The Magical Worlds of Christopher Plover

It’s always cool to find previously unknown authors while doing research. Recently, I came across a relatively unknown fantasy author who had some close ties to some of the giants in fantasy: Christopher Plover. Famous for his Fillory and Further series, he’s relatively unknown today. Recently, his works seem to have inspired one recent series of books, The Magicians trilogy, by Lev Grossman, who’s latest book, The Magician’s Land, came out earlier this week.

Go read The Magical Worlds of Christopher Plover over on io9.


  • The Magicians, Lev Grossman. Grossman’s trilogy contains some good details about the Fillory novels and their elusive author. There’s a number of details about the nature of the story’s creation, and a bit about Plover.
  • The Magician King, Lev Grossman. More about Plover is revealed in this novel, as well as some details about the Chatwins.
  • The Magician’s Land, Lev Grossman. Rupert Chatwin’s autobiography and relationship to Plover is revealed here.
  • Christopher Plover Official Website: This particular site is a good starting point for Plover scholars. There’s some good descriptions of each of the novels, as well as some good biographical elements on the site.
  • The Magicians Wiki: fans of Plover have put together an article on the Fillory and Further novels.
  • The World in the Walls, Chapter 1. Those of you interested in reading a bit of the Fillory and Further series can pick up the first chapter here.




* Yes, this is a bit of a parody. The Magician’s Land, however, isn’t, and it’s an extraordinary end to the series.

There and Back Again – The Hobbit

The Hobbit In the middle of November, I talked about Tolkien’s WWI experiences and their impact into their writing. With the live action adaptation of The Hobbit released into theaters soon, it makes sense to look at how The Hobbit was written in the first place. It’s an interesting story, with a bunch of twists and turns.

Go read  There and Back Again: A Hobbit’s Tale over on Kirkus Reviews.

Here are the sources that I used and would recommend:

The Annotated Hobbit, J.R.R. Tolkien and Douglas A. Anderson: This edition of The Hobbit has received the annotated treatment. I was a big fan of the Annotated Dracula, and this edition has some good insights into the creation of the book.

The J.R.R. Tolkien Companion and Guide: Chronology, by Christina Scull and Wayne G. Hammond: This massive volume was an invaluable resource in determining where Tolkien went during his time in combat. It’s detailed down to the day in most cases, with an overwhelming amount of information.

The J.R.R. Tolkien Companion and Guide: Reader’s Guide, by Christina Scull and Wayne G. Hammond: This second companion book was also great for background information on Tolkien’s friends and some of his influences.

J.R.R. Tolkien: A Biography, by Humphrey Carpenter: This book was one that I came across years ago, and it still remains one of the definitive biographies of the author, with a comprehensive and readable detailing of his life and works.

J.R.R. Tolkien: Author of the Century, by Tom Shippey: This book provided some good background information on Tolkien and his influences in the War.

Some Kind of Fairy Tale: George MacDonald

With October’s Horror duo over with, I decided that it was time to shift gears again in preparation for the really big fantasy event of the year: The Hobbit, and thus focus on some of the background on Fantasy literature, which I haven’t really focused on thus far. Like Science Fiction, context for the development of Tolkien’s works relies on an earlier look at what came before, and the notable author that I became interested in was George MacDonald, who really jump started the Fantasy genre by creating a number of modern fairy tales that inspired many fantasy authors that came before him. He’s not a household name like Mary Shelley, Jules Verne or H.G. Wells, but he was no less influential in his works, which went on to inspire authors such as J.R.R. Tolkien and C.S. Lewis.

Go read Some Kind of Fairy Tale over on Kirkus Reviews.

Sources Used:

George MacDonald, Michael R. Phillips: This biography of MacDonald is an interesting one, taking on both the man and his works, in both historical and narrative style. It’s a good read, with quite a bit of information about the author and some of his major influences.

An Expression of Character: The Letters of George MacDonald: This volume contains the collected letters of MacDonald, which proved to be marginally useful for this piece: some of his books are mentioned, but nothing other than mentions of his books, rather than process (at least that I could find).

Survey of Modern Fantasy Literature, Vol 3, Frank Magill: I’ve been talking a lot about Science Fiction recently, and as I’ve begun to look more closely at Fantasy literature, needed to pick up the companion to the Survey that I’ve been using. Also edited by Frank Magill, it covers a wide range of fantasy novels and authors. The entry for Phantastes is a great overview of MacDonald and his career, and was incredibly useful for this piece.

George MacDonald, William Raeper: This biography is another good insight into MacDonald and his life and really helped to support the other pieces that I referenced.

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.

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.

Boskone 49 Recap

This past weekend was Boskone 49, a science fiction / fantasy literature convention down in South Boston. After great experiences at ReaderCon the past couple of years, I decided to head down and partake in the fun for the spring, hitting up a bunch of panels and getting to meet up with people that I’ve largely talked to online over the past couple of years.

Stepping in the door (after a typical Boston driving experience) on Friday afternoon, I saw one of my former college professors, F. Brett Cox, and Lightspeed publisher John Joseph Adams, which was nice, before heading off to the first of several panels: Science Fiction, Fantasy and Horror in the Classroom, led by Brett, where they talked at length about the recent acceptance of the genres in the academic field. Since Cyberpunk has become a subgenre, it’s become relevant, but with the addition of several literary heavyweights, such as Michael Chabon and Margaret Atwood, it’s become more acceptable.

Typically, short fiction seems to be one of the best ways to get the literary themes across, but novels and films are also well used. What everyone seemed to agree on was that students really took to the genre, regardless if they were fans: students seem to identify with it quite a bit more than other genres.

Someone on the panel had a great quote, one that applies to more than just learning, but also critical reviewing and thinking as well: “I get to look under the hood and see how this works.”

The next panel was Occupy SF: Corporations in Science Fiction, which was a fascinating talk. Charles Stross opened with some interesting things to think about: what holds up value in an interstellar empire? Apparently, this is the topic of his next book, and it drove discussion a bit early on, with some discussions about the very nature of money and economics. In comparable situations, letters of credit have been used on Earth, but how does this work when distances across space can be hundreds, if not thousands of years? Stross also suggested that if we’re going to use metals for currency, we should simply use plutonium: it literally burns a hole in our pockets, and if we have too much, we can simply blow it up.

Finally getting to the point of corporations, they were likened to that of a hive: individuals carry out instructions on the behalf of the corporate hive, for its own (and presumably theirs), betterment. This is fine, in theory, but when you have an unchecked capitalist model, it will simply consume itself, because people aren’t good at looking and planning in the extreme long-term: corporations simply work to make money and continue their operations (good and bad).

Leadership followed this discussion, and the point to which we’ve gotten represents a major change in how corporations were led: a very good point was brought up about who leads these places and what governs them: corporate behavior rewards psychopaths, and interestingly, a set of objective rules are set up to govern success: the value of experience has been lessened, because the rise of the MBA degree essentially has made corporate leadership interchangeable. Top earners are promoted and valued, regardless of how they become those top earners. As someone in the audience commented, that undermines what the customers think of the corporation. Long-term, that matters, but not so much in the short term.

This was an enlightening talk, and it was one of a couple that were very, very thought provoking for me personally, and gave me some great, solid ideas for a couple of projects that I’ve got in the works.

Saturday morning, I started with SF As a Mirror on Society, which I came in for about half of. Fortunately, this time, I left my car in Cambridge and rode in on the T, which reminded me that I dearly miss public transportation. I wish that I could ride a bus, subway or train to work. As I entered, I came in on a discussion of the ‘Other’, and some discussion on how some of the neglected characters should be handled: essentially, not embellished.

Following that, it was off to lunch, with Theodore Quester and John Joseph Adams, the Lightspeed crew present at the convention. Good times.

Lunch went a bit long, and when I got back, I got into a panel a bit late: Robocop Futures. This was a fascinating panel. As I got in, there was some discussion on the the role of people in systems: increasingly, we’re living in a world that’s guided by policy, rather than human intervention. I was reminded of something that P.W. Singer talked about when talking about robotic systems: people in the loop. People are increasingly out of the loop, where they’re able to defer responsibility.

This is connected to law policies: increasingly, there are mandatory sentences and policies. One of the panelists mentioned a case where a Briton was prevented from entering the US because of a tweet. In this instance, everybody involved knew that it wasn’t a serious or credible threat: policy demanded that the airport report it to law enforcement, who was in turn forced to investigate it, despite knowing that it wasn’t a serious or credible threat. In the same manner, mandatory minimums for certain crimes: people aren’t able to use their judgment in the process.

This discussion ended up on automated systems, which parse our conversations online. Increasingly, we’ve found ourselves turning to automated systems that absolve us of responsibility. Fortunately, computers are pretty bad at making sense of human relations. At the same time, people in the system are the weaker links that can potentially be exploited.

After a short break, Table Top Games in the Digital Age was the next one, with Ethan Gilsdorf moderating. This one was really one of the bigger letdowns: I’d been hoping that there would be some discussion about how table-top gaming might make the jump into the digital age, but there was a lot of lamenting about how the day of face to face gaming seemed to be going by the wayside (from the audience as well). It felt very oppositional to me, rather than a group looking at what was both inevitable coming, but also how to work the social aspects into the gaming world. This was covered, but briefly.

The next panel was fascinating: War of the Worlds and Dracula, compared. Both novels are ones that I read a long time ago, back in college, and I’ve been meaning to revisit them at some point. Discussion started right off with a look at both novels as reactions to Britain’s place in the world: essentially, they’re both reverse colonization novels, with two different models that tapped into an undercurrent of fear from British society:

  1. Invade, and replace the inhabitants with your own people.
  2. Invade, and change the inhabitants into your own people.

As someone noted early on, the Martians did to the British what the British did to the Zulu: invade, use overwhelming force and wreck havoc. In addition to these two novels, there was an entire subgenre of invasion novels from around the 1870s, right around the same time that Germany had begun to gain power in Europe. Britain’s place in the world had begun to fall, and that’s expressed in these novels: it’s not too unlike the Cold War between the USSR and US. Both novels feature bloodsuckers feeding on Englishmen.

Something that I realized shortly after that both novels relied on the inherent strengths within the British lifestyle and culture: The British prevailed because their very biology helped them in War of the Worlds, while Dracula was hunted down with modern technology, which again taps into the patriotic element of both books. It was a fantastic panel, one that I learned a lot from.

The panel on Cover Art was an interesting talk, and the last for the night, with representatives from Tor Books and Baen. Baen’s was interesting, where they have a particular style to their covers, but it was interesting to see their rational behind the art. Tor had some great cover examples, and overall, it was fascinating to see everything that goes into the covers of a book, and how it’s used as a marketing tool.

On Sunday, Joshua Bilmes (Agent), David G. Hartwell (Editor), Patrick Nielsen Hayden (Editor), John Scalzi (Writer) and Toni Weisskopfgot (Editor / Publisher) together for their Top Ten Tips for the Prospective Writer, which was a interesting talk for anyone who is looking to become a professional author. There were actually more than ten tips, but they were all good ones. In short form:

  • Be a good writer.
  • Get used to sucking. You’re at the beginning of a journey through incompetence. Keep writing until you don’t suck.
  • Divest yourself of attachment to writing times/locations: set aside a time, and write where ever. You’ll have a new excuse everywhere you go to not write.
  • A writer can do anything, provide its not what he’s supposed to be doing.
  • Write every day. Now is a good time to write.
  • Two things: you can be a writer, then you can be a published author.
  • Treat it like a job: be professional about it, and commit to it.
  • Write to entertain someone else, not you.
  • Know your audience.
  • Who’s going to be your first audience? Your editor and publisher.
  • Give yourself space with no other intention other than to learn. Write so that you know how to put together a story.
  • Publishers want to see a manuscript that you care about: they don’t want to see your nanowrimo novel.
  • Acknowledgments are a good roadmap.
  • Understanding the industry are extraordinarily important. You have a better chance sending things to the right people. However, it is a moving target: trends change quickly. Urban fantasy was big four years ago. Much smaller now. If something’s hot, it’s too late.
  • Write the book that you’d like to read.
  • Half of your money that you earn goes to taxes.
  • There will be people who are better than you and some who are worse. Publishing isn’t fair.
  • Publishers will put money where they think they’ll get a return.
  • Workshops are good, but make sure that you apply the advice that you get. Do some work shopping and then stop. The same workshop will ultimately give you the same advice over and over again.
  • Your submission manuscript that’s accepted is your final one: you’re in the pipeline, not your writing workshop. Don’t make drastic changes.
  • Wheaton’s law: don’t be a dick.
  • Scifi has an unusual amount of flow between pro and fan. Be nice to others.
  • Esteem of your peers: nice to have it, but it’s not essential.
  • Don’t be distracted by non-paying things that don’t help you.
  • If you enjoy it, you should do it. Don’t do it if you don’t like it.
  • Write the best that you can, understand that everyone else is writing the best that you can, and don’t crap on people. Admire the good works of others.
  • Learn how to apologize and learn how to do it sincerely.

Good primer of advice there from some people who know that it works.

I got to wander around a little, before ending up at John Scalzi’s reading, where he read from his upcoming novel Red Shirts and his non-fiction book, 24 Frames into the Future.

Redshirts sounds hilarious, and I’m glad that I’ve been watching Star Trek, because it’s got a lot of inspiration from that particular franchise. It’ll be interesting to see what Trek fans think once it’s published. John’s got a very fun style when it comes to panels, and this one was rapt with attention and a healthy dose of dry wit. Unfortunately, he wasn’t able to stick around, due to a death in the family. I didn’t get my copy of Fuzzy Nation signed, but that’s okay: I got my copy of Rule 34 signed by Charles Stross, and The Warded Man by Peter Brett (which I’m going to read soon!), which was very cool.

With that, it was a good convention: I’m not sure I had as much fun as Readercon, but it was a good time, where I got to meet up with some very cool people: Myke Cole, F. Brett Cox, Peter Brett, John Scalzi, Charles Stross, Ian Tregillis (who’s book Bitter Seeds is now on my to-read list), John Joseph Adams, Genevieve Valentine, Theodora Goss, Irene Gallo, and a whole bunch of others that I’m forgetting. Already, I can’t wait to go back next year.

2011 Reading Census

This year has been an interesting reading year for me, fluctuating between a bunch of really, really good books, and a couple that really sucked out any interest that I had in reading at that time, with a number of books in-between that I thought were fun reads. Here’s what I got through in 2011:

1- Grey, Jon Armstrong (1-8)
2- The Dervish House, Ian McDonald (1-21)
3 – Hull Zero Three, Greg Bear (1-23)
4 – Hunger Games, Suzanne Clarke (2-1)
5 – The Lifecycle of Software Objects, Ted Chiang (2-4)
6 – At The Queen’s Command, Michael A. Stackpole (2-19)
7 – Mossflower, Brian Jacques (2-20)
8 – Embedded, Dan Abnett (3-7)
9 – Kraken, China Mieville (3-9)
10 – Leviathan Wakes, James A Corey (3-17)
11 – Little Fuzzy, H Beam Piper (3-28)
12 – Fahrenheit 451 Graphic Novel, Ray Bradbury (4-13)
13 – Yarn, Jon Armstrong (4-13)
14 – Welcome to the Greenhouse, Gordon Van Gelder (4-19)
15 – Fuzzy Nation, John Scalzi (4-25)
16 – Spectyr, Philippa Ballentine (4-26)
17 – Soft Apocalypse, Will McIntosh (4-27)
18 – Blackout, Connie Willis (4-30)
19 – Locke & Key, Joe Hill (5-8)
20 – Catching Fire, Suzanne Collins, (5-22)
21 – Deathless, Catherynne Valente (5-27)
22 – Embassytown, China Mieville (6-18)
23 – Hex, Allen M. Steele (7-2)
24 – The Gravity Pilot, MM Buckner (7-4)
25 – A Game of Thrones, George R. R. Martin (7-15)
26 – The Big Roads, Earl Swift (7-19)
27 – Spellbound, Blake Charlton (8-2)
28 – The Magician King, Lev Grossman (8-4)
29 – Bright’s Passage, Josh Ritter (8-5)
30 – Grave Peril, Jim Butcher (8-13)
31 – Spook Country, William Gibson (9-6)
32 – Machine Man, Max Barry (9-10)
33 – Crisis in Zefra, Karl Schroeder (9-15)
34 – Halo: The Fall Of Reach, Eric Nylund (10-1)
35 – Germline, TC McCarty (10-5)
36 – The Windup Girl, Paolo Bacigalupi (10-16) Audio
37 – Halo: Glasslands, Karen Traviss (10-29)
38 – Red Herring, Archer Mayor (10-20)
39 – Ganymede, Cherie Priest (11-11)
40 – Ender’s Game, Orson Scott Card (11-20)
41 – Ready Player One, Ernie Cline (11-26)
42 – Open Season, Archer Mayor (12-5)
43 – Seed, Rob Zeigler (12-11)
44 – Rule 34, Charles Stross (12-??)

In the pipeline: X-Wing: Rogue Squadron, by Michael A. Stackpole, All You Need Is Kill by Hiroshi Sakurazaka, Learning to Eat Soup with a Knife: Counterinsurgency Lessons from Malaya and Vietnam by John A. Nagl and The Unforgiving Minute: A Soldier’s Education by Craig M. Mullaney. Rogue Squadron is something I’m going to finish up sometime this weekend, and All You Need is Kill is somewhere behind that. The other two are a bit denser, and while they’re interesting, they’re taxing to get through.

Interestingly, this was the first year where I really read books electronically. I’ve dabbled with it in the past, ever since I bought an iPad, but this year, I made the jump and read a small percentage digitally: 7 in all: Grey, Lifecycle of Software Objects, Embedded, Little Fuzzy, Crisis in Zephra, Ender’s Game and Open Season. Add in Game of Thrones, with which I alternated between my paperback and ecopy, and that’s 19%, or just under a fifth of my book pile existed on a hard drive somewhere, rather than a bookshelf.

An interesting thing about eBooks: there’s really only a single novel that I read in which I felt really took advantage of the book’s digital nature: Crisis at Zephra. This novel, a short novella, really, was published by the Canadian Military, and incorporated a lot of data about new and upcoming technologies, and trends in said technology. I was limited in that I was reading on a wifi only iPad when I was away from the internet, which left me unable to click on the links scattered throughout the text, with explanations as to what the terms, technology and theory meant. This, I think, is where eBooks will eventually head: less reading experiences, and more immersive and interactive ones.

I’ve also been doing a bit more with book reviews, on a number of different sites: SF Signal, The Functional Nerds, Kirkus Reviews, and my own blog, with a total of 15 books (34%) read for a review. In this instance, I’ve written reviews for a number, but these are books that were given to me by either the website that I wrote the review for, or sent by an author or publicist for my own purposes, even if a review wasn’t necessarily expected or promised. Just under a full third of my reading this year was subsidized by someone else, for review purposes. Of those books, I had a bit of fun, although my reviews weren’t universally positive. The caveat to this, of course, is that a majority of my reading, (29 books in all – 65%) are for my own pleasure, and a minor attempt to whittle down my own to-read list. I’ve got a feeling that I’ll never destroy the growing pile.

I’ve always described myself as a science fiction fan, rather than a fantasy one, and in years past, I’ve typically read more fantasy than science fiction. This year? I read 27 Science Fiction books (61%), 11 fantasy books (25%), 2 mystery novels (4.5%), 2 YA novels (4.5%), and 1 each of history and steampunk (2%). This year was certainly more science fictional than years past, which I’m happy about.

Interestingly, while I describe this year as being up and down, when looking over the list as a whole, there’s only four books that I really didn’t like. I thought just under half (20) were good, while just under a quarter (10%), were okay – decent, but nothing that really wowed me. 10 books in all really blew me away (22%). Of the books that I read this year, the more memorable were the really great ones, and of those, three really stood out for me: The Magician King, by Lev Grossman, Soft Apocalypse, by Will McIntosh, and The Dervish House, by Ian MacDonald. (See my top 10 list for the full number of ones that impressed me this year.) These books are astonishing reads, and I really hope that we’ll see The Magician King and Soft Apocalypse get the attention they deserve: Grossman has gained a considerable amount of acclaim, but McIntosh’s first novel feels like it’s under the radar a bit, the underdog of the year. If you haven’t read it: I can’t recommend it highly enough. The Dervish House was nominated for a Hugo, but somehow ended up at the bottom of the polls. Still, it’s nice to see it nominated.

Of the really bad books, these all stand out as ones that I had the most trouble getting through: Seed, by Rob Zeigler, The Gravity Pilot by M.M. Buckner, Deathless, by Catherynne Valente and Hex, by Allen M. Steele. I believe that the reason why they stand out so much is because they were all books that I had high hopes for: Seed was lauded as the successor to Paolo Bacigalupi’s The Windup Girl, and utterly failed at that, The Gravity Pilot looked interesting, and didn’t work, Deathless was wonderfully written, but was a book that I simply couldn’t get into, and Hex was part of Steele’s Coyote universe, which started off so well, and has fallen so far with this book. There were some others, like Jack Campbell’s Beyond the Frontier: Dreadnaught, which was so abysmally written that I couldn’t even get through the first chapter, and Sarah Hall’s Daughters of the North that I had a lot of trouble getting into and didn’t finish.

Everything else in the middle was entertaining, and some excellent novels: Susanne Collins’ Hunger Games was an excellent read, although the sequel was a bit too much of the same for my liking. I haven’t reached #3, Mockingjay, and I’m awaiting that one’s release in paperback. China Mieville’s Embassytown was interesting, a little flawed, but brilliant all the same, although I have to say that I liked Kraken quite a bit more. Leviathan Wakes was a lot of fun to read, and a promising start to a new series, while John Scalzi’s Fuzzy Nation was something I tore through in just a couple of hours on a plane. I finally got in on A Game of Thrones, and it lives up to the hype, somewhat. I even broke out of the SF/F genres, and picked up the fantastic The Big Roads, by Earl Swift, which was a fascinating look at the construction of roadways in the US. Karen Traviss’s entry into the Halo universe was also a fantastic one, and it’s dragged me in to that particular expanded world, as I picked up several other Halo novels, which will likely get read next time I’m on a Halo kick. I re-read Mossflower after Brian Jaqcues passed away, as well as Ender’s Game, and found both books really lived up to my memories of them. Ernie Cline’s Reader Player One was a fun, entertaining book, but it was lacking in other departments. Finally, I had a chance to go back and revisit Paolo Bacigalupi’s The Windup Girl, which lives up to my first impressions wonderfully.

So, why quantify my enjoyment? I’ve generally been accused from people of taking things like this too seriously, in reviewing films or books that should be ‘just for fun’. I’ve never subscribed to the ‘turn your brain off while you read/watch/listen’ train of thought, because I think that does a disservice to the author. Certainly, there’s books or films that I’ve done that with, enjoying them because they were written to be enjoyed. But, distilling a year’s worth of reading down into some easy statistics?

A couple of reasons: one, it helps me better understand my own interests by grounding them in reality. As mentioned, I firmly describe myself in the science fiction camp, but over the past couple of years, I’ve generally been surprised when I’ve read more fantasy than science fiction. My interests are all over the place, and I don’t generally remember at a glance what I’ve read as a whole. I was a little surprised that I hadn’t finished more than a single history book this year, despite the intense work that I did on various history projects: I’ve read portions of numerous historical texts, mainly about World War II and military history (including a couple that are still technically on the reading list), but never finished them, or needed to finish them. This might also be me forgetting to stick a book onto the ‘Read’ List.

Reading is an important part of what I do. I typically read at night, before I go to bed (increasingly, if I’m using my iPad, or at the beginning of the day, when I can get through 10-15 pages while I’m waiting for my computer to load up at work. Weekends usually mean a lot of time to blow through something, and when I was on public transportation for two trips earlier this year to Washington D.C. and Belgium, I read a lot: three books for each trip (for the DC trip, that was one book for the airplane, one for the second day on the train, and the third for the flight home, all in a couple of days.) Better understanding my own reading habits help me to read more, I think, and while it’s not quantity over quality, I’ve got a massive backlog of books that I’ve bought. Looking over my list from this year, I had a total of 6 books – 13%! – came off of that list, which currently numbers around 100. These are all books that I’ve owned for more than a year, while a huge number of books that I picked up this year were released this year, and this also comes as a bit of a surprise.

My thoughts going into 2012 is that I’ll be whittling down the to-read list. There’s a lot of books that I do want to get to in the near future. Off the top of my head, I can think of a number that are edging up the list: George R.R. Martin’s second entry in the Song of Ice and Fire, Clash of Kings is most certainly going to make it onto the list when the next season hits, the entire X-Wing series by Michael Stackpole and Aaron Allston will get re-read prior to the next novel in the series, Mercy Kill. I also want to revisit Timothy Zahn’s Icarus Hunt. I’ve also been wanting to begin David Louis Edelman’s Infoquake, finish out William Gibson’s Bigend trilogy with Zero History and get into Neal Stephenson, Iain M. Banks, and generally blow through a bunch of paperbacks and history books that I’ve had for a couple of years. Hopefully, I’ll be able to get through a portion of that, and hopefully, I’ll slow down the growth of my own library – we’re running out of shelf space (again).

It’s been a fun year, with a lot of good stories all around. It looks like 2012 will be just as much fun.