The Martian, Andy Weir

Andy Weir’s first novel, The Martian: A Novel, has garnered a lot of buzz lately: it’s an addicting, rapid-fire book that runs along with a manic energy that makes it difficult to put down. You know how you slow down while passing an accident on the high way? I had that reaction as I blew through it, waiting to see just how Astronaut Mark Watney would survive.

The plot of the book is fairly straight forward: a low-ranking astronaut, Watney, is stranded on Mars when a storm prompts the evacuation of his expedition just six days after they arrived. When he awakens, he finds that he’s alone on the planet, with no way to call home to let NASA know he’s still alive, and more importantly, let them know that he needs a ride home. With only the mission’s remaining supplies and equipment, he needs to figure out just how to survive until the next mission is scheduled to arrive.

A lot’s been made of the fact that this is a hard science novel: there’s a lot of technical details throughout the book, from calculations of air volume to chemical reactions to physical engineering. All of this gives the book a technical, grounded feel, and you can imagine that someday, this book will come true, or at the very least, be used by NASA to plan for a Mars mission. It’s near-term outlook and reliance on strictly realistic components makes this a safe science fiction novel. It’s the sort of book that’s okay for the general public to read because it could really happen; there’s no aliens, galactic empires or expeditionary backstory that require any great leaps of faith for the reader. It seems to work well, too: the book currently sits at #11 on the New York Times bestseller list for Hardcover fiction, and is ranked #158 in books over on Amazon (#7 for Science Fiction).

That isn’t meant to denigrate the book: it’s easy to see why it’s so popular when it’s cracked open. Weir’s narrative plays out as Watney recounts his misfortunes in an audio log, occasionally jumping back to Earth and in between to other characters for some outside context. They, like the reader, are captivated by this slowly unfolding disaster. There are some nice touches to this: cable news puts Watney front and center for their own segment. Like Apollo 13, all eyes become focused on the skies above, waiting to see if the astronaut will return home safely. Weir’s Watney is a fun character: witty, immature, resourceful and optimistic, it’s hard to do anything but root for him to get through the crisis, and you can’t help but cheer for him as he overcomes just about everything that Mars throws at him. This is high-tech Robinson Crusoe, with a much steeper difficulty curve.

Space disaster narratives have been popular lately: last year’s big film was Gravity, which featured a similar premise: an astronaut, stranded after an accident, must find her way back home, using only what she’s got with her. These are good stories to root for, because at their core, they’re about humanity against nature.

What holds The Martian back from being a *great* book is what separates it from Gravity. Watney’s trials are technical in nature, and Weir never quite spends the time to step back and have him question his survival or do anything but blindly plow forward from task to task. Gravity presented a far more interesting character story that addressed some much larger themes: Stone’s own challenges (fall) and eventual recommitment to live life on her own terms make it a much stronger narrative that makes me come back time and time again.

But, I enjoyed the hell out of The Martian. It was an exciting read from start to finish, one that kept me up late into the evening, frantically turning pages to see what happened next. That’s what every good book should do, and this does it nicely.

Review: Ancillary Justice, by Ann Leckie

The Justice of Toren faithfully served the Radch, a galaxy-spanning empire overseen by Anaander Mianaai, the multibodied, immortal The Lord of the Radch. The empire has stood for millennia, maintained by a militaristic system of ships, human soldiers and undead ancillary soldiers under the control of their ship. The ships, such as the Justice of Toren, are run by advanced AI systems who oversee all parts of their command and mission. With the opening of Ann Leckie’s debut novel Ancillary Justice, we’re introduced to Breq, the last individual of the Justice of Toren, whose twenty year mission is almost at an end.

Epic in scale, but intensely character-driven, Ancillary Justice never gets lost in the minutia of world building details that so often befalls most space operas: Leckie is focused and precise with her story and characters, putting them through their deliberate paces as the story advances.

The story unfolds in two narratives: one in the present, the other in the recent past. Breq has arrived on a cold, distant world, where she rescues Seivarden Vendaai, a soldier in her service over two thousand years ago, from certain death. She’s on a mission to acquire a weapon that will help her kill Anaander Mianaai. The reasons behind her mission unfold with a flashback narrative that runs about twenty years before the present day, as she and her ancillaries are over the planet Ors, where one of her lieutenants comes across a vast conspiracy that could rock the foundations of Radchaai society.

Breq’s very nature is a unique voice, and an interesting choice for this novel. She’s everywhere, and the first chapter when we see her in her former glory is a fantastic scene that flows from each of her decks down to the planet’s surface, showing just how powerful she is as a tool, and just how resiliant she is as a character. When she’s on her own, Leckie gives the distinct sense that Breq is incomplete, formidable as she is as the last Esk from the Justice of Toren.

One of the delights of this novel is the complete flip of gender roles in this novel. Space opera is historically a very male-oriented sort of fiction, and about halfway through this book, I realized that I couldn’t pull out a single male character that had been named, or even mentioned. It’s an odd change, but that seems to be the intention: changing up a reader’s expectations helps make this a more interesting and enjoyable read, because it left me with fewer character memes to work with as I read. Throughout the novel, Leckie is a master with her characters, something made more difficult when they span multiple bodies and at times, with competing factions within one’s self.

Leckie pulls the reader along in excellent form, folding in a nice range of interesting characters and their actions. It’s a task made less easy when parts of the story sit twenty (and even a thousand!) years apart, but the end result comes together at the end in satisfying and unexpected ways. The story begins as a sort of quest, and evolves into one of the more politically astute adventures that I can think of that’s come in recent years. Elements such as societal change become readily apparent as we come towards the end, providing a very real sense of allegory that’s all too relevant in this day and age.

Topped with a fantastic cover by John Harris, Ancillary Justice is easily one of the best books that I’ve read thus far this year (in a year crowded with excellent books!), and it’s one of the best first novels of this new decade. Already well known for her work as a short story author and editor, Leckie is now a novelist to keep a close eye on.

The Kassa Gambit

The Kassa Gambit

As the new year rolls around, I’ve been keeping my eyes out for the new crop of books that are set to be released. Already, there’s a handful that have caught my eye, including M.C. Planck’s debut novel The Kassa Gambit. Set in deep space, with inter-colony intrigue, a smuggling ship and a neat cover, it has all the hallmarks of a book that looks to be a fun read, and for the first two-thirds, it really is. The final third, however, demonstrates just how quickly a book can go from a fun and entertaining affair to one that fills me with the desire to throw the book across the room. It’s a shame, because this book looks as through it might have been good, rather than blatantly offensive.

Set in deep space following the ecological collapse of Earth, humanity has taken to the stars by way of nodes, transportation points that allow ships to travel the vast distances of space, and settle on a variety of colonial worlds. The crew of a smuggling ship, led by Prudence Falling, come across Kassa on a routine run, only to find that the planet’s population has been utterly devastated by an unknown attacker. Close behind her is Kyle Daspar, a political officer and double agent infiltrating the League, a political movement intent on dominating the planet Altair Prime. The two characters fall into one another’s company, and uncover something that is poised to upend the order that’s been established in space.

The overarching political elements to this story, the characters and overall universe start out great, and I was reminded a number of times of a favored novel, The Icarus Hunt, by Timothy Zahn more than once. Planck has set up a neat universe, with some good logic behind the people and mechanics of how things run. As the characters move forward, we see that not all is what it seems, and that their groundbreaking discovery has very different implications than they previously thought: it’s part of a political movement that’s designed to allow the League to gain an incredible amount of political power. Here, it’s a neat take on what’s generally a blunt instrument in science fiction, and there’s a nice blend of space opera and political commentary here.

However, around the 60% mark, the book loses steam – a lot of it. The characters break down considerably, and the political conflict that felt very nuanced, devolves into a bunch of caricatured villains and half-hearted action that moves along only by momentum. The characters just… drift and bicker to no end. Worse, however, is how Planck completely upends the two characters, absolutely ruining everything that came before it. In the final act, Prudence is threatened by a violent rape that leaves her utterly traumatized  The scene is so poorly thought out and out of place that it feels as though it doesn’t belong.

I don’t want to diminish the real horrors of sexual assault, and the presence of the actions aren’t what bothered me: it was that the scenes felt as though they were simply dropped in as a tool from a menu: threaten main female character with violation, and have the male character that she’s previously hated/disliked/attracted to inconsistently throughout the book sweep in to save the day and protect her dignity. The scene is so utterly by the numbers – a smelly, disgusting enemy guard advancing on the stripped naked (Yep) characters, before letting his guard down and being taken down.

There has been a lot of talk about this sort of thing in the geek lit community, from Seanan McGuire and Jim C. Hines in the literature realm to quite a bit in the video game industry. McGuire had a point recently that bothered me: a reader asked her when a main character of hers would be raped. Not if – when. The action seems to have become a tool through which a female protagonist can be almost casually brutalized and I was very bothered to see it present in this book. McGuire had this to say about it: Because it is a foregone conclusion, you see, that all women must be raped, especially when they have the gall to run around being protagonists all the damn time.  This sort of thing troubles me greatly, and while I don’t know what the author’s intentions are with the scene, whether or not it’s simply an escalation, but the male characters in the book are never threatened with similar trauma.

Beyond that, the action becomes a point where Falling moves from being a strong, confident character in charge of a space ship, to someone who realizes that all she really needs in life is a strong man to protect her from the bad things in the world, which runs completely contrary to everything that ran up before that. It was enough to make me slam the book shut when I finished, never to open it again. I don’t know what the intentions of the scene were, or if there was some noble intention behind it, but whatever the reason, it sent the book off the rails to such a degree that there is no return. It’s a shame, because the book had quite a bit of promise.

So, The Kassa Gambit turns from a rather fun read to one that’s downright offensive to read by the time you reach the end, and ultimately, while it contains a number of interesting kernels, they’re never followed up on or capitalized in any major way. It’s a shame, because the book was a promising one.

Jagannath, Karin Tidbeck

A journalist recounts an encounter with an alien entity that appears throughout human history, a woman creates a creature from her own blood and spit in a can, and a man falls in love with an airship. These are just a couple of the tales to be found in Swedish author Karin Tidbeck‘s collection of short fiction, Jagannath. The collection has received considerable critical acclaim in the past couple of months, from Tor.com to NPR, and it’s easy to see that the attention is well deserved: it’s a brilliant book, full of stories that linger long after the words have been read, and the book replaced on the bookshelf.

Jagannath is by far one of the best books that I’ve picked up this year, a collection of short stories that left me utterly breathless and at the edge of my seat while reading it. More than once, I found myself at the end of a story, only to turn back and begin rereading it immediately. Each story in this short book is a gem, wonderfully crafted and constructed, each leaving me with a shiver of dread and thrill.

What impressed me the most is how utterly normal and natural a vast majority of the stories felt while reading them: normal people encountering something that’s just slightly off from what is typically natural. A woman comes out of the woods and marries into a family – supernatural elements may or may not be at play, while a suicidal friend in Rebecka may or may not be insane, or tormented by divine intervention. Other stories are more fantastic, but still utterly grounded, such as the strange call center in Who is Arvid Pekon?, the timeless fairy world in Augusta Prima or the historical encounters with some sort of creature in Pyret. Still others are way out there, such as in Aunts or the title story, Jagannath. In a lot of ways, she does Lovecraft better than Lovecraft ever did himself.

Location figures into this: I’ve come across several articles and interviews where Tidbeck highlights her home in Sweden, with its long winters as an inspiration for some of the strange occurrences that she’s written about. Coming from New England, with its dark geography and short summers, I can certainly relate to the dark atmosphere that has been injected into these stories.

Tidbeck’s stories are uniformly haunting, surreal and sublime, and the collection as a whole is a wonder to behold. There’s little surprise to see that the book is recommended by such authors as Ursula K. LeGuin and China Miéville, and Jagannath easily falls into the Weird subgenre, as easily as it can be classified into any genre. The stories are a bit odd, and should place Tidbeck on every reader’s must-read list from here on out. I for one, can’t wait to see what she has coming up next.

Spacesuit: Fashioning Apollo

Cover Image

Nicholas de Monchaux’s Spacesuit: Fashioning Apollo is a stunning history of the development of NASA’s A7L EVA Space Suit. Used on the Apollo and Skylab missions during the heights of the Space Race, the space suit is quite possibly one of the more recognizable images of mankind’s existence in space. In this extraordinary book, he outlines what we know in abstract form: that the lunar landings were an event that was the cumulative efforts of thousands, if not millions of people across a huge number of industries. The real triumph of Apollo isn’t the steps that made history on the moon: it’s all of the steps in the decades before that got them there. Laid out in 21 chapters (the same number of layers that went into a space suit), and covered in a latex dust jacket, de Monchaux methodically drills into the development of a garment that would protect an astronaut in the extreme, inhospitable environment of space. In doing so, he covers far more than just the evolution of the spacesuit: he provides an in depth history of how we went to space and the impact that it had, touching on social, military and political influences.

It’s impossible to oversell the book: what de Monchaux has put together an exceptional piece of history, one that’s eminently readable and beautiful to behold. Laid out with numerous sources with every chapter, photographs and diagrams throughout, it’s a strikingly engaging read. Potentially dense from the outside description, we’re treated to a wide-ranging examination of the background, development and execution of the iconic, all while the book covers everything from the bra industry to the New Look fashion collection by Dior to the military industrial complex and the Cold War.

While these connections seem completely unrelated and separate from Neil Armstrong’s first steps on the moon, we come to find that they are incredibly and intricately intertwined. Spacesuit begins far before NASA and Apollo were conceived of in the 1760s, when mankind was first searching for ways to come up off the ground, first in balloons. What follows is a story that follows mankind’s experiences in the extremes, and we find out not only why such protection is needed, but how we figured out that we needed it in the first place.

In a large way, Spacesuit is the story of technical evolution in the much larger context of humanity’s greatest technological achievement. NASA was a complicated organization that has its roots in a number of diverse fields. Custom fitted for the Apollo and Skylab astronauts, the research, development and production of each space suit was the product of an incredible organizational structure that NASA oversaw from beginning to end, working closely with partner organizations, such as the International Latex Corporation, among many others. The space suits were constructed to exceedingly minute tolerances, and accompanied by reams of paperwork certifying every single component and step along the way.

Alongside the evolution of technology, Spacesuit contains a parallel narrative of the rise of NASA’s organizational structure, in how planners oversaw the development of the world’s most complicated machines and processes. The story of Apollo’s spacesuits is a microcosm for NASA as a whole: innovative, but bureaucratic, it shows the enormity of the challenge laid down by President John F. Kennedy at Rice University in 1962. Accomplished in hindsight, this history demonstrates just how utterly impossible the task would have likely been had it not been for the expertise in both public and private organizations. In addition to the technical and historical content, de Monchaux looks back philosophically at the end, examining the very nature of systems in nature, and how utterly deceptively complex a project such as Apollo really is.

Spacesuit: Fashioning Apollo is the rare extraordinary book that provides such a wide-reaching view of the workings of the space industry that brought us to the Moon and back. Frequently, I found myself almost faced with numerous facts across all number of fields, from fashion and society to computing to military history and the Cold War. de Monchaux’s words are deceptively easy to read, dense with information, yet shedding the dry, pedantic nature of an academic text. In telling the story of the space suit, we’re treated to something much greater: a story of recognizing and realizing impossibility, and then overcoming it with a clear vision of what to accomplish. This book is a must-read for a wide range of people: those interested in the history of the Space Race, certainly, but also those with an eye towards project management and leadership. This book outlines the complicated nature of NASA and its task, and shows that it wasn’t just a handful of astronauts who deserve all of the credit for stepping on the moon.

Throne of the Crescent Moon, Saladin Ahmed

Saladin Ahmed’s debut novel, Throne of the Crescent Moon has been getting a lot of attention since its release earlier this year. It’s a fantastic novel, right out of the gate, gripping and engaging, but it’s also been getting quite a bit of attention for its location. Epic fantasy set in a recognizable Middle East – inspired world; it’s a far cry from the pseudo-Middle-Ages-European settings that most worlds seem to inhabit.

For all of the hand-wringing lately about how little innovation there is in the fantasy world when it comes to actual world building, Ahmed’s story is a nice change of pace; not because an author has bowed to public pressure and recognized that they can break out of the pack, but because he’s been writing about this for a while now.

Throne of the Crescent Moon isn’t all that notable within the fantasy genre because it’s set somewhere besides Europe: it’s notable because it’s an incredibly strong, character-driven narrative. It’s the first fantasy novel that I’ve read in a while where all of the characters really work to own their destiny, and that *they*, not some long forgotten prophesy has guided their actions to make them realize who they really are. It’s a refreshing change of pace.

The line of storytelling that has been troubled me lately is the prophetic style of fantasy, and it’s one reason why I tend to favor more science fiction-flavored stories in general, which tends to avoid it. Far too often, character lives have been pre-determined, with the central focus revolving around the character realizing their inherent importance or internal strengths. Far more interesting to me is when the characters move the plot forward on their own, with their own actions helping or hindering them. Thankfully, this is largely what I’ve found over the course of reading Throne of the Crescent Moon with its three central characters: Doctor Adoulla Makhslood, a ghul hundter of Dhamsawaat, Raseed bas Raseed, Adoulla’s assistant, and Zamia Badawi, the shapeshifting protector of her band. The trio is deeply and at times, broadly flawed, but as the novel progresses, there’s an increasing recognition of this, and growth to overcome it.

A murder triggers the opening of the novel, as a powerful dark presence rises around the city of Dhamswaat, draws in the elder Doctor and his young, naïve assistant, and the young protector together amidst the backdrop of political revolution and corruption in the city. Following the trail of the gruesome murders, the unlikely band comes across a much greater conspiracy that threatens their whole world.

The plot isn’t terribly original, but Ahmed’s richly textured world more than makes up for it. The streets of Dhamsawatt in particular are a delight to read. Vividly written, the city and characters are captured in their entirety. Defined by their flaws, each character essentially works to overcome some of their learned nature (or, it’s clear that some of them already have), presenting a nice ensemble of characters that felt very real to me.

Ahmed’s writing is the last main pillar of the novel, and Throne of the Crescent Moon is a deftly written story that pulls the reader along effortlessly. His prose is crisp, detailed and allowed me to burn through the book in just a couple of sittings, something that feels like an ever-rarer joy to do. The book is a short read, but ultimately a satisfying novel, one that has left me awaiting more installments of Ahmed’s fascinating world. He’s certainly an author worth checking out and watching for the future.

The Lion The Beast The Beat

The Lion the Beast the Beat

Grace Potter and the Nocturnals are a band on the upswing. Enormously popular in Vermont from their first album, it’s been quite something to have seen a band go from playing small gigs around town to major venues across the country. With their latest album, The Lion The Beast The Beat now out, the band is reaching new heights.

The group’s self-titled ‘debut’ landed two years ago, which came after three prior albums (two independantly produced – Original Soul and Nothing But Water – and their first under a major record label, This Is Somewhere), and was a mixed affair. The production was great, but the album was lacking some of that energy and whimsey that really made heads turn. This latest album still has the major record label fingerprints but they’ve delivered a superb album that captures Grace’s fantastic voice much better. It’s a strong album, and bodes well for their future.

In a way, The Lion the Beast the Beat is Grace personified. All of her albums have felt deeply personal, but this one makes the jump over to the singer as a literal mechanical component: a vinyl record. Turntable is a sexually charged number that puts Grace spinning around a record player, while Never Goes Back brings in the idea that a person’s life can be scratched just like a record can be.

There’s a lot to love in this album with a lot of variety. Title track, The Lion the Beast the Beat perfectly mirror the energy that you’ll see at one of their live shows, while Never Goes Back feels much like a throwback to the 1980s and Stars shows out her country influences nicely. There’s others still, like Loneliest Soul that are just strange and very different from her usual sound, but very fun to listen to. At the center of it all is Grace Potter and her fantastic voice, which runs up and down the register effortlessly.

There’s a little big of everything on The Lion The Beast The Beat, and the entire album feels like it’s moved from the safe territory that their last album seemed to drift to. Potter’s music has always felt like it’s a bit on the edge, and it’s nice to see them back to having a bit of fun.

Review: Caliban’s War

Caliban's War (Expanse Series #2)
Caliban’s War, James S.A. Corey’s follow-up to the Hugo-nominated Leviathan Wakes takes readers back to the well-realized world of The Expanse. It’s an all guns blazing thrill-ride that ups the stakes in the Expanse and keeps me wanting more.

Picking up several months after the events of its predecessor, we find James Holden, who had survived the Eros event and started a system-wide war between the various planetary factions, is now running missions for the Outer Planets Alliance. At the same time, Earth and Mars have returned to an uneasy relationship, with their forces ready to open up on one another across numerous fronts. Praxidike Meng, a botanist on the breadbasket of the Outer Planets, Ganymede, finds his daughter has been kidnapped after a mysterious threat is encountered by UN and Martian Marines. The two groups of Marines are attacked, leaving a single survivor: Gunnery Sergeant Bobbie Draper, who is ordered to accompany Martian diplomats to Earth to sort out what happened. There, she meets Chrisjen Avasarala, a UN politician working to prevent outright war between various factions of the Solar System.

Where I’d describe Leviathan Wakes as a robust space opera story, Caliban’s War strays far closer to the Military Science Fiction subgenre. This book is packed with quite a bit of military action from the get-go, and throughout the novel, it’s approached in a well-thought-out way. When the bullets aren’t flying, we see a considerable amount of political work that help make up the backend of any military action, which keeps up a certain amount of tension and adds depth to the book as a whole. The result is a military science fiction novel that gets both the action and the motivations for fighting right on.

Following the end of Leviathan Wakes, with the death of one of the central characters, Corey introduces a number of new characters: notably, Bobbie, the Martian Marine gunnery sergeant who survives an early encounter with what appears to be a new form of the protomolocule. In addition to Bobbie, Praxidike Meng, a botanist from Ganymede plays a key role in the search for his daughter and Chrisjen Avasarala, a UN Undersecretary of Executive Administration have come in to accompany New Characters, trying to get everyone to listen to one another. As a whole, the entire group of new faces is a welcome one, keeping the relationships between the existing characters interesting. Each are nicely assembled with some familiar parts: the tough as nails Marine, the somewhat clueless scientist, and the hard ass politician, and have some other points that round them all out nicely: Bobbie suffering deeply from the loss of her platoon, and Avasarala’s about face personality when it comes to her grandchildren. Bobbie Draper in particular has become one of my favorite characters in the series thus far. Tough and determined, Draper is a great example of a strong female character that doesn’t really conform to a lot of the molds, and one that wasn’t thrown into the series to simply fill out the gender balance.

Caliban’s War follows a similar formula as Leviathan Wakes did: a girl vanishes, people attempt to find her, Holden tries to broadcast information to the solar system, all while big picture political elements are at work towards their own nefarious ends, before quite a lot of action happens. It’s not a bad formula to follow, and while the story doesn’t retell the first one, it does make it predictable at points. Following an exciting opening, the predictability allowed some of the necessary setup to slow down the book for a while, before the last act brings all of the diverse elements together and end the book with a bang. As the story accelerates towards the finish line, so to does the stakes, and this second novel becomes a fantastic bridge for the rest of the presumed trilogy. (There are a further four books and several short stories planned at this point). A major cliff-hanger moment down to the last line of the book makes me hope that at some point, HBO will pick up the books for a television series.

Like Leviathan’s Wake, the two authors who comprise James S.A. Corey, Daniel Abraham and Ty Franck, have done a knock-out job when it comes to the world that they’ve created. Hearty, durable and dripping with details, Caliban’s War gives you all of the major food groups and desert. They layer on some new details that weren’t extensively covered in the first book through the new characters, and we’re privy to new parts of the Solar System that open up the world even more. If anything, Caliban’s War does an even better job with working in the world, sustaining the storyline while not having to introduce the reader to a completely new world and storyline. If anything, it’s more focused and to the point, while covering a lot of ground towards what is building up to be an epic time in the solar system.

I really enjoyed Leviathan Wakes, and Caliban’s War is a fantastic addition to what I suspect will be a great series of books. For all of the talk about science fiction going away in favor of urban fantasy or some other spectrum of speculative fiction, it does a great job showing that the stories that can be told in space aren’t going anywhere, all while blending great storytelling and characters, and giving us a new world to look forward to revisiting.

Can’t Wake Up: Awake

The show opens with a calm moment, as lights pass over the grass on the edge of a road and just before a screech signals imminent disaster. It’s this moment that sets up the entire premise of Awake, starring Jason Isaacs (whom most people will remember as Lucius Malfoy from Harry Potter). At the wheel is Michael Britten, a homicide detective who’s about to have the worst imaginable tragedy: he collectively loses his wife and son in the accident. He’s a man between two worlds: in one, his wife is alive, but his son has perished. In the other, his wife has died, but his son still lives. Britten lives each day by alternating: going to sleep in one world means waking up in another.

The pilot episode for Awake is stunningly brilliant: it’s beautifully shot, directed by David Slade, with a great eye towards the visual styles that separate out the two worlds. One is soaked in bright shades where Britten’s son is alive, while the other is clad in darker, moody tones. To keep them apart, Britten wears a wristband that corresponds with the two worlds: red for his son’s reality, green for his wife’s.

The premise of Awake has an incredible amount of potential: In each world, Britten works with a psychologist in each world, trying to figure out why he’s experiencing each reality, and trying to cope with the idea that each presents to him: the other world is most certainly the imaginary one, a construct in his mind designed to cope with the loss of one of his loved ones. There are a number of elements touched on here in the show: trying to remember which world he’s working in, trying to move on from the accident, and above all, trying to continue on with his life. Britten comes to the determination that the only way to move forward is to accept the situation: where this is the type of problem that would be the first impediment in front of the character, Awake looks elsewhere for story ideas.

This is the crux of where Awake has turned from what could be an interesting genre television show, and into the potential for a great one: it takes on some very heady issues: what is the real reality, how do you come to terms with losing the people important to you, and how do you react to trauma? It’s delivered with smart writing and fantastic acting, scenes that had me at the edge of my seat while watching it a couple of weeks ago.

The high quality of the show reminds me of some other high-concept shows: NBC’s 2009 show Kings, and ABC’s 2007 show Daybreak. Unfortunately, both shows had limited runs: they ran for less than a season before they were cancelled due to low audience numbers, and I worry that this same fate might befall Awake before it gets a running start. Hopefully, excellent reviews in the New York Times, NPR, LA Times and Hollywood Reporter will help give the show the critical legitimacy to push it up over the edge.

What I have enjoyed so far in the show is that there is no clear or easy answer for Britten that has been painted out by lazy writers: the characters here are ones that are well crafted, and it’s painful to think of what might happen to them, much like George R.R. Martin has demonstrated with his own characters and their inability to remain alive. Awake has an excellent cast that makes me dread some of what might be coming up for them. This also isn’t one of the numerous LOST clones, trying to shock the audience into sticking with the show: questions and possibilities arise throughout in ways not seen since that show, but here, it feels far more organic, rather than the product of a writer’s room.

Regardless of the length of Awake, it’s something that I hope remains around because of the fantastic writing and acting that we’ve seen, not just because I’m looking to get to the end of the story. This is television at its very best, and for that reason, it’s something that you should check out tonight when it airs at 9pm.

The Icarus Hunt

This year, a major goal of mine is to try and cut down on my ever-growing ‘to read’ list, which has slowly crept into the triple digits over recent years. There are a handful of books that I’ve been meaning to get back to and revisit from earlier days, and at the top of the list was Timothy Zahn’s 1999 science fiction / mystery novel, The Icarus Hunt. The book was one of the novels that I first read during my transition from Star Wars novels to mainstream genre novels, and it’s been a book that’s stuck in my mind since I first read it.

The story opens with Jordan McKell, smuggler and ship’s pilot, meeting up with Alexander Borodin, who hires him to take his ship, the Icarus and its sealed cargo, to Earth. Deep in debt to crime lord Johnston Scotto Ryland (Brother John) and his superior, Antoniewicz, McKell accepts, and ships out with the assembled crew. Shortly after starting off, one of the members of the crew is murdered, and deep questions emerge into the nature of their cargo.

The Icarus and her crew quickly becomes the target of an intergalactic manhunt from numerous factions: the Patth, a commercial race that holds a near-monopoly on interstellar shipping, believe that the cargo is an advanced star drive that would undercut their own technological advantages, while an unknown agent amongst the ship’s crew has begun to endanger the crew. As the Icarus and its crew jump from system to system, steps ahead of the Paath and the growing contingent of opportunistic planetary governments and criminals, the true nature of the mission comes to light.

Zahn’s solidly-constructed world is one that sees a number of parallels with popular franchises, from Star Wars to Titan A.E. and Firefly, but feels wholly unique and original in its own right, and fans of the recently released novel Leviathan Wakes, by James A. Corey should certainly pick this one up in the wait for the next installment in the trilogy.

Of particular note is the story’s structure: this is very much a mystery novel set in space: who the fellow members of the crew are, from Tera, who strives to keep her identity under wraps, Nicabar, a former EarthGuard marine, Chort, the crew’s alien space-walker, Everett, the ship’s doctor, Geoff Shawn, the hot-tempered electrician and Jones, the short-lived mechanical expert, who’s murdered early on. There’s also the nature of the cargo that they’re carrying, and as more people appear in the sidelines who want to get their hands on the cargo, the book kicks into a race that feels genuine to the core. The pacing is perfect, and never overcrowded as the mysteries deepen and the characters all develop richly. Zahn has done an excellent job creating a cast of dynamic characters, and keeps the reader in the dark until the very end as to some of their true intentions: when I first read the book, I went back and re-read it to pick up on the hints along the way. All the way through, it’s a gripping read.

The Icarus Hunt is a book that feels like a solid hit out of the park, and while all of the plot points come together in the final chapters, the setting of a McKell in the dining room with all of the players feels more like homage than sloppy structuring. All along the way, Zahn has constructed a plausible, fascinating world that hints at other stories (sadly, this appears to be the only one) at every corner of the galaxy. It’s a book that takes a lot of common story elements and mixes them together into something that’s greater than the sum of its parts, and has very few books that it can really be compared to. Even better, it holds up past my nostalgic love for it, despite the release of more recent, similar stories. Truly, a cult classic in the making.