Unborn, Amber Lynn Natusch
Received to review via Netgalley

Oh, dear. The best I can say about Unborn is that it’s really easy to read. The style, though, just drove me instantly to distraction. There’s something so lifeless about the narration, and the main character is just so completely detached — and it uses so much prior mythology, like Hades and Demeter and Ares, and then so much other stuff like Empties and Fallen and… it just felt like such a mash-up.

I’m going to be honest, I didn’t read very much of this. I knew I wasn’t going to enjoy it, and the guy going on and on about wanting to sleep with his sister (and/or other people saying he did) was just weird.

Rating: 1/5

The Gate to Women’s Country, Sheri S. Tepper

I wasn’t expecting to enjoy this one too much, honestly. I hadn’t heard 100% good things about Tepper’s work before, and some of the great feminist works of SF have been lost on me. (The Female Man, for example — The Gate to Women’s Country is from the same decade, so I wasn’t very hopeful.) And there were some cringe-worthy moments, to be honest; the whole bit about “gay syndrome” being cured now, for example.

Still, for the most part I really enjoyed this. It reminded me a little bit of Jo Walton’s The Just City, because it’s another attempt at building a perfect city and there’s a similar focus on the importance of art and learning. There’s a certain amount of Greco-Roman influence based on the play included in the text, Iphigenia at Ilium, too, and a rather Spartan set-up for the boys.

The relationships between the characters are interestingly done; the awkwardness of the relationship between Stavia and Chernon, particularly — his desire for real connection alongside his manipulative behaviour — but also family relationships, like those between Morgot and Myra, Myra and Stavia. There’s a lot of interesting stuff here: the ethical dilemmas about what the women do in the cause of ending violence, the unique empathy-related abilities which come out of it. In fact, the whole way the city is organised and ruled, the way violence is channelled and rebellion bled off. There’s some really brutal, horrible stuff here in the name of creating a better world. Tepper doesn’t shy away from showing us that, although sometimes I think she’s lacking in sympathy for the characters, judging them rather harshly and ascribing to a darker view of human nature than I’d like to accept.

Rating: 4/5

Wolfhound Century, Peter Higgins
Received to review via Netgalley

There’s something compelling about Wolfhound Century; when people talk about the beautiful style and language, they’re quite right. And the comparisons to Miéville are also, I think, fair. My issue was that it was all weirdly half-familiar — sort of Russian, sort of a mystery, sort of a thriller — and I couldn’t catch hold of any of it to really follow a thread through the story. Lom is okay as a character, but he feels empty, like a cipher. That doesn’t really get any better for me over the course of the book, and… generally everything else gave me that same impression.

For me, there were so many bits I wanted more of — the forest creature/s — and bits I just didn’t enjoy, like pretty much anything relating to the angels, because they seemed so devoid of explanation.

In the end, I have to confess I gave up and skimmed. Miéville has to catch me in the right mood, too, so I might be willing to try again some other time. But I really didn’t get into it, despite wanting to and finding the writing itself compelling.

Rating: 2/5

A Legend of the Future, Agustín de Rojas

I originally received this to review via Netgalley, but took so long about it, I ended up picking it up in a shop. I’m actually not really sure what to make of it: on the one hand I found it engaging, but on the other I found the way it was set out maddening. I don’t know if this issue was deliberate, present in the original, introduced in translation, or a result of some typesetting issue, but scene breaks were several times completely elided so that one scene slid into the next and you only realised because one character was saying something that didn’t make sense in the context of the previous conversation. This happened enough to be completely confusing, rather than just happening once or twice. The other thing is that thoughts are denoted in the exact same way as speech, so you never know if a character is saying something aloud or just thinking it.

Awkwardness of language I’m quite prepared to put down to the issue of translation, and also the fact that the original was written in a wholly different context to modern SF. But combined with the layout issues, I found it frustrating.

On the other hand, the story is interesting, featuring the slow psychological breakdown of a crew as they must adjust to the fact that they won’t make it home, that one of them has to be hooked up to a computer and another is turned into a human calculating machine. The beginning doesn’t work as well as I’d like, because you don’t already have the emotional connection to give it impact, but I can’t see how else the book could sensibly be structured. There is quite a bit of exposition delivered by dialogue, which can be annoying — but I do wonder if part of that is different literary conventions.

The final chapters, the resolution of the story, also tell us why the title is A Legend of the Future. It’s an excellent ending, to my mind; wrapping things up with just enough uncertainty left that you’re not sure exactly what happened, what is real and what is hallucinated and suggested…

When I read the first few sections, I wasn’t much impressed, but my interest grew as I kept on — I think it rewards the effort.

Rating: 3/5