War Cry, Brian McClellan

Received to review via Netgalley

I haven’t read any of McClellan’s longer work yet, so this novella from Tor seemed like a good point to jump in, really! It’s set during a war in a fantasy setting, with very familiar attributes — there’s propaganda, there’s airplanes, everyone’s running short and coaxing coffee out of months’ old grounds… but there’s also wizards, of at least two kinds: shapeshifters, and those who can cast illusions. We don’t get some big overview of the war: it’s fairly tight in to a little squad who have been taking losses, fighting hard, and living right on the edge. They get a chance to do a risky mission to get some supplies so they have food and maybe even coffee. And, predictably, it goes wrong.

It feels like there’s a lot more room for story in this world, whether that be an extended version of this story or a series of novellas. It’s not terribly unsatisfying on its own, because there is a kind of end to the immediate plot, but there’s so much more in the world that we don’t get to see, so much more for the characters to do, that it doesn’t feel like a stopping point (more just a pause). There’s room for awesomeness, but it feels like it’s mostly potential right now — an opening act, rather than a story in itself.

Rating: 3/5

One Way, S.J. Morden

One Way was, in the end, too like a grimmer version of Death of a Clone for me to really enjoy. Even though I’m fairly sure neither was trying to copy the other, the similarities made One Way less enjoyable, mostly because it was the second one I read, and partly because it was rather darker in tone. I’ve seen comparisons with The Martian, but again, I think it was darker in tone than that, and less fascinated by the technical minutiae.

The book follows Frank, a convict who killed his son’s drug dealer in a pre-meditated fashion, and went to prison for it. He’s offered a way out by a company who are trying to build a base for NASA on the moon: he and several other convicts must ship out to Mars, there to spend the rest of their lives, and build the base. It’s cheaper than robot labour for them, and it’s a way out for Frank and the other convicts, so of course they say yes. They go through some gruelling training, but only six months of it (which should probably be a hint right there about how expendable they are, but they don’t seem to twig that fact), and then off they go.

Once they’re woken up from cryosleep on the other end, though, people start to die. As each team member finishes their job and becomes expendable, there’s an equipment failure, a weird leak in the hab… and there’s Frank, slowly realising that these deaths really aren’t accidents.

It’s not a cast particularly designed to arouse sympathy: they’re not out and out bastards in everything they do, but you know that each of them killed people, and each of them is capable of some terrible things. The camaraderie between them is fragile, and so is the reader’s willingness to root for them. In the end, I was mostly sitting back to see how each one of them died and when, without really caring much about the outcome. Not ideal!

It’s not a bad idea for a novel, but peopled with such generally terrible people, it’s not something I found particularly compelling either. And I never believed in the promise of a second chance that Frank was offered: it was too obviously too good to be true. That left me feeling like it was just going through the motions, and I was glad to be done.

Rating: 2/5

The Seventh Miss Hatfield, Anna Caltabiano

I didn’t know much about this book or author before I started the book — I’d seen the books around a bunch and ended up just getting it from the library on a whim. I’m really not impressed, and I’m actually giving up without finishing the book, so you should take that for its worth in considering the book itself!

The book opens with a mysterious little scene in which a young veiled woman is thwarted at an auction in obtaining a painting she wants. The first chapter then appears totally unconnected in time (and possibly in place as well), as a young girl called Cynthia plays on the front porch of her parents’ house and goes over to deliver a parcel to their mysterious new neighbour, a Miss Hatfield. Miss Hatfield invites her in for lemonade and cookies, and trying to be polite, Cynthia goes in. Very quickly, she’s aged up to being an adult (apparently gaining more vocabulary as she does so — anyone bothered explaining to Caltabiano that language is acquired by exposure, not simply age?) and given something that makes her immortal. She’s told that she’s the seventh Miss Hatfield, an immortal and unhappy group of women blessed with immortality, and cursed to leave behind their lives. Almost immediately after that, despite her resentment, Cynthia is sent out to retrieve — aha! — the painting mentioned in the prologue.

Although things happen quickly, it doesn’t feel fast-paced. Instead, it feels like the kind of story a child tells: this happened and then another thing and another thing and then this and then another thing and and and and… The explanations barely hang together, and what could be fascinating (for example, the clock) is skimmed over. Cynthia is shockingly accepting of her fate, and does things whether they make sense or not. For example, she’s mistaken for being someone’s granddaughter and just… plays along, feeling trapped because… I don’t understand why.

The story has very little internal logic and doesn’t hang together well, and then, worse, Cynthia ends up in a romance. This is an 11-year-old girl who has just been aged up using vague magic means, adding barely hours to her sum total experience of the world (for all that Caltabiano seems to think that will automatically improve her vocabulary and make her an adult). Romance is not at all appropriate, geez.

So here’s where I get off. This book and the sequels are being summarily handed back to the library without me bothering to read a single word more.

Rating: 1/5