What started as a “ripping good yarn” a few years ago is getting a bit ploddy. It’s hard to say much about this without disclosing spoilers for the first three books, so I’ll be vague, but if you like hard SF and you enjoyed the first couple, this one’s mostly more of the same, though we get WAY less “crazy alien stuff” and way more “pioneer politics.” I’m not sure this is really an improvement.

Anyway, the “good yarn” aspects have been enough to get The Expanse a shot at TV over on SyFy, but I really have no idea how it’ll translate, or how true to books they’ll be. It’s clear now that Corey (a pen name for Daniel Abraham and Ty Franck) is pursuing this as an open-ended series and not a single long story, and that makes me less interested in hanging on forever. Stories need ends.

I guess that, if we’re going to have categories, I have to tag this as SF, but it’s the closest-to-now and absolutely most-plausible SF I think I’ve ever seen, and not in the “20 minutes into the future” sense that you sometimes got with cyberpunk. The Martian is basically set in the present day, with only our space program’s abilities slightly ramped up.

Astronaut Mark Watney is part of a Mars expedition that works more or less like you’d expect: a long trip there followed by a fairly short sojourn on the surface doing experiments and gathering samples. When a sandstorm kicks up and threatens the stability of their lander — i.e., their only way back to orbit and their ride home — they must abort, but poor Mark is injured on the run to the craft. Worse, the flying debris that knocks him out also destroyed his suit’s telemetry equipment, so all his colleagues think he’s dead. Safe on the lander, and thinking him lost, they leave.

And then Mark wakes up, alone and marooned, and with no way to communicate with Earth or his colleagues.

What follows is a terrific yarn equal parts accessible, scientifically valid problem solving and “Robinson Crusoe”, minus the charming natives. Essentially everything Mark does is plausible, which makes the story all the more thrilling and fun. It should therefore come as no surprise that it’s already been optioned; it’ll be adapted by Drew Goddard (who directed The Cabin in the Woods from a Whedon script) and helmed by Ridley Scott, with Matt Damon attached as Watney.

Scott’s output lately has been weak, but the source material here is so strong my hope is he’s able to find his feet again. The emphasis here on real approaches to problem solving prompted me to describe The Martian to a friend as “like Gravity, but good;” on film, that could become literally true.

Highly recommended.

John Hodgman told me to read this.

Well, not directly. But he trumpeted its appeal from his blog, which I read, and so it made it onto my list. Shopping for Christmas presents last month, I slipped a copy into my pile as I’ve recently acquired rather more free time. (Ha, ha.) I read it over the last few days.

It’s solid work. It’s technically Darnielle‘s first novel — he’s mostly famous for being the principal behind the band Mountain Goats — but it turns out his 33 ⅓ book about Black Sabbath’s Master of Reality is rather more than a critical appraisal of the record:

Mr. Darnielle’s publisher is pitching “Wolf in White Van” (the title is a reference to some spooky song lyrics) as a debut novel. But there’s a case to made — I’m willing to make it — that his Black Sabbath book is Mr. Darnielle’s real first novel.

“Master of Reality” is no straightforward critical assessment of Black Sabbath’s album, a sludgy doom-rock classic. It’s fiction that peels thrillingly off into music writing.

The book is written from the point of view of a teenage boy in a mental hospital who explains why Black Sabbath and its lead singer, Ozzy Osbourne, meant so much to isolated kids like himself. It’s about how rock music can express not only liberating joy but, conversely and perhaps more importantly, also speak to bottomless misery and pain.

And then, here we are with Wolf, which is also centered on an obsessed, nerdy, isolated teenage protagonist of a certain type. Heavy metal, fantasy literature and games, and social isolation define Sean, at least until they’re joined by the disfiguring accident that cements his isolation and forms the rest of the skeleton on which the book rests.

Wolf in White Van was nominated for the National Book Award, and it should have been. It’s an intense and powerful book, and (I suspect) a personal one for Darnielle. He clearly didn’t suffer the accident that makes Sean a shut-in, but no amount of research could connect a writer so deeply a life like Sean’s — distant or abusive parents, social isolation, and exacerbating the isolation with unconventional interests like fantasy books, heavy metal, and gaming. The Times notes that Darnielle has written before about his abusive stepfather, and no one writes a 33 ⅓ book about a record they don’t love. Darnielle is clearly of a certain tribe (as am I), and his book is an honest story even if it isn’t wholly his. But that’s what fiction is, right?

Recommended.

Every now and then, I get drawn into a “classic” of the SF genre, and get roundly disappointed. This is one of those times.

In SF, there are TONS of people who read nothing else, it seems, and a goodly chunk of the SF world seems to value very different things than I do when it comes to literature.

I want decently drawn characters, prose that doesn’t clang, an author who understands that telling is not showing, and a story that moves along without getting bogged down in side issues.

In SF, it seems like all these things are subordinate to the cleverness of the idea or ideas the author includes in the yarn. Now, SF is very different from conventional stories because of this fantastic element, but I’ll go ahead and say out loud that the fantastic element isn’t enough to stand on its own, and authors depend on them at their peril.

Of course, as established above, I appear to be alone in this, because A Fire Upon The Deep is widely heralded as a brilliant book. It won the Hugo in 1993, even. So there’s that.

The story here is really pretty thin, and depends entirely on you being sufficiently entertained by a few plot coupons:

• The far, far, far future setting, wherein humans are just one race of thousands, including machine intelligences and “post-singularity” races.
• The whole idea of the “Zones of Thought” in the galaxy, which underpins a series of books starting here. Vinge’s notion is that the galaxy is comprised of concentric zones, and these zones control physical laws at a very basic level. Very close to the galactic core, intelligence is impossible, and travel doubly so. Outside that is the Slow Zone, which is where Earth is, and where the physical laws we know prevail. The next layer is the “Beyond,” where standard SF tropes like faster-than-light travel and communication are possible. And, of course, there’s zones beyond that.
• That the galaxy can contain many types of intelligences, and that they may be very different from us. This in and of itself isn’t new, but two of Vinge’s examples are genuinely novel: the Skroderiders, and in particular the Tines.

The Tines are neat, I must admit: the race is made up of smallish fairly intelligent doglike quadrupeds, but there within the race individual animals are not considered entities. Instead, small packs — 3 to 8 — combine to become intelligent, named individuals. There are strengths and weaknesses to this approach, and to the various sizes of packs. Vinge has given lots of thought to this, which is to his credit, but he did so at the expense of telling an interesting story.

I’ve seen this happen in workshop stories. People fall in love with a plot idea or trope or sequence, and can’t let it go so they beat the horse to death. Vinge does this constantly. The book drags and drags as he explains in painful detail about how a pack race would work, or how a synthetic human feels, or how the Zones affect commerce and history. The issue here isn’t JUST too much backstory (though that’s part of it); the bigger sin is that he just TELLS us these things instead of working their implications into the story organically.

Compare Iain Banks’ Culture stories, for example. Banks has created world no less foreign and amazing than the Zones galaxy, but he’s a deft enough writer that you never feel like you’re getting a braindump from Basil Exposition. I’ve left Banks behind for other reasons, but whatever else turned me off about his books at least the man understood how to construct a good story that also included amazing and fantastic elements.

Yeah, well, I’m behind:

• #21: The Getaway God, by Richard Kadrey: Big fun, and closes out the first major arc for Kadrey’s Sandman Slim character.
• #22: The Ways of the Dead, by Neely Tucker: Solid thriller debut from a friend of a friend.
• #23: Station Eleven, by Emily St. John Mandel: End-of-the-world tale (plague subtype), sorta, but as much about life years after as it is about life during, which makes it more interesting than most such tales. It’s solid work, but I absolutely will ding her for a few clangy bits, most notably her apparent need to remind us, over and over, that gasoline has a short, finite shelf life. It felt like she’d learned this, had it surprise her, and then felt the need to work it into the text as many times as possible. Which is weird, right?
• #24: Inherent Vice, by Thomas Pynchon. Basically, I took another run at it because the movie is almost here. I think my takeaway is that Pynchon is for other people. Each sentence has a high chance of being an intricate and clever thing of beauty, but it seems he gets distracted building those things and forgets to complete the story.
• #25: Personal, by Lee Child. Sue me; I’ve been laid up. At this point, I must confess that I’m completely caught up on Reacher.
• #26: The Peripheral, by William Gibson. Probably the best and most interesting book I read last year. But it’s Gibson, so this isn’t a surprise. I might get around to writing more about this later, but who can tell?

I finished the Gibson on the 11th, and just finished another book yesterday — but the timing suggests a 27th book for 2014, since I didn’t buy yesterday’s book until the 21st. However, I’ll be damned if I can tell you what it was. Clearly, it was memorable.

This is absurdly spot on, and you should read it. You don’t need to have read the book first; it includes all the context you need.

How To Tell If You’re in a MFA Workshop Story is just a leetle close to my academic roots. It is, of course, hilarious.

That category, wherein I read nearly everything they write? Yeah, Scalzi’s in there. Just read it, for Christ’s sake. It’s a near-future murder mystery. What’s not to like?

Look, even if it’s not as much of a complete and perfect delight as The Gone Away World, how can you NOT love Harkaway’s language?

“If you just go out in the river and stand there long enough, you end up with a fish in your pangs and everyone thinks you’re a genius.”

Indeed. And then, there’s this:

“The last d ays are no less important than the others juyst because they are near to the end. Should we stop living today jsut because death is no longer a stranger?”

Tigerman is more or less straight fiction, and in that is a departure form the more SF/fantasy romp that was GAW, but it’s no less worth your time. The central story here is of a British functionary assigned to be the last official overseeing UK interests on a tiny (fictional) island that is, unfortunately, completely doomed. Things are actively falling apart, and the events of the story take place against a very real backdrop of impending doom, if not for the characters then for the island itself (hence that second quote).

Again, I’m running out of year here, or I’d say more, but the bottom line is that Harkaway is fast becoming the sort of writer I want to read all of.

Remember last year, when I read The Big Sleep? Yeah, more of the same — brilliant work, now seen as cliche, that was being invented at the time.

I’m terribly far behind on these posts, so the next few will be given the short shrift, but trust me when I say sampling the noir classics is worth your time.

What’s more awesome: that a book called Crabs: The Human Sacrifice exist, or that it’s part of a series involving the plots and villainy of sentient crabs?

No, seriously. These are real.

As noted by one of the Tumblr commenters, I really, really want to know what sort of childhood beach trauma lies at the root of the author’s crab fear.