It is inconceivable to me that Alastair Reynolds hasn't won *multiple* Hugo and Nebula Awards, let alone not even one. His stories never disappoint, and he is an author of whom I would readily read anything he composes without hesitation. His settings are among the most original and unique ever produced, and his characters are always believable and heartfelt. It saddens me that some of his recent published works (including "Eversion") have only been published in paperback in the U.S., while being found as hardcover in the U.K. "Eversion" is one the best tales he's ever spun, and I would highly recommend it to anyone who loves imaginative, speculative adventure.
After reading the Tony Hillerman prize-winning debut from author Carol Potenza, I couldn't wait to see what else would be in store for Sergeant Nicky Matthews. Having grown up in New Mexico myself, I thoroughly appreciate the vivid and picturesque background that shines so vividly throughout, but it's the novels themselves that are the most enjoyable. As with the first book in the series, the multiple twists and turns of "The Third Warrior" will keep you guessing right up until the end. Highly recommended for any mystery lover--especially those who enjoy tales set in the Southwest.
As at least one other reviewer has mentioned, I read this book without having previously read her Imperial Radch trilogy ("Ancillary Justice," etc). However, I was aware (as is stamped on this book's cover) that she won the Hugo, Nebula, and Arthur C. Clarke awards for "Ancillary Justice," so I had high hopes for this novel/writer. While this book was certainly "okay" and had several unique qualities, I find myself wondering what the big fuss about this writer is. Either this book is of much lesser quality than "Ancillary Justice" or else the qualifications for winning major sci-fi awards has slipped since the last time I checked. Then I just saw in another review that apparently "Provenance" was nominated for a Hugo? What? And someone like Alastair Reynolds has never won? (or even been nominated, if memory serves). Hmm. If I had to pick one word to describe "Provenance," I would use the word "juvenile." Not that there's anything wrong with juvenile books, not at all. It's just not what I expected from someone who had won three huge awards for a preceding book. To me, this book was like "Nancy Drew in Space." Still, I was never bogged down by the story and enjoyed it enough to keep reading. I just kept expecting more.
I found this story to be both very disturbing and at the same time wonderful in its skill of disturbance. The suspense of what would happen to the narrator was as omnipresent and looming as the wall-paper which surrounded the narrator herself.
The tale contains evidence of the romantic era (a speaker who suffers and a seeming element of the supernatural), but provides even more substance rooted in the realistic realm: excessively fine details, objects that become symbolic (none more clearly prominent than the imprisoning wall-paper itself), and graphic descriptions that provide a sharp edge to the narrator's plight as she succumbs to insanity.
Ingenious clues were also placed through the story, occasionally leading the reader to momentarily doubt his or her own mental dexterity at following the course of events (such as John's sister's name going from Mary to Jennie to Jane).
However, it is the descriptions of the wall-paper itself which give such a vivid and real impact to the story (such as "the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing sea-weeds in full chase," or "the outside pattern is a florid arabesque, reminding one of a fungus").
Gilman's assertive style is also noteworthy for the period it precluded: that of the empowerment of women, both in literature and in society.
The tale contains evidence of the romantic era (a speaker who suffers and a seeming element of the supernatural), but provides even more substance rooted in the realistic realm: excessively fine details, objects that become symbolic (none more clearly prominent than the imprisoning wall-paper itself), and graphic descriptions that provide a sharp edge to the narrator's plight as she succumbs to insanity.
Ingenious clues were also placed through the story, occasionally leading the reader to momentarily doubt his or her own mental dexterity at following the course of events (such as John's sister's name going from Mary to Jennie to Jane).
However, it is the descriptions of the wall-paper itself which give such a vivid and real impact to the story (such as "the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing sea-weeds in full chase," or "the outside pattern is a florid arabesque, reminding one of a fungus").
Gilman's assertive style is also noteworthy for the period it precluded: that of the empowerment of women, both in literature and in society.
Being probably one of the relatively few people who has grown up in present-day America without having read either of Twain's famous novels, "The Adventures of Tom Sawyer" or "Adventures of Huckleberry Finn," I found myself astonished at how I could have missed the opportunity to read such a wonderful story as that led by Huck and Jim in their journey down the Mississippi River. So vivid were the settings and so well-liked (or, in some cases, well-disliked) were the characters that the story pulled me forward almost effortlessly.
At nearly every bend of the river, I found myself marveling at what it must have been like to have lived in such an era, in so different a world. The loss of such an idyllic world is now near total, and perhaps a foretelling aspect of this loss may have been one of the intentions Twain had in his realistic upheavals into this otherwise romantic tale. Yet by providing aspects of both romanticism and realism he has allowed us to enjoy the heart of this "innocent" era and feel the jolts of connecting it to our real world (or rather, the real world at the time of its publication, but still felt today).
I was truly touched by Huck's friendship and loyalty toward Jim, and found myself turning page after page in fear of Huck's giving in to societal pressures and doing what was viewed as the "right" thing to do-to turn Jim in as a runaway slave. And yet, as broken or uneducated as Huck's upbringing may have been, he triumphs in the true test of human show more spirit and honest, unbiased friendship.
What a remarkable story! show less
At nearly every bend of the river, I found myself marveling at what it must have been like to have lived in such an era, in so different a world. The loss of such an idyllic world is now near total, and perhaps a foretelling aspect of this loss may have been one of the intentions Twain had in his realistic upheavals into this otherwise romantic tale. Yet by providing aspects of both romanticism and realism he has allowed us to enjoy the heart of this "innocent" era and feel the jolts of connecting it to our real world (or rather, the real world at the time of its publication, but still felt today).
I was truly touched by Huck's friendship and loyalty toward Jim, and found myself turning page after page in fear of Huck's giving in to societal pressures and doing what was viewed as the "right" thing to do-to turn Jim in as a runaway slave. And yet, as broken or uneducated as Huck's upbringing may have been, he triumphs in the true test of human show more spirit and honest, unbiased friendship.
What a remarkable story! show less
Being probably one of the relatively few people who has grown up in present-day America without having read either of Twain's famous novels, "The Adventures of Tom Sawyer" or "Adventures of Huckleberry Finn," I found myself astonished at how I could have missed the opportunity to read such a wonderful story as that led by Huck and Jim in their journey down the Mississippi River. So vivid were the settings and so well-liked (or, in some cases, well-disliked) were the characters that the story pulled me forward almost effortlessly.
At nearly every bend of the river, I found myself marveling at what it must have been like to have lived in such an era, in so different a world. The loss of such an idyllic world is now near total, and perhaps a foretelling aspect of this loss may have been one of the intentions Twain had in his realistic upheavals into this otherwise romantic tale. Yet by providing aspects of both romanticism and realism he has allowed us to enjoy the heart of this "innocent" era and feel the jolts of connecting it to our real world (or rather, the real world at the time of its publication, but still felt today).
I was truly touched by Huck's friendship and loyalty toward Jim, and found myself turning page after page in fear of Huck's giving in to societal pressures and doing what was viewed as the "right" thing to do-to turn Jim in as a runaway slave. And yet, as broken or uneducated as Huck's upbringing may have been, he triumphs in the true test of human show more spirit and honest, unbiased friendship.
What a remarkable story! show less
At nearly every bend of the river, I found myself marveling at what it must have been like to have lived in such an era, in so different a world. The loss of such an idyllic world is now near total, and perhaps a foretelling aspect of this loss may have been one of the intentions Twain had in his realistic upheavals into this otherwise romantic tale. Yet by providing aspects of both romanticism and realism he has allowed us to enjoy the heart of this "innocent" era and feel the jolts of connecting it to our real world (or rather, the real world at the time of its publication, but still felt today).
I was truly touched by Huck's friendship and loyalty toward Jim, and found myself turning page after page in fear of Huck's giving in to societal pressures and doing what was viewed as the "right" thing to do-to turn Jim in as a runaway slave. And yet, as broken or uneducated as Huck's upbringing may have been, he triumphs in the true test of human show more spirit and honest, unbiased friendship.
What a remarkable story! show less