLEY by Tom Bouman (Faber & Faber)

There are echoes of William Gay in Bouman’s writing, even with the northern setting, and the central premise has the feel of Longmire about it. Despite the light tone, and the friendliness of Henry Farrell, there is a hard edge to Dry Bones in the Valley, a tension that oozes from the pages to the point where it feels like Henry is putting on an act to put us at ease as we navigate the almost incestuous relationships that define Wild Thyme. It is a beautifully-written work that sucks the reader into this strange and beautiful world. The solution to these horrific crimes becomes secondary as the novel progresses, the voice of Henry and his stories and observations the main reason we’re in this to the end. Henry Farrell is the type of character that deserves further outings, though his current placement is likely to make that difficult (just how many people can die in a small town before it becomes ridiculous? I’m looking at you, Midsomer!). One thing is for sure: Tom Bouman is a writer of considerable talent, and Dry Bones in the Valley, one of the best pieces of detective fiction I’ve read in some time, is just the tip of the iceberg.

The-Loney THE LONEY by Andrew Michael Hurley (John Murray)

Another stunner that I failed to review at the time. Quietly disturbing and beautifully written, this is the horror debut of the year. Hurley is already on my must-read list.

 

MATT’S TOP NON-DEBUTS OF 2015

THE DEATH HOUSE by Sarah Pinborough (Gollancz)

Sarah Pinborough proves yet again that she is an exceptional writer regardless of genre. And therein lies her biggest problem. I’m not sure how Gollancz aim to market this one: science fiction? Dystopia? Young adult? Either way, its audience is likely to be limited to people who read the genre in question. The Death House, Pinborough’s finest novel to date, should be required reading for everyone who enjoys spending time with a good book. A worthy successor to those great books that influenced it, The Death House is the best book you’ll read in 2015, guaranteed, and Sarah Pinborough cements her place as one of our finest living novelists.

THOSE ABOVE by Daniel Polansky (Hodder & Stoughton)

Dark fantasy with a decidedly military bent, Those Above is the perfect opener for Daniel Polansky’s career beyond Low Town. With his unmistakeable voice and his highly original new world, he draws the reader slowly in until it’s impossible to put the book down and escape back to reality. A brilliant start to what is sure to be one of the fantasy epics of all time, Those Above is the work of an author at the top of his game and brings with it the promise of a lot more to come.

CREATIVE TRUTHS IN PROVINCIAL POLICING by Paula Lichtarowicz (Hutchinson)

Anyone picking up Creative Truths in Provincial Policing expecting something in a similar vein to The First Book of Calamity Leek will be surprised at just how different Paula Lichtarowicz’s second novel is. But the key elements are all here: well-drawn characters, an engaging and very original plot, and a narrative voice like no other. Creative Truths is a wonderful second novel and one that is impossible to put down once you’ve made the start. It cements Lichtarowicz’s place as an author worth watching and leaves the reader wishing and hoping for more. You may not come away with a burning desire to visit Vietnam, but you won’t read crime fiction in quite the same light ever again. Either way, it needs to be one of your must-reads for the year.

I AM RADAR by Reif Larsen (Harvill Secker)

There are touches of beauty and genius between the covers of I Am Radar. It’s an engaging and emotionally-charged novel that is guaranteed to keep the reader engrossed for the duration. Filled with characters with their own stories to tell – the cast of I Am Radar could populate an entire library of novels – I Am Radar is the perfect fusion of story and design to create something unique, enduring and wonderfully quirky. Funny and touching, exciting and horrifying, it marks a welcome return for Reif Larsen, and a novel you most definitely will not want to miss.

THOSE WE LEFT BEHIND by Stuart Neville (Harvill Secker)

With Those We Left Behind, Stuart Neville leaves behind the crimes of post-Troubles Belfast, and focuses on the everyday crimes of a growing, maturing city. A masterwork of misdirection, this is a well-written novel by an author who seems to have found his groove, producing novels that are more challenging for both himself and the reader with each consecutive release. Stuart Neville is at the forefront of the Irish crime fiction movement, and Those We Left Behind is an excellent example of why that’s the case. The perfect jumping-on point for new readers, this is also a very welcome addition for long-time fans, and will leave both groups crying out for more: more Stuart Neville; more Serena Flanagan.

ALL INVOLVED by Ryan Gattis (Picador)

All Involved is, in short, an incredible piece of fiction set against one of the darker periods in America’s recent history. Intricately plotted, finely detailed, this is a beautifully-written novel that gives the reader some insight into the mind-set of the people involved in what can only be described as a fictional representation of something that could very well have happened while all eyes were looking elsewhere. Ryan Gattis has proven himself to be a writer of considerable talent, with an ear for language and inflection that allows him to create living, breathing characters who seem to jump off the page. Expect to have trouble putting this one down once you’ve started reading but under no circumstances should you miss this opportunity to watch a true master at work.

FALL OF MAN IN WILMSLOW by David Lagercrantz [trans: George Goulding] (MacLehose Press)

David Lagercrantz is a name that you’ll have heard a lot recently, as he has written a follow-up to Stieg Larsson’s Millennium Trilogy, which sees worldwide publication later this year. Fall of Man in Wilmslow is the first of his novels to get an English translation, and shows that he is a writer of considerable talent. In much the same way that Jöel Dicker’s The Truth About the Harry Quebert Affair is the perfect American novel, here Lagercrantz has produced something that feels truly English, from the sleepy setting of Wilmslow, to the character of Leonard Corell. Beautifully written – not to mention wonderfully translated by George Goulding (a new name for me) – it is at once a brilliant portrait of one of the nation’s (not to mention my own personal) heroes, an engaging mystery, and a shocking look at the values and opinions of the English in the early 1950s. An unexpected gem, Fall of Man in Wilmslow is one of my favourite books of the year so far, and leaves me with the hope that we’ll see more of Lagercrantz’s work translated (beyond summer’s The Girl in the Spider’s Web) in the very near future.

As an aside, The Girl in the Spider’s Web was an exceptional follow-up to Larsson’s Millennium Trilogy, and probably would have secured a place on this list had Fall of Man in Wilmslow not been released the same year.

SEVENEVES by Neal Stephenson (The Borough Press)

A weighty tome, yes, but Seveneves grabs the reader with its opening line and holds their attention for the five thousand year and almost 900-page duration. This latest addition to Neal Stephenson’s canon has all of the author’s trademarks – great characters, great premise, plenty of technical detail and a wicked sense of humour – and adds another string to a bow that already encompasses multiple genres and technical areas. Stephenson is a rare beast: a polymath with the ability to tell an engaging and entertaining story. Seveneves is an excellent addition to a body of work that includes genre classics like Snow Crash and Cryptonomicon, old-fashioned hard science fiction in the style of Asimov, and shows, once again, that Stephenson is a writer to be reckoned with, one of our greatest living storytellers.

STALLO by Stefan Spjut [trans: Susan Beard] (Faber & Faber)

Stallo is not Stefan Spjut’s first novel, but it is his first in the horror genre. Following in the successful footsteps of John Ajvide Lindqvist, Spjut presents a story – not to mention a central conceit – that is pure Sweden, but which is given a global appeal through a choice of monster that has haunted the dreams of every child at some point in their lives (‘Who is that trip-trapping over my bridge?’). Beautifully written, this is quiet horror at its finest. Destined to be forever compared to Lindqvist’s vampire classic, Stallo stands well enough in its own right to show that the burgeoning Swedish horror scene is more than a one-trick pony, and fills this reader with joy at the prospect of what is still to come. Stefan Spjut is a name to remember; I expect we’ll be hearing plenty from him in the coming years. Stallo is a must-read for anyone who considers themselves a fan of horror fiction, and should prove an interesting alternative for those growing tired of the endless parade of Swedish detectives that seem to be taking over the shelves of our local bookshops.

WAY DOWN DARK by JP Smythe (Hodder & Stoughton)

Combining elements of Golding’s Lord of the Flies and Mad Max with a dash of Dredd for good measure, Way Down Dark is one of the most original science fiction novels you’re likely to encounter this year. Branded as “Young Adult”, there is a darkness to the story that will appeal to an older audience, showing that Smythe has a good grasp on what makes a story like this truly universal. This is a writer who continues to go from strength to strength and shows no signs of slowing down. If you’re yet to jump on the bandwagon, Way Down Dark is the perfect place to start, and with the second book in the trilogy, Long Dark Dusk, already announced, there is no better time to jump into Chan’s world, and explore the Australia. While it’s not an entirely pleasant journey (the story most definitely lives up to the title’s Dark), this is a book that’s almost impossible to set down once you’ve started reading, and a story that will stay with you long after you’ve finished.

EVERY NIGHT I DREAM OF HELL by Malcolm Mackay (Mantle)

This one feels very much like I’m preaching to the choir: those who have read Malcolm Mackay’s earlier novels will know what to expect, and will probably already have committed to read Every Night I Dream of Hell regardless of what anyone else thinks. For those who haven’t, this isn’t necessarily the best place to start; it can be read without having read the Glasgow Trilogy, but you’ll be missing out on the much richer experience that more than a nodding acquaintanceship with this world provides. Either way, this is noir fiction at its best: sharp and cloaked in shadows, with more than a hint of humour, and enough blood to keep the wheels greased. Malcolm Mackay continues to produce engaging and thought-provoking work in a beautiful prose style that puts him head and shoulders above his contemporaries. In a word: perfect.

SOLOMON CREED by Simon Toyne (HarperCollins)

Simon Toyne’s fourth novel, the first to be set outside the fictional world to which he introduced us in his Sanctus trilogy, cements his place as one of the finest genre writers working today. Clever and engaging, Toyne weaves a number of strands together to produce an exciting, page-turning read. As always, his characterisations are pitch perfect and his sense of place second-to-none – his small-town Arizona seems as real as the Turkish city of Ruin. A perfectly-formed thriller in the author’s own unique style, Solomon Creed is not to be missed by returning fans and Toyne virgins alike.

THE BAZAAR OF BAD DREAMS by Stephen King (Hodder & Stoughton)

The Bazaar of Bad Dreams contains an excellent selection of King’s more recent short works. Perfect fodder for the long, dark winter nights ahead, it will give the reader plenty of food for thought, and the occasional sleepless night. Showcasing the breadth of King’s writing ability in a single volume, something that’s not always possible in a single novel, this is the work of a writer who is comfortable in his own ability, and in the worlds that he creates, but who is constantly in search of the next addition to his writer’s toolbox, the next tool that will make his writing better or, at the very least, broaden his horizons. Occasionally touching, often laugh-out-loud funny and frequently spine-tinglingly chilling, The Bazaar of Bad Dreams is a wonderful addition to the King canon, and an excellent jumping-on point for anyone who has yet to experience either his work in general, or his short stories in particular.

night-music-uk-225 NIGHT MUSIC: NOCTURNES VOLUME 2 by John Connolly (Hodder & Stoughton)

Best known for his Charlie Parker crime novels, John Connolly has a penchant for horror in the short form. This second collection of short horror stories contains some absolute gems, as well as a wonderful Lovecraftian novella in five parts, “The Fractured Atlas”.

THE GREAT SWINDLE by Pierre Lemaitre [trans: Frank Wynne] (MacLehose Press)

I was disappointed with the final book in Lemaitre’s Camille Verhoeven trilogy, feeling that he might have given his best for the first two books of the series. In The Great Swindle he has redeemed himself and proven that he has much more to offer. While very different from his modern day crime trilogy, this latest novel is quintessential Lemaitre: beautifully-written, carefully structured and filled with characters that we love or hate with the same intensity that we might if they were real. It’s an examination of a dark period in French history through the eyes of these people, while still allowing us to see the funny side of things. The first in a proposed 7-book series set to span the interwar period, this fun and intense read (an interesting combination that works extremely well) The Great Swindle puts Pierre Lemaitre firmly back on my must-read list. It is one of the best books I’ve read this year and it’s sure to be a book we’ll be talking about for some time. Not to be missed.

THE BOY AT THE TOP OF THE MOUNTAIN by John Boyne (Doubleday)

Marketed, like The Boy in the Striped Pyjamas, as a piece of young adult fiction, The Boy at the Top of the Mountain is, like its predecessor, essential reading for people of any age. John Boyne uses one – fictional – character’s relationship with Hitler to try to provide a plausible explanation for the horrors of the Second World War. As readers, we become complicit in Pierrot’s transformation, constantly forced to ask ourselves the question “what would I have done differently?” As humans, we watch how easily corruption sets in and wonder how it could have been stopped. Spanish philosopher George Santayana is famous for his quote, “Those who do not remember the past are condemned to repeat it.” John Boyne uses fiction to remind us of what has come before; he is one of the few writers who is attempting to instil this knowledge in our younger generations and should be commended for his efforts. One of the finest writers working today, his books are the very definition of “must read”.

COMING SOON…

With 2016 looming, one of my resolutions is to try to review all of the books I read this year. The first review, that of Keith Lee Morris’ excellent Travelers Rest, should appear shortly before the end of the year. With new novels from Stephen King, Joe Hill, Daniel Polansky and Sarah Pinborough all due within the first half of the year, it’s shaping up to be another bumper year for readers of genre fiction.

All that remains is for me to thank the wonderful publicists and publishers who keep me stocked with such excellent reading material; the fantastic authors who not only provide these excellent reads but who, in many cases, give up time and energy to write guest posts or provide answers to my inane Q&As; and you, the readers, for your continued support: without you, I’d just be talking to myself.

Wishing you all a very Merry Christmas, and a Happy, Safe and Prosperous 2016. May The Force Be With You!*

 

* Well, it is the year of the rebirth of Star Wars, after all!

INFLUENCES: Literary Influences by OLIVER LANGMEAD & Competition

DARK STAR - Oliver Langmead Name: OLIVER LANGMEAD

Author of: DARK STAR (2015)

Literary Influences, Contemporary & Classic

 

Dark Star has a lot of influences, because it’s three things in one. It’s science fiction, it’s a detective story of the noir and hard-boiled brand, and it’s an epic in the classical sense.

Dark Star blog tour skyscraperThe best place to start is at the beginning, because it’s possible to see the exact moment when a fairly predictable trend in reading became something else. I started out with Brian Jacques and Roald Dahl from the age of about six, and by the time I was half way through my teens, I had devoured everything written by Terry Pratchett and Neil Gaiman, as well as a few other authors writing along the same lines. Then, at the age of sixteen, I was made to read All the Pretty Horses by Cormac McCarthy, and everything changed.

It’s difficult to describe exactly what that book did for me. It was as if I had certain expectations about what books were, what books could be, and I could see the limits of that. Then experiencing a book like All the Pretty Horses opened my mind to a whole world of literary writing that I had not really considered before.

This is where it’s possible to start to see where Dark Star came from. Over the past few years, I’ve been reading pretty much anything and everything to broaden my sense of what a book can be. From Lovecraft’s grim and verbose short stories, to Philip Roth’s beautiful but horrible Sabbath’s Theatre (the best book I’ve never finished) to Bret Easton Ellis, testing the idea of vacancy in the lines he writes, and beyond. I’ve loved the architecture behind Mervyn Peake’s Gormenghast books, and been in awe of James Joyce’s almost impenetrable writing in Ulysses, and spent even more time investigating what makes gothic classics, Frankenstein and Dracula, tick.

From science fiction, I cite China Mieville and Michel Faber as major influences. Specifically, Mieville’s The City & The City, which had a sense of wonder behind each discovery that I desperately wanted to kindle for myself, and Faber’s Under The Skin, which evoked such a sense of character in both its place and in its moods, that I hoped to see something similar in my own work. For Dark Star, I wanted the reader to feel a sense of discovery in a world that is disarmingly familiar. I wanted to evoke that 1920s noir kind of atmosphere, then give the reader glimpses of the science fiction beyond.

I chose a few books from the classic detective genre to look at in order to understand it better, and Raymond Chandler is the author I have to cite above all others. The Big Sleep was crafted so well to be what it was, and it is possible to see why it has had such a big influence on authors other than myself. This is one of the main sources from which those most treasured clichés and tropes come, which I hope I have treated well in my own book. Making a world that felt familiar, just like Chandler did, was important to me. Closer to the atmosphere that Dark Star would have, however, has to be Frank Miller’s Sin City. Sin City had the voice that I wanted to use; that gritty internal monologue, bitter and beaten by its surroundings.

Dark Star is a love story for three genres, however, and the third might surprise you. I hope that you’ve heard of Homer’s Odyssey and Iliad. I hope that you’ve heard of The Divine Comedy, and the Aeneid, and Paradise Lost. Because these are all epics, written in an ancient style, which I completely fell for and decided to try and emulate. I’m hoping that you’re wondering whether writing a science fiction noir in verse would work at all. Because I wondered that, as well. But… it does work. Some of those recognisable elements are there: the pentameter, the descent and the divine, and some of them are not, but Dark Star is undoubtedly written in the tradition of those ancient greats.

It all comes back to McCarthy’s All The Pretty Horses, in the end. When I read it, I thought that it was completely marvellous that I had never read a book like it before: that someone had tried something so ambitious, and had been so successful with it. It’s something that I wanted to try for myself. And the result of that is Dark Star.

Competition

To celebrate the release of this excellent novel, Oliver’s publishers, Unsung Stories, are very kindly giving away a signed copy of Dark Star and a signed Dark Star poster to one lucky winner.

To be in with a chance of winning, all you have to do is send a single tweet answering the following question:

Which book changed your expectations of what books can be?

Make sure you include the hashtag #DarkStarGiveaway as well as including @MattGCraig @UnsungTweets to ensure your entry is included.

The competition will close at midnight, Monday 30th March 2015 and the winner will be notified shortly thereafter.

Book  & Publisher Information

Dark Star product page (Unsung Stories)

Amazon UK Dark Star product page

Amazon US Dark Star product page

Unsung Stories send excellent fortnightly short stories for free, direct to your email inbox. Sign up here to ensure you don’t miss a single one.

DARK STAR by Oliver Langmead

DARK STAR - Oliver Langmead DARK STAR

Oliver Langmead

Unsung Stories (www.unsungstories.co.uk)

£9.99

Prometheus, resident wonder-drug;

Pro’, Promo’, ’Theus, liquid-fucking-light;

Prohibited by city law and shot

By yours truly, Virgil Yorke, hero cop.

Virgil Yorke is a Vox Police Detective, assigned to the case of Vivian North, a young lady found dead in the city’s back alleys, her veins glowing so brightly, they shine through her skin. It looks like an extreme case of Prometheus overdose, but Virgil isn’t convinced, and when he is pulled off the case shortly after he picks it up, his instincts go into overdrive. But the city has bigger problems: Cancer, one of the three Hearts that power this remote human outpost, has been stolen, and the loss of energy is the least of the city’s worries; should it fall into the wrong hands, Cancer could become a superweapon that could destroy the entire solar system.

Oliver Langmead’s debut work – novel, novella, epic poem; none of these words seems just right – takes us to the city of Vox, a city on a planet that orbits a dark star. The city’s inhabitants have adjusted to the lack of light over the years, learning to read through touch (very few people can read actual words from a page by sight anymore), and carrying out their daily routine in a world where light is scare, and light bulbs one of the city’s most expensive – and rare – commodities. The science – or at least Langmead’s version of science – behind this interesting phenomena comes through in the story in bits and pieces, rather than as an all-in-one introduction to this strange new world. Langmead introduces us to Vox’s “ghosts” – people who have long since lost their minds, and who are now drawn to sources of light – to the little adaptations that make life in this environment possible, and to the strange invisible fire which means the citizens live in fear of candles, or cigarettes, or any open flame.

Dark Star is difficult to categorise genre-wise as well as format-wise. It’s Philip Marlowe imagined by Philip K. Dick and penned by Dante Alighieri. At its core, it’s a hardboiled mystery relocated in time and space, built around Virgil Yorke, a drug-addicted, wise-cracking, cynical cop who tells the story in first person and, most interestingly, in epic verse. Yorke is the stereotypical hardboiled policeman, who seems to have begun life as a cardboard cut-out of Marlowe or Spade. The setting injects the story with a massive dose of originality, the fruits of Langmead’s seemingly boundless imagination. Like his forebears, Yorke tends towards the unlucky, a target for beatings and stabbings that see him losing large chunks of the time that has been allocated to him to solve the case. He is surrounded by equally-engaging characters, many of whom have, we can only imagine, long and interesting backstories – Dante, Virgil’s hulking partner on the force, and the mysterious Rachel, another well-worn trope of the hardboiled genre: the femme fatale.

The book is an interesting concept, but the thing that sets it apart is the thing that is likely to be its biggest downfall when it comes to attracting readers. Like Homer’s Iliad, or Dante’s Commedia, Dark Star is written in epic verse, a long poem told in the first person. I have something of an aversion to poetry – my mind can’t seem to parse it in the same way that it parses prose – so I didn’t expect to get very far with Dark Star, much less enjoy it as much as I did. After the first handful of pages, the narrative structure loses its importance, and the story reads in a prose-like manner. Most of this is down to the strong and easily-identifiable voice of Virgil himself, a voice that makes us feel that we are listening rather than reading, and that the metre is nothing more or less than the cadences of the character’s voice as he recounts his tale. The structure gives the story an added dimension that makes these characters feel all the more real and vital than they might otherwise have been.

I have already mentioned the strength of Virgil’s voice as one of the key reasons that we keep reading, but this is a mystery novel, so there are obviously more: the mystery itself is cleverly constructed, and the violence Virgil encounters restrained and in keeping with the rest of the narrative. The strangeness of this new world, and the darkness that enshrouds Vox are also key to the story’s success, and it feels that the city – a dark and dirty cross between Jack O’Connell’s Quinsigamond and Frank Miller’s Sin City – has plenty more stories to tell  in whichever style Langmead chooses to tell them (I’m living in hope for a collection of short stories, myself).

One of the most interesting and original books you’ll read this year, Oliver Langmead’s Dark Star is one of those gems that creeps up and takes you by surprise. Beautifully written, masterfully plotted, and built around a character that is at once a complete stranger and an old friend, it sucks the reader in from the opening stanza, and holds the attention to the very last word. There are ideas and concepts here that will leave you wide-eyed with wonder, alongside wise-cracks that might have dropped fully-formed from the nib of Raymond Chandler’s pen. In short, a masterpiece, and a story you really won’t want to miss.

INFLUENCES: Nevil Shute’s ON THE BEACH by ALIYA WHITELEY

aliya Name: ALIYA WHITELEY

Author of: THE BEAUTY (2014)

On the web: aliyawhiteley.wordpress.com

On Twitter: AliyaWhiteley

If stories are a way of finding a start point and an end point in something that has no framework, then post-apocalyptic fiction promises the big full stop more than any other genre. But I’ve always thought it rarely brings itself to deliver on that promise. There’s always hope, isn’t there? The Road gives us the boy and Blindness eventually lifts the dark. The world as we know it ends, but a new one starts to emerge through the rubble; we see it poking out its shoots in the final pages of most post-apocalyptic novels.

otbWell, you don’t get that in On The Beach. First published in 1957, it’s about the last people left alive after an exchange of nuclear weapons that irradiates the planet. Winds are carrying radiation to these final survivors, in Melbourne, Australia, and they know it. It creeps a little closer on every page.

US Submarine Captain Dwight Towers meets an Australian Commander, Peter Holmes, and is invited to weekend party. Peter has a wife, Mary, and a baby girl. His wife’s friend, Moira, attends the party too, and the plot follows the four adults living out their last months without much fuss. Quiet conversations take place, and the nature of their group relationship changes.

Why is it considered less truthful to imagine that people would cling to order in such a situation? Shute’s novel, much like the science fiction novels of other writers of the 1950s such as John Wyndham and John Christopher, imagined that in catastrophic situations people organise themselves and attempt to find structure. That doesn’t seem particularly old-fashioned to me. Rules are made and roles assigned – written, spoken, or sometimes never discussed at all – and the drawn-out goodbye at the heart of On The Beach comes with good manners, maybe because that is simply easier when the adrenaline has faded.

I think my favourite moment in the novel happens between the two women, Mary and Moira. Mary is generally sheltered from life by her husband, but he has been sent away on military business. He has tried to explain to her that she might have to accept the responsibility of killing their baby girl to spare her from radiation sickness, and she has refused to listen. But as she sits with Moira, drinking brandy late into the night, she suddenly faces the situation. She asks Moira to help her kill the baby when the time comes. Moira holds her hand, and agrees. The responsibilities shift without great fanfare. Although Shute quotes TS Eliot at the beginning of the novel, it’s Yeats that I remember in their conversation. A terrible beauty is born.

When I came to write my own post-apocalyptic novella, The Beauty, it was that element I wanted to draw on – the group with no hope, but that had not given into hopelessness. The End is a concept that fascinates us all, in stories and in life, but it does not have to come in pain and fear. It can come in quiet words, in a sudden acceptance of what needs to be done and who we need to be. In On The Beach it comes with the acknowledgement that killing the baby might be the most humane thing you ever do, even as it means the end of humanity.

THE BEAUTY by Aliya Whiteley

THE BEAUTY - Aliya Whiteley THE BEAUTY

Aliya Whiteley (aliyawhiteley.wordpress.com)

Unsung Stories (www.unsungstories.co.uk)

£9.99

The Group have made the Valley of the Rocks their home. Each of them has a role to play: William, the leader; Ben, the doctor; Nathan, the storyteller and keeper of the Group’s history. Like every other settlement on the planet, the Group is made up exclusively of men; every single female has been wiped out by a mysterious illness. Mankind is in its final days: with no way to procreate, this is the final generation of humanity. Until one day Nathan discovers a strange fungus growing on the womens’ graves that will change everything.

We meet the members of the Group through the eyes of twenty-three-year-old Nathan, who lives up to his role as keeper of their collective memory, and the storyteller. There are no women left in the world – or at least that small part of it to which the Group are now, voluntarily, confined – and the men have begun to make peace with the fact that they are the end of the human race. There is a sense of hopelessness that pervades everything they do, and yet they continue to gather, to remember, to spend the final days of humanity with some semblance of civility. When Nathan discovers the strange fungus, and later the Beauty that grows from it, things inevitably change. Here is some hope for the continuation of the race, and the Group begins to split into different factions, some with violence on their minds.

In Aliya Whiteley’s short novella, the focus is very much on the relationships and interactions between the men and the Beauty, as well as a close examination of the dynamics within the Group itself. Jealousy and fear are pitted against love and hope, with no definitive answer concerning who is right. Should the Beauty be trusted, or do they have ulterior motives? Whiteley leaves it up to the reader to decide, giving us enough information to come down on one side of the argument or the other. There are no explanations as to what happened to the Earth’s female population, or what the Beauty are or where they came from, primarily because we only get Nathan’s side of the story and, like the other members of the Group, he has no idea of the answers to either question.

The Beauty is a short piece, and all the more powerful for its brevity. Beautifully written, it’s a disturbing and though-provoking vision of one possible future for mankind. While it’s unlikely to give the reader nightmares, there is plenty here to leave us feeling more than a little uncomfortable. With hints of Golding’s Lord of the Flies, Aliya Whiteley presents an old-fashioned science fiction/horror story that could easily have sprung from the imagination of the great John Wyndham, and stands alongside The Day of the Triffids or The Kraken Wakes as a fine example of the genre. This short (not quite 100 pages long) tale is enough to leave the reader wanting more, and hoping for something more substantial in the near future from Ms Whiteley.

A brief digression to talk about the package itself: The Beauty is one of the first two books from new publisher, Unsung Stories. It’s a beautiful package, from the striking front cover to the internal design, the perfect complement to an excellent story. The publisher’s aim is to get "weird stories, beautifully told" out into the world. The Beauty is an excellent start, and I will be waiting with excitement to see how they plan to follow it.

Short but deeply affecting, The Beauty is a wonderfully written piece of post-apocalyptic fiction that you won’t want to put down once you’ve picked it up. If this short sample is anything to go by, Aliya Whiteley is an exciting new talent and it’s a dead cert that we’ll be hearing much more from her in the future. I, for one, can’t wait to see what she has up her sleeve next. For now, though, this is one you won’t want to miss.

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