Book Received: That Thin, Wild Mercury Sound by Daryl Sanders

So I asked for, and received, a copy of Daryl Sanders's recently published tome, That Thin, Wild Mercury Sound (Chicago Review Press, October 2018), from my daughter and son-in-law for Christmas. (I learned years ago that one needs to provide a Christmas "wish list" to family, otherwise one ends up with questionable -- and often impractical -- tchotchkes as gifts. This way, one always gets what one wants! So, a huge "thank you" to my family!)

The book's subtitle: "Dylan, Nashville, and the Making of Blonde on Blonde" sums up exactly what this book is about. Blonde on Blonde was Bob Dylan's seventh studio album, released on June 20, 1966 -- and holds the distinction as the first rock double-album.

To accompany my reading of this book, I had previously purchased a copy of the limited release of Mobile Fidelity's Original Master Recording of Blonde on Blonde: a stunning three-LP box set mastered at 45 RPM. This LP release is no longer available (except on the secondary market), but the Super Audio CD (SACD) version is still being sold at retail, and that is the link I've provided.

"Detailed and diligent, Daryl Sanders has played local detective, seemingly digging up every Nashville cat who was in Studio A when Dylan did it his way in 1966, changing country and rock for good."
–Clinton Heylin, author of Trouble in Mind: Bob Dylan's Gospel Years and Bob Dylan: Behind the Shades Revisited

"Major victories like Blonde on Blonde often seem inevitable and easy. But Daryl Sanders has interviewed the survivors, noted the casualties, and pondered the battlefield strategies that conquered a country."
–Daniel Wolff, author of Grown-Up Anger: The Connected Mysteries of Bob Dylan, Woody Guthrie, and the Calumet Massacre of 1913

Book Received: The Labyrinth Index by Charles Stross

I have received my comp copy of The Labyrinth Index, courtesy of Lauren Hougen, Associate Managing Editor at St. Martin’s Press. It's always a joy to receive an actual physical copy of a book I have worked on, especially this series, which is so near and dear to my heart, going back to WorldCon 60 in 2002, when I first met Charles Stross....

You can read about my work on The Labyrinth Index in my blog post on April 8, 2018.

And if you are new to Stross's Laundry Files series, or haven't picked up a title in a bit, you can catch up with a recap of the series to which I have provided a link in my blog post on November 17, 2018.

"Imagine a world where gnarly Lovecraftian demons are all too real yet are routinely neutralized with high-tech wizardry by a supersecret British spy agency, and you'll get an inkling of the genre-bending territory Stross explores in the Laundry Files novels."  –Booklist

Book Received: Apocalypse Nyx by Kameron Hurley

Last week I received my contributor's copy of Apocalypse Nyx, Kameron Hurley's collection of stories set in her Bel Dame Apocrypha world of God's War. The book should have arrived within a couple days of being mailed as I live only about fifty miles south of the publisher, Tachyon Publications...but that's not taking into account the mode of transport: the United States Postal Service! So the package was mailed in San Francisco, Tachyon's home; upon checking tracking updates, I discovered that the package was transported to a Los Angeles USPS receiving station (about 350 miles south of me), before, eventually, making its way back to good ole San Jose, where I live. I believe it was about six days after being mailed that the package was actually delivered. Six days to really travel only about fifty miles....

In my December 11, 2017, blog post, I wrote about my work on Apocalypse Nyx. At that time the book was scheduled for publication in July 2018 -- and here we are! Aside from the quality of their books, Tachyon Publications have always met their release dates (rare for an independent publisher... I could tell you stories about other publishers....), and I've been working with them since 2002. In fact, I just looked up the details: my first invoice was dated February 19, 2002.

As Kirkus states at the conclusion of its review of Apocalypse Nix: "For established fans, a bittersweet reunion with old friends; for new readers, a reasonable enticement toward the superior novels of the series."

Here are excerpts from two more reviews:

"...I usually talk about themes in reviews because I think they contribute to what the reader takes away from a book. Forget about it. Just let Apocalypse Nyx blow you away with its deep portrayal of a person in constant intellectual and moral crisis, and don't worry about what it means. You will be immersed in love, lust, hate, revenge, desire, and will question the value of human life. You will empathize with Nyx for her faults yet be appalled at her lack of human conscience. It's a heady mix and entertaining as hell.

Is it grimdark? You bet your ass it is. Try not to root for Nyx as she blasts away innocents who happen to be in the way of the next payoff. It's impossible. And the question of grey morality itself makes a couple of unobtrusive appearances in the stories and in the delightful banter between her crew of freaks. If you're reading this review, then you obviously appreciate grimdark. Grab this nice introduction to Nyx's life and world. You won't regret it. Most highly recommended."
– Grimdark Magazine

"...But this noir backdrop is enlivened by a double helping of gritty violence. Nyx is a self-admitted terrible shot, but she makes up for it with her scattergun, sword, and sheer bloody-mindedness, leaving a trail of corpses through the stories—most of whom might possibly deserve it, if you squint a bit, but some of whom just find themselves in the wrong place at the wrong time. Nyx is a killer and her tragedy is she can neither accept this in herself nor bring herself to walk away from the violence by which she makes her living.

This collection starts off with two longer stories, "The Body Project" and "The Heart Is Eaten Last" that do an excellent job of introducing Nyx and her team and setting a pattern that other stories will elaborate on. In each story, Nyx and her team take on a job, find out that the job is not quite what they had been led to believe, overcome danger and obstacles (often with significant injuries and moral quandaries), and finally achieve an ambiguous victory. Sometimes, victory is just survival. While this might seem formulaic, it is a perfect frame for the character moments that lie at the heart of the stories, while giving plenty of space for the gritty action scenes that Hurley does so well."
– SFRevu

Apocalypse Nyx is now available for purchase direct from Tachyon Publications, or Amazon, or your preferred bookseller.

Book Received: The Delirium Brief by Charles Stross

Just the other day I received in the mail a complimentary copy of Charles Stross's The Delirium Brief from UK publisher Orbit. That's the Orbit cover pictured to the left.

The Delirium Brief is volume 8 in the Laundry Files -- and I have had the extreme pleasure (actually, an honor) of working on all eight volumes. The book will be published this month in both the U.K. and in the U.S. (Tor.com; cover pictured below). I sometimes find it difficult to believe that I began work on the first Laundry Files book in late 2001, and now, eight volumes later, I'm halfway through the year 2017....

If you are unfamiliar with the Laundry Files series -- or you haven't read all seven previous volumes -- and you'd like to jump right in on this new volume, then you'll need to do a bit of catch-up reading first. Begin by reading my blog post of January 9, 2017, in which I write about my work on The Delirium Brief, and provide some background on the volume, a few mini (very mini) spoilers (necessary), and let you know what you will need to read specifically to catch up.

But back to the book at hand. What was even more special than just receiving a copy of the book was the included note (following) from Joanna Kramer, Managing Editor at Orbit. I know I do a damn good job on all the books I work on, but I'll always -- always -- appreciate receiving kudos from those responsible for hiring me in the first place. So, once again, thank you, Ms. Kramer, for your kind words.

Figuring that possibly my own writing isn't sufficient to whet your appetite for a new reading experience, I try to include an appropriate book review in some of my blog posts. So, here is the May 2, 2017, Kirkus review:

THE DELIRIUM BRIEF

From the "Laundry Files" series, volume 8

by Charles Stross

Stross' Laundry Files series, of which this is No. 8 (The Nightmare Stacks, 2016, etc.), is a weird but effective mashup of Lovecraft-ian horror, espionage thriller, science fiction, and satire, centering around a top-secret British government agency devoted to fighting "the sort of thing you expect to meet in an episode of The X-Files."

In resolving the previous book's crisis, unfortunately, the Laundry's existence becomes public knowledge, so this time out combat sorcerer Bob Howard, the Eater of Souls, must appear on TV to offer the usual blandishments. Poor Bob and his equally scary wife, the newly minted auditor, Mo O'Brien, can't live together—her demonic White Violin tried to eat him, while Bob worries that he might absentmindedly eat Mo's soul while sleepwalking. As a senior member of staff, though, Bob no longer has to worry about his expense sheets. But an evil god from another dimension is moving to take over the American government, whose about-to-be-unemployed good guys warn the Laundry that the Rev. Raymond Schiller, whose followers are deliberately parasitized and enslaved by a godlike extradimensional horror known as the Sleeper in the Pyramid, is plotting a takeover of the U.K. government. Abruptly, the Laundry's staffers learn that their agency has been privatized and they're all out of a job. To combat Schiller, Bob will need his most powerful allies, freelance witch Persephone "Seph" Hazard, otherworld elf-queen Cassie Brewer, and Senior Auditor Armstrong. Series regulars will find the usual humor here much reduced, with a narrative cluttered with infodumps on civil service bureaucracy, while the tone has turned bleaker and far darker. There's little need to point out the obvious political aspects to all this. Some readers may not relish the new direction the series is taking, while others will ponder the underlying currents and conclude that it all makes perfect sense.

Stross still spins a heck of a yarn.

The Delirium Brief will be published next week, and is available from Amazon or your bookseller of choice.

Book Received: Pirate Utopia by Bruce Sterling

So while I was absent from blogging, life moved on...other projects were completed, books were received....

One such book is Bruce Sterling's Pirate Utopia, a beautifully crafted hardcover from Tachyon Publications.

In addition to the *starred* Publishers Weekly review I posted on October 6 last year, here are excerpts from a few more reviews:

1. From author Michael Swanwick's blog Flogging Babel:

Bruce Sterling has always had a complicated relationship with science fiction. He has a particular brilliance for writing the stuff and a noted loathing for its conventions. This explains much about Pirate Utopia, which is almost not SF and yet should prove eminently satisfactory to genre readers.

The Free State of Fiume was a real thing. Fiume was a port city which was seized by troops led by the Italian poet Gabriele D'Annunzio. Very briefly, it became an attempted Futurist utopia.

The novella explores this strange phenomenon through the lens of the single worst member of the new government, exposing along the way the seductively poisonous appeal of fascism. At the end, after the inevitable has played out, Harry Houdini appears with two alt-historical pulp writers to implicate science fiction and fantasy literature in the whole mess.

It really is quite brilliant.

2. From Locus magazine's review by Gary K. Wolfe:

One can be reasonably suspicious of a novella whose alternate history is so obscure, contorted, and bordering on the absurd that it needs appendices to help us draw the connections, but the overall effect of Pirate Utopia is more chilling than comical...

The idea of a brutality as policy crops up repeatedly in the many discussions that make up the intellectual heart of the story, and you can't help but read forward a century or so to see how such ideas persist even today. In his interview with [Rick] Klaw, Sterling relates his tale to Sinclair Lewis's It Can't Happen Here and notes that, as Lewis said, fascism in the US "would arrive wrapped in the flag and carrying the cross under American circumstances." Pirate Utopia may seem to be about an ancient and almost forgotten struggle between Italy and Yugoslavia, but its themes are as relevant as this year's presidential politics.

3. From author Cory Doctorow on boingboing.net:

Sterling's Pirate Utopia captures both the excitement and the shabbiness of Futurism and fascism, the sense of trembling anticipation and the terror of merciless technocratic rule where corruption is considered efficient and meritocratic. For all that this is a very cerebral story -- much of the prose is distant and precise, like a Futurist's oiled machine stamping out words -- Sterling masterfully winds in all manner of blood and love and sorrow into the story, not to mention the odd belly-laugh.

This novella is a beautiful object, with the most amazing super-modernist black and white interior illustrations and a cover that beggars belief.

4. And lastly (though there are many more very fine reviews available on this novella) from Max Booth III on LitReactor:

This is a very short book occupied by an impressive cast of characters—most of them grabbed straight from history, although used in ways you might not entirely expect. This is a Futurism novel that looks at the past rather than the future. It's an alternate history clusterfuck of brilliant, whacky world-building and hilarious, bizarre characters. I am not going to discuss the plot, but I will tell you that, in the world of Pirate Utopia, Hitler passed away while saving someone's life in a bar, Lovecraft works not only for Houdini, but is also a member of the U.S. spy delegation—oh, and Mussolini has evidently been shot in the cock, which is of course wonderful. This is a book about piracy and Futurism. Building a world while stealing everything in it. When you have an oxymoron for a title, there's really no way to predict what awaits you, and Pirate Utopia exceeds all expectations. Also, make sure you stick around afterward for the impressive special feature essays and interview with Sterling. They'll help you make sense of what the hell you just read.

In his review, Cory Doctorow refers to the "most amazing super-modernist black and white interior illustrations and a cover that beggars belief." [Note: other reviewers have mentioned the artwork as well, but I simply didn't include that in my excerpts.] All the illustrations in Pirate Utopia are the work of John Coulthart, who has written a very enlightening 1,000-plus-word essay entitled "Reconstructing the Future: A Note on Design" that you'll find at the end of the book. You can read my blog post on my initial work on the novella, published on June 14, 2016, with a link to some of the interior illustrations (scroll down to the end of the blog); and a follow-up blog post on July 14, 2016, with additional examples of the illustrations.

Pirate Utopia is available direct from Tachyon Publications, and always through Amazon.com.

Book Received: The Fisherman by John Langan

Before I begin this blog post, I must apologize -- to publisher Word Horde and author John Langan.

You see, I have received my comp copy of John Langan's new novel The Fisherman -- and I hadn't yet written about my work on this project, which I completed more than three months ago.

Aside from a million other things going on (a collapsing 47-foot-long, 2-foot-high brick retaining wall in the back yard that needs to be replaced; and a new fitness regimen (one and a third miles each day, five days a week, for three months now)), my wonderful, supportive, lovely wife has forbade me to leave my office until I clean up nearly twenty years of accumulated material from my work on over 200 books. That's a lot of paper! -- stacks and stacks of manuscript boxes.

My point being that The Fisherman is already in hand after little more than three months, which is a testament to the quality (production, scheduling, etc.) of Word Horde, and publisher Ross E. Lockhart. So, again, my apologies for not giving The Fisherman the attention that it was due in a timely fashion.

But now that the book is readily available from Amazon or your bookseller of choice, there is no reason for any hesitation whatsoever to purchase a copy of this new John Langan novel, which I am sure will be on award shortlists next year. But don't take my word for it, here's an excerpt from a review by Shane Douglas Keene on the This Is Horror portal:

A very human tale, The Fisherman deals with issues of loss and continuance, of learning how to carry on in the face of insurmountable grief and pain, and Langan delivers this often poignant narrative with a heart as big as the moon, feeding out details with one of the strongest, most captivating authorial voices to come along in recent times....

The Fisherman is largely character driven and Langan carries the story along through the use of skillful dialogue and character interaction, interspersed with his brilliant descriptions and vivid, almost sensual imagery. The conversations between various individuals in the book are both natural and purposeful, driving action or imparting information necessary to the motion of the story, but never bogging it down and, while the book is often strikingly deep, at no point does it become anything less than captivating....

The protagonist, Abe, recently widowed (his wife died of cancer), finds comfort and contentment in the act of fishing. He later befriends a coworker, Dan, whose family died recently in a traffic accident. The two friends now go fishing together. While stuck in a diner due to a torrential downpour one day while on their way fishing, the two men learn the story of Rainer and his family and the tale of Dutchman's Creek, told to them by Howard, the diner's owner. The Fisherman is a story within a story: the tale of Dutchman's Creek occupying at least half of the book.

Here's another review excerpt, this one from Anthony Watson on Dark Musings:

[The story of Dutchman's Creek] makes up part two of the book – the bulk of it, in fact – and is entitled Der Fischer: A Tale of Terror. Which is about as apt a title as I can think of because the journey this tale takes the reader on truly is terrifying. Some of the imagery conjured up here will take your breath away – this is epic storytelling, encompassing huge themes. It's in stark contrast to the intimacy and emotion of the opening section and – possibly – all the more powerful for that. Special mention here to whoever chose the painting (Puget Sound on the Pacific Coast, 1870 by Albert Bierstadt) which has been used for the book's cover as it perfectly reflects the narrative within, men portrayed as insignificant against the immensity of nature....

And if that's still not enough to convince you to snag a copy of The Fisherman, then check out this interview with John Langan on Electric Lit -- and then buy a copy of the book!

Book Received: Central Station by Lavie Tidhar

Cover art by Sarah Anne Langton

I worked on Lavie Tidhar's Central Station the latter part of last year, which you can read about in my November 30, 2015, blog post.

Since then, the final cover art has been revealed, as shown on the left.

I included a couple excerpts from the book itself in that November 30 blog post; and you can access the publisher's website -- Tachyon Publications -- to read the starred Publishers Weekly review and the starred Library Journal review.

What I want to include here this time around is some thoughts on the book from the author himself, from Lavie Tidhar's own blog post on July 2, 2015, announcing the sale of Central Station to Tachyon Publications:

....In a way, [Central Station] both represents everything I have to say about the shape of science fiction – and a large part of it is a sort of dialogue with older (mostly, admittedly, quite obscure) SF – and a way of talking about the present. It is set in the old central bus station area in south Tel Aviv, currently home to a quarter of a million poor economic migrants from Asia, and African refugees, and I wanted to explore that area through the lens of science fiction (one of the weird things I found recently is that the fictional sort of "federal" political vision of Israel/Palestine I have in the book is now being touted as a real solution by a group of political activists). My other ambition was to write a book which was mostly about character interaction: about extended families, about relationships, in which the "shiny" science fiction future serves as a sort of background rather than taking centre stage. My other inspiration was that I always wanted to write a novel in short stories. Science fiction has a long tradition of doing this – from The Martian Chronicles to Lord of Light – but my inspiration was also partly V. S. Naipaul's Miguel Street.

You can read the full blog post, including the Comments section, on the author's website. Central Station is now available from Amazon or your favorite bookseller.

Book Received: Old Records Never Die by Eric Spitznagel

A little less than a year ago I got my turntable and record collection out of storage, had the turntable serviced, and have been playing records since. I've even added a few new titles to the collection.[1]

However, as I went through my records, cleaning them (using the Spin-Clean Record Washer System) and then cataloging them via discogs.com, I discovered, much to my dismay, that dozens of titles were simply missing. My wife said that maybe, in my misguided youth, I sold the records for cash and simply forgot that I had done so. But I ask you: Who sells an original pressing of Led Zeppelin II, or Pink Floyd's Dark Side of the Moon, or Zappa's Ruben and the Jets? Hmmm? Who, I ask you?

Somewhen, probably while I was traveling (I had hitchhiked across the United States in my youth), and/or attending college (UCLA, UMass/Amherst, Sonoma State, UofO/Eugene, and back to Sonoma), and/or living in different areas and states, my record collection was pilfered. I won't name names, but I have a fairly good idea what may have happened to them, but I won't talk about my family here.

I've searched online for some of these albums, but most are too pricey and/or in too poor a shape, for the original pressing, or else all that I can find are reissues, and more reissues. During one of these searches, I came upon a review for a book entitled Old Records Never Die: One Man's Quest for His Vinyl and His Past by Eric Spitznagel. The premise is that Eric sold/traded in, over time, his massive record collection, mostly for spare change (gas money, fast food, movies, etc. -- his John Mellencamp Scarecrow album garnered a whole ten cents!). And now, in his 40s, he's feeling the loss -- and decides he's going to return to the scenes of the crimes and try to track down some of those records. Not replacement copies, mind you -- but the exact same copy of the record that he once owned! Crazy? I'll have to wait to see, as I'm only on chapter two.

The introduction is by Jeff Tweedy, singer, songwriter, and producer, whose bands include Uncle Tupelo, Son Volt, and Wilco. Here's Tweedy's and Spitznagel's four-and-a-half-minute trailer for Old Records Never Die:

I don't know that I could search for the exact copies of my missing records, since I don't know where and when they went missing, but I'll still have to find a VG+ or better replacement copy of the original pressing at an affordable price. Forget the reissues; worse case I'll just settle for the CD. Here's an excerpt from Old Records Never Die:

As I browsed Reckless, there were albums that were entirely foreign to me, and albums that were instantly familiar. But the old friends, they'd all been given an upgrade. Fugazi's Repeater? A reissue. The Smiths' The Queen Is Dead? Another reissue. Anything by the Replacements? Only one Tim and two Pleased to Meet Mes, both reissues. Even the crown jewel of my collection, the record I bought solely because a guy with Elvis Costello glasses and a nose ring behind the counter at Record Swap recommended it, Screeching Weasel's How to Make Enemies and Irritate People, was only available as a reissue.

Everything was a deluxe edition, remastered on 180-gram vinyl, now with original artwork. The stickers that used to read FEATURING THE RADIO HIT . . . now promised things like INCLUDES A DOWNLOAD CODE AND HIGH-RES DIGITAL AUDIO EDITIONS IN 2.8 MHZ, 12 KHZ / 24-BIT, AND 96 KHZ / 24-BIT! I recognized the covers, but the albums felt different. It's not just that they were new; there was something too slick in the design, too high-definition in the packaging.

...[I] drifted toward the used section, which was actually labeled LAST-CHANCE SALOON.

This was more promising. Here were the records that might've come from my personal library. Not the titles, necessarily, but the general poor condition. They smelled like something that'd been left in the basement during a Chicago winter. If you grabbed them with too much force, the sleeves folded back. I spent almost a full minute cradling albums like Bryan Adams's Cuts Like a Knife and the Greg Kihn Band's Kihnspiracy, not because they were records I particularly cherished, but because they had the physical battle scars of music from my era. Also, it didn't hurt that the average price for a bargain bin record—fifty-nine cents on the high end—meant I could probably buy back my entire collection for about a hundred dollars.

I'm all for superior sound quality, but vinyl made after 2000 is fundamentally different from vinyl made in the twentieth century. It smells different, it feels different. The vinyl copy of the Pixies' Doolittle I purchased at Reckless in 1990 is only tangentially related to the reissue vinyl copy, ticket price $19.99, currently for sale at Reckless. I don't give a shit about rare test pressings. Or when new albums come with free download coupons. Or colored vinyl. Or goddamn picture discs. I want the records I recognize. The records that feel like a part of my double helix.

You can read more about this book on the author's website: recordsneverdie.com. In fact, the website has a special section, Lost Found, where people can post photos of the records they have found, that were all marked up by the original owner, along with the original owner's name, if it was written on the album. Check it out.

---------------

Footnote:

[1] As I wrote in my December 15, 2015, blog post entitled "And Now for Something Completely Different: Vinyl," I begrudgingly gave up on buying LPs when the recording industry moved, in earnest, toward the CD. Finally, on July 13, 1990, I broke down and purchased a CD player and my first stack of CDs. I still have my CD library and, in fact, many of the LPs I'm missing are in my CD collection, or bits and pieces of those LPs are included in box sets. But vinyl...vinyl is the true love of music listening.

Book Received: The Record Store of the Mind by Josh Rosenthal

As a followup to my "different" blog post of December 14 on vinyl, I recently received a copy of Josh Rosenthal's The Record Store of the Mind, published by his own Tompkins Square Press (and record label).

So who is Josh Rosenthal? A budding music geek, he worked at his high school and college radio stations. He eventually landed a gig working for Sony Music (Columbia Records), and his publicity campaign on 1990's Robert Johnson The Complete Recordings is most likely why I learned of RJ and have a copy of this box set in my CD library.

In 2005, Rosenthal launched his own Tompkins Square music label in New York City; and in 2011, he moved the business to San Francisco. Rosenthal is a master of the reissue and a proponent of forgotten musicians (e.g. country music legend Charlie Louvin), bringing them back into the studio to record new music.

Now, in celebration of Tompkins Square's 10th Anniversary, Rosenthal has released The Record Store of the Mind. At the end of the introduction to the book, he writes...but first, let me set the scene: Rosenthal is with his older daughter Emma at a record store in Campbell, California, as he's rifling through the stacks of records...

Emma asked, "How do you know what you're looking for?" I guess I've spent my whole life figuring that out. It's great that I still can't fully answer her question. In this book, I write about some stuff I've done in and around music over the past thirty years; records that I've found or that found me; and records, people, and live music experiences that have forever changed the way I listen. I hope you'll be inspired.

Rosenthal and Tompkins Square have also created a free/public "Record Store of the Mind" Spotify playlist. Songs range from Ron Davies and Harvey Mandel, to Eric Clapton and Charlie Louvin, to Bill Fey and Essra Mohawk. So whilst reading the book, be sure to cue up the appropriate track!

Here's an excerpt from Joseph Neff's review of The Record Store of the Mind on The Vinyl District (but please be sure to read the entire review):

Given some of the idiosyncratic characters inhabiting record collecting and releasing, Rosenthal's music biz story, peppered as it is with Kate Bush, Psychedelic Furs, and Public Enemy, is pretty refreshing and enhanced by a true music lover's sense of detail...

The book's memoir portions are a treat, but the energy devoted to spotlighting underheard records is even more satisfying; the chapter covering The Youngbloods' Warner Brothers-funded custom imprint Raccoon Records provides major insight into a true bygone era and justifies The Record Store of the Mind's purchase price all by its lonesome. And the lengthy list of old-time releases is about as handy a resource for the upstart and veteran collector as I've yet to stumble across.

The Record Store of the Mind may seem a modest endeavor, but Josh Rosenthal furthers the eternal discussion with class and solid prose. Additionally, he pulls-off an impressive trick, casually dishing a wealth of knowledge in a manner that's non-intimidating to information-thirsty novices while also retaining appeal for more weathered record hunters. In short, it'll make a worthy addition to one's music-related bookshelf (or for that matter, a fine gift), holding enough recommendations in its pages to insure frequent consultations.

~ Joseph Neff, The Vinyl District

"Josh Rosenthal is a record man's record man. He is also a musician's record man. He is in the line of Samuel Charters and Harry Smith. In this age where we have access to everything and know the value of nothing, musicians need people like Josh to hear them when no one else can."

~ T Bone Burnett

Book Received: Tarzan in Kentucky: Poems by Judith Moffett

Okay, I'll be the first to admit that I'm not a poetry kind of guy. But Tarzan in Kentucky really isn't poetry...well, actually, it is poetry but not what I typically think of as poetry, if that makes any sense.

I know Judith Moffett as a science fiction writer. We worked together in 2014 to turn her Hugo and Nebula award-nominated story, "Tiny Tango," into a Kindle ebook, which I detailed in a four-part series of blog posts.

But Judith (though she prefers "Judy") isn't your typical science fiction writer: She has received three Ingram Merrill Foundation grants in poetry, in 1976, 1980, and 1991. In 1998, she presented at the Nobel Symposium on Translation of Poetry and Poetic Prose, and, most recently (2015), she presented at the James Merrill Symposium, held at Washington University in St. Louis. Indeed, not your typical sf writer.[1]

But getting back to Tarzan in Kentucky, from publisher David Robert Books: The cover photograph (taken by the author herself) is of Judy's farm in Kentucky, and from other pics I've seen, it really is that beautiful and lush. And obviously the ideal setting for writing.

But like I said, I'm not a poetry kind of guy, so I'm going to leave you with an excerpt of a review by Meredith Sue Willis on her Books for Readers blog; but do read the complete review:

Tarzan in Kentucky: Poems by Judith Moffett is a chewy, sinuous collection of poems by a living poet who went many years without writing poetry, but is—to our great benefit—writing again. Called "An effortless" virtuoso by James Merrill and "among the most accomplished of her generation" by Daniel Hoffman, Moffett writes brilliantly lucid everyday language contained—and freed—by tight forms like tercets and sonnets. You only notice the form if you are looking—you feel the emotion, see the picture, hear the voice and the story. The forms are certainly there, though, giving her poems a musculature that makes much of the free verse we are used to seem flaccid.

...a number of [the poems] are about her farm, and there is a long section called "Grief" in which she writes about the aftermath of her husband's death. The poet speaks to herself in one called "Broken Couplet":

Solutions, none. No cures.

This task alone is yours:

to make each day a quest

for getting through it best

when "best" cannot mean "well..."

You feel here what rhyme is about: an arbitrary way of linking things that then makes meaning of what started out as arbitrary.

Tarzan in Kentucky: Poems is available in print form only from your bookstore of choice...even if, like me, you're not a poetry kind of person.

---------------
Footnotes:

1. You can read more of Judy's awards, honors, and recognitions on her Wikipedia entry.

Book Received: Courtney Schafer's The Labyrinth of Flame

I wrote about my work on The Labyrinth of Flame -- Book III in the Shattered Sigil Trilogy by Courtney Schafer -- in my November 10, 2015, blog post.

The Labyrinth of Flame is the product of a fully funded Kickstarter (284% funded, actually) -- and when I wrote that blog post in November, Kickstarter contributors had already received their maps and ebook edition of the novel. In fact, the ebook edition is available for purchase at this time.

And now, as I write this, all Kickstarter contributors have received their signed trade paperback print edition of the novel as well. (And I've received my signed copy of the book, too!)

Ms. Schafer is currently working on a distribution agreement with Thomson-Shore, and once that is finalized, readers will hopefully be able to order the print edition. As soon as the book becomes available, I'll post an update on More Red Ink -- but in the meantime, whatever process you use to make notes to yourself: Evernote, OneNote, Keep, Pocket, or even the old-fashioned handwritten Post-It note, make a note to read The Labyrinth of Flame. Correction: make a note to read the entire Shattered Sigil Trilogy!

As you may, or may not, know, the first two volumes of the trilogy -- The Whitefire Crossing and The Tainted City -- were originally published by Night Shade Books. Upon the publisher's demise, and sale, Courtney Schafer decided to self-publish volume three via Kickstarter. Fortunately, the author knows her readers, her audience, and how finicky we book collectors can be. (To paraphrase Ross E. Lockhart from his Facebook post:) Production-wise, Ms. Schafer did the literary equivalent of getting the old band back together: cover artist David Palumbo, cover designer Martha Wade, and Ross E. Lockhart on interior design. So even though the book was self-published, book three perfectly matches the previous two volumes in the series. Readers and fans of Courtney Schafer will not be disappointed in the quality -- both in design and content editing -- of this final volume in the series.

Bibliotropic has a lengthy review of The Labyrinth of Flame, and here's the conclusion to that review (but please do read the review in its entirety):

...the ending of The Labyrinth of Flame is quite possibly the most satisfying ending to a series I've ever read. It ties up everything wonderfully, leaves room for the future, and left me with flailing around like an idiot over what happens to the people I ship. Seriously, I don’t think there's any possible better way for this book and this series to have ended. It closed on a high note, filled with hope and optimism even for difficult tasks ahead, and I'm going to be honest with you all — I actually just went and reread the last chapter again while writing this, because I love the ending that much. It left me with the first book hangover I've ever experienced, and despite having just reread the first two books in the series in preparation for reading this one, all I wanted to do when it was over was pick up The Whitefire Crossing and start over, so that I didn't have to leave the world and characters behind.

Fantasy just doesn't get much better than this!

~Ria, Bibliotropic

Book Received: Slow Bullets Limited Edition by Alastair Reynolds

WSFA Press limited edition

The weekend of October 9-11 marked the annual Capclave convention in Washington, DC, sponsored by the Washington Science Fiction Association (WSFA). Each year, in support of Capclave's Author Guest of Honor, WSFA Press typically publishes a limited edition hardcover of the author's work. This year's Author GOH was none other than Alastair Reynolds -- and WSFA Press published a signed and numbered hardcover edition of the author's novella Slow Bullets, limited to 1,000 copies.

Tachyon Pubs trade paperback

Slow Bullets was originally published by Tachyon Publications as an original trade paperback, and as you may recall from an earlier blog post on February 9, 2015, I had a wee bit of a hand in the acquisition and editing of that book.

You can purchase the limited edition of Slow Bullets direct from the WSFA Press Bookstore for the price of $40.00; the original trade paperback of Slow Bullets (List price: $14.95) -- now in its second printing -- can be had from all major booksellers, physical or online.

I would like to take this opportunity to thank the author, Alastair Reynolds, for graciously sending me a copy of the Slow Bullets limited edition while he was attending Capclave.

Here are a few excerpts from the lengthy Slow Bullets review by Tom Atherton on Strange Horizons:

...part of what makes Reynolds's new novel Slow Bullets so successful is this sense of escalation. What begins as run-of-the-mill space opera soon develops into a complex social thought experiment; an examination of the tyrannies of ambiguous language and the societal implications of textual preservation. It's impressive that Reynolds manages all of this big-picture stuff within the scope of an uncharacteristically short novel (just shy of two hundred pages), and does so while simultaneously retaining a sense of intimacy through a well-realised narrator whose own struggles with memory act as a microcosm of the book's wider sociological concerns. The novel is also interested in atavism (both technological and social), and so it's fitting that Reynolds has appropriated the imagery and themes of an older literary tradition, gothic horror, to tell this story; only in place of a dilapidated monastery inhabited by reclusive monks, Slow Bullets gives us soldiers-turned-scribes entombed inside a vast and decaying spaceship. Architecture is important here, as is the intersection of technology with biology. There really is a lot going on; a fact belied by the book's meagre page count. With so much to unpick, then, it’s probably best that we start at the very beginning and work forward from there.

...

It's all very pacy, with much of the actual process behind these fledgling democracies glossed over in a matter of sentences. It's a revelation-on-every-page sort of book. Fans of Alastair Reynolds looking for his characteristic descriptive depth and attention to technological detail might find themselves disappointed, but for what it's worth I enjoyed this change of tempo, which, if anything, demonstrates Reynolds's versatility as a stylist.

In fact, Slow Bullets has a lot of very nice stylistic touches. It's peppered with expressive little descriptions, such as this one about a book whose pages "detached too easily, the way wings come off an insect" (p. 13). I was also struck by the way that biological imagery is used to describe technology: slow bullets move by "contracting and extending like a mechanical maggot" (p. 16), hibernation capsules enclose "like an egg" (p. 21), and an automated surgeon-machine reminds Scur of "the hinged mouthparts of a flytrap" (p. 74). All of which sinister language reflects the relationship the crew have with the failing tech that surrounds them: dependency mixed with danger. The only complaint I have about style is that there are a few too many infodumps, which have the potential to interrupt the otherwise swift flow of Reynolds's prose.

...

The overarching tone of Slow Bullets, then, is one of tragic irony. The Caprice-ians' assertion that they are making indelible, accurate records ("we can’t tolerate mistakes" [p. 112]) is contradicted by how the novel itself treats texts. One character even comments on the inability of language to explain their situation; "She’s trying to describe something language isn't made to describe" (p. 118). All of the texts the survivors produce are, ultimately, unstable. Not only, as we've seen, are they up for interpretation and forgery, but they're also physically transient: the walls can be polished blank, the slow bullets over-written; the survivors' text-scarred bodies will die. Perhaps, deep down, they all know this. Maybe creating texts is just another way in which the survivors are performing society.

This would all be so much bathos, of course, if the novel presented itself matter-of-factly as an unequivocal, representational record. Reynolds's masterstroke, however, is to reflect this thematic concern for unstable texts by filtering the story through an unreliable narrator, making Slow Bullets itself something ambiguous and difficult to pin down. Scur, narrating from some future point, begins her story by telling us about her favourite poem, which is "about death and remembrance" (p. 10). This microcosmically echoes the themes of the novel, certainly, but remembrance, it turns out, isn't as straightforward a thing as Scur would have us believe. Her narration is frequently inconsistent and contradictory. She hubristically announces that she can "be perfectly sure of [her]self" (p. 100), yet phrases of an "I don’t remember" variety become refrain-like throughout the novel. "I should remember, but I do not" (p. 189). At one point her very identity is questioned: "So Scur is what she calls herself now?" (p. 141). We're also never given any explanation as to why, despite her protestations of innocence, she's counted among the war criminals onboard the ship. This is Scur's memory, but memories are biased, unreliable and prone to fanciful invention. With Scur as our only point of entry into this world, we can’t trust anything we read.

On Lucius Shepard

Cover Art by J. K. Potter

A few months after Lucius Shepard passed away, in March of 2014, my copy of Beautiful Blood arrived in the mail from Subterranean Press. This last novel, along with his book The Dragon Griaule, a collection of six stories (also from Sub Press), completes the tale of the 750-foot-high, mile-long dragon that has been in perpetual sleep for thousands of years -- but whose dark spirit gravely influences the inhabitants of the villages built around and on the dragon itself.

Typically, I would have written a "Books Received" blog post on More Red Ink to capture these two newly acquired titles. And yet...here it is more than a year and a half later, and I'm still struggling to write a Lucius Shepard blog post. I have a couple pages of hand-written notes on my desk, Notepad files saved to disk... Yet I'll snag any piece of an excuse to do anything else but write this blog post. For whatever reason that I have yet to pinpoint, this is just one of those posts that has become difficult for me.

Cover Art by J. K. Potter

In an obituary posted on March 20, 2014, on BoingBoing, Cory Doctorow described Shepard's work: "its originality, its dazzling language, its hardbitten and hard-won verisimilitude." Beautifully written, stylistic, provocative, hard-edged -- read any review of Shepard's work and you'll find words such as these used to describe his writing.

Lucius Shepard is one of the very few writers whose work requires that I always keep a dictionary to hand, because of the inevitable word here and there that I must look up.

If his work is not being used in literature and writing classes at the university level, then academia is truly short-sighted (or maybe just too caught up in the distant past, rather than the present).

During my eight-year stint (1999–2007) as an editor with indie publisher Golden Gryphon Press, I worked on three Lucius Shepard books, plus another of his stories that was included in a fourth book, an anthology. I still have most, if not all, of our email communications going as far back as 2001. Reading through these emails recently was definitely a trip down memory lane...and made accepting that Lucius is no longer with us even more difficult.

In 2002 I had been working on a new line of limited edition chapbooks[1]: Turquoise Days by Alastair Reynolds had been completed but not yet published, and Howard Waldrop had also committed to providing chapbook story A Better World's in Birth! -- so I hit up Lucius Shepard for a chapbook story as well. On September 23, 2002, he sent me the story "Maceo" for consideration. When I told him the maximum that I was able to pay for the story, he responded the very next day: "Unfortunately, [this amount] doesn't help me. I'm trying to raise a lot for my charity in Honduras and I've already been offered fifteen hundred for this and turned it down. So, sorry. But thanks for reading it...."

I didn't know anything about Lucius's charity at this point in time and I didn't feel it was appropriate to inquire via email, so I waited until we had a chance to chat in person. I don't recall if it was at the World Fantasy Con, or OryCon, or another con, but when we did meet (in a hotel bar, naturally), I asked. Lucius told me how the poor locals deep dive for pearls and over time they suffer the bends sufficiently enough that it permanently affects their health. The money he makes from writing goes to pay off customs officers, dock workers, and the like so that when his donations arrive (wheelchairs, for example), they get to their intended destinations. He spoke of the organization required to pull all this off and that he pretty much handled all the wheeling and dealing in Honduras himself.

I just shook my head in awe; it was hard for me to imagine Lucius working so hard in this fashion to help others in the form of a charity -- not that he wasn't capable of doing so, but given how he publicly defined himself, I was simply caught off guard. I was already working with Lucius on another project, and this is an excerpt from the mini bio that he provided me:

He has taught Spanish at a diplomatic school, owned a T-shirt company, worked as a janitor in a nuclear facility, and as a bouncer at a brothel in Málaga, and “beat his brains out” as a rock musician.

Somehow, that description just didn't fit the role of a charity worker....

[Update 10/21/2015: Who's looking after Lucius's charity now?]

Anyhow, this request for a chapbook story from Lucius led to a discussion about his two hobo stories -- "Over Yonder" and the unpublished "Jailbait" -- along with his Spin magazine article on the Freight Train Riders of America. All of which eventually led to the publication of Shepard's collection Two Trains Running, from Golden Gryphon Press in 2004. But that's for another blog post.

---------------

Footnotes:

[1] You can read a bit more about my work on the limited edition chapbooks -- and how my query to Charles Stross for a story set me on the path of Stross's Laundry Files series -- by checking out this link on More Red Ink.

Book Received: Led Astray: The Best of Kelley Armstrong

One of the best aspects of my job is receiving the finished product -- the published book -- after having worked so hard on the project, either as the editor, copy editor, proofreader, or all of the above.

This is how I began my June 30, 2015, blog post when I first wrote about my work on this collection:

* * *

So, what does 148,000 words of short fiction physically look like? A stack of manuscript pages 2¼ inches high; or 530 pages, to be exact!

That's the size of the manuscript for "the best of" short story collection Led Astray by Kelley Armstrong, forthcoming in September from Tachyon Publications.

* * *

Well, September is now -- Tachyon Publications, unlike the majority of independent presses, always ships ahead of schedule -- my comp copies of Led Astray arrived this past week. And those original 2¼ inches of manuscript pages? They became 535 layout pages in the published trade paperback edition.

For those not acquainted with Ms. Armstrong's work, her novels have made her a #1 New York Times bestselling author -- and the stories in Led Astray are a great starting point for new readers, since you get a taste of her many worlds. And as for seasoned readers, these stories will add depth to those worlds you are already familiar with.

Here's an excerpt from one review, courtesy of Net Galley:

...This is how fairy tales used to be ― grim and harsh. In this collection of over 20 short stories, Ms. Armstrong demonstrates over and over again how she is a master of her craft... Many of the stories have no happily ever afters or even a happily for now. Instead, it seems the warning is clear ― be careful of what you wish for. For those who have never read a Ms. Armstrong book, this collection can be read as a standalone. A few of the stories do tie in to her different series. The tie-ins enhance the world-building for those hooked on the various series. For those new to Ms. Armstrong, it will cause the new reader to salivate and rush to read all her series. This first-rate [collection] could be devoured in one sitting. It's best to savour each story by itself. The deferred gratification by slowly consuming each story...makes this painfully pleasurable book last longer... It's tightly focused with nary a wasted word. The constant haunting gloomy feel keeps a reader on edge. The expressive descriptions of the places set the somber mood. The intriguing situations lure a reader into a bit of complacency before the trap is sprung. The endings to several of the pieces are gruesome and I reveled in it. Many times, it seems the villain wins the day. This is very different than most books and for this refreshing take, I applaud Ms. Armstrong. I particularly enjoyed the twists and turns in the stories... It makes the stories unpredictable...being off balance is exhilarating. There is a certain horror aspect to several of these stories... This book is highly recommended to those who enjoy darkness and things that go bump in the night.

~ La Crimson F

Led Astray: The Best of Kelley Armstrong can now be ordered from Amazon, or from your favorite bookseller.

Book Received: The King's Justice: Two Novellas by Stephen R. Donaldson

My presence online has been quiet of late as I have been working on a 219,000-word novel -- Courtney Schafer's The Labyrinth of Flame, book three in her Shattered Sigil trilogy. This is the largest book I've worked on in a few years, and it's been quite the major project. I'll be talking about my work on this novel shortly.

When I wasn't working on Labyrinth, I was catching up on TV shows (Mr. Robot, Humans, Halt and Catch Fire, Defiance, Proof, and probably a few others. And, I've also been creating a database listing of all my vinyl albums using Discogs.com. I haven't played an actual LP in probably ten-plus years and, unfortunately, my turntable (a classic Concept 2QD) remained idle during all that time as well. The tone arm was frozen and thus the turntable had to be serviced: so, a huge shout-out to SerTech Electronics in San Jose, one of only three such service and repair centers in all the Bay Area. Their work queue is at least three weeks long, but by the end of the fourth week they had completed work on my turntable. Now all is right with the world.

Recently I received Stephen R. Donaldson's The King's Justice: Two Novellas. I actually won this book in a giveaway courtesy of SFSignal.com and the publisher, G. P. Putnam's Sons. If you are reading this blog, then I assume you are also a reader of science fiction, fantasy, and other genres, which also means you are probably familiar with SFSignal. (If not, then get ye mouse to that site immediately!) JP Frantz and John DeNardo have been running SFSignal since as far back as I can remember. The site is one of the best for news and reviews, cover reveals, interviews, mind melds, TOC listings, and more. And they do a lot of print and ebook giveaways as well.

I had quite the time reading the first six volumes in Donaldson's Thomas Covenant series, which I wrote about in my October 27, 2013, blog post. In that post I had received The Last Dark hardcover, the fourth and final volume in Donaldson's The Last Chronicles of Thomas Covenant. I still haven't read those final four books yet (I'm currently reading the equivalent of HBO's season 5 of George R. R. Martin's The Game of Thrones), but as you can see I'm a fan of Stephen R. Donaldson's work.

So go support SFSignal with your page views and Likes; and go read some Stephen R. Donaldson, too.