Sagramanda: A Chef d’oeuvre for Sure

Norman Spinrad's latest On Books column, this one titled "Buried Treasures," is par for the course for his usual cogent discussion of the state of modern publishing. He looks at five books, one from a major house, three from the "small press", and the fifth one from Pyr, whom he describes as a publisher that "seems to straddle, or perhaps in the end will erase, the distinction between such lists and the so-called major SF lines."

Spinrad's column begins with the assertion that "Whether you call it evolution or devolution, SF publishing has changed rather radically from what it was, say, a decade ago. Most of the changes have been negative in terms of accessibility to potential readers and income to writers. However, perhaps there will turn out to be a small improvement or two in terms of literary freedom as the center of gravity, to coin an entirely paradoxical metaphor, moves to the fringes."

He then uses the five books in his review - The Good Fairies of New York, The Demon and the City, No Dominion, The Secret City, and our own Alan Dean Foster title, Sagramanda (A Novel of Near-Future India),as a penetrating look at the way books are bought (or not bought), packaged, and marketed. He also has some harsh words for media novelizations and warnings for writers of same, including an admission that Foster's own work in media tie-ins prejudiced him against Sagramanda going in. I'm still digesting his column (though Louise Marley's already up with some thoughts on it), and I'm not sure it's my place to say anything here anyway. Though I would agree with Louise's assessment that "If you love the genre, this article is worth ten minutes of your time."

Meanwhile, Alan and I are certainly happy with this view of Sagramanda: "...by far the best thing heʼs written thus far, a chef dʼoeuvre for sure, and whatʼs more, colorful, exotic, and reasonably action-packed, too.... a very detailed, sensorily vivid, culturally and technologically convincing, portrait of his extrapolated India via characters who come alive with psychological depth. What more can you ask of a science fiction novel?"

Something to Crow About x 3

Three new Pyr reviews up at SFCrowsnest.

First up, Eamonn Murphy's review of Alan Dean Foster's Sagramanda (A Novel of Near-Future India):

"Someone once said of George Bernard Shaw that he couldn't write a boring sentence. Alan Dean Foster can but he doesn't write very many of them. Even when adapting less than excellent animated ''Star Trek' scripts, he turns in a good line or two. Presenting his own plots and characters his prose is frequently divine, full of apt phrasing and neat similes. If nothing else, this book is a pleasure to read. Happily, there is something else, mostly a good plot, an interesting cast of characters festooned with hi-tech gadgets and a rich setting..."

Then Tomas L. Martin reviews Sean Williams 2nd and 3rd Books of the Cataclysm. Here's Tomas on Book 2, The Blood Debt:

"Williams is a great writer and an even better world-builder. Comparisons can be made to China Mieville's Bas-Lag work with its assorted weirdness and willingness to bend and break the traditional tropes of fantasy worlds. This doesn't feel like a fantasy adventure novel typically does. Its towns, citizens, technology and magic feel significantly alien and new which is a great and welcome achievement... Overall, Sean Williams has produced that rare of gems, a fantasy book that really feels like you're visiting a new world, rather than a rehashed version of somebody else's milieu. The easy style and likeable banter between protagonists makes the book an enjoyable read and the plot keeps you wanting to come back for more. Expect to buy all four if you get the first!"

And here is Tomas on Book 3, The Hanging Mountains:

"Sean Williams' impressive world-building and enjoyable style and plot surprised me, providing me with the most enjoyable fantasy reads I've experienced since finishing China Mieville's The Scar...Sean Williams is writing an important series here that does a great service to the fantasy genre by encouraging it to break tradition. His powerfully creative world-building should stand as a call to arms for fantasy writers to leave the world of Tolkien-aping lands behind and really start being adventurous. Read all three of 'The Books Of The Cataclysm' and when the fourth is released, buy that, too. I know I will be."

A Mass of D'Ammassa

On his website Critical Mass, author and former Science Fiction Chronicle reviewer Don D'Ammassa reviews Alexis Glynn Latner's debut novel, Hurricane Moon, which will be coming out in just a few weeks.

"I've been reading short stories by Latner for about ten years now, almost all of them in Analog, and have found her to be a reliable source of interesting and accessible stories of hard science fiction. At long last we have a chance to read her at novel length, and it was worth the wait, although I hope we don't have to wait as long for her next. It's an old fashioned space adventure, but with more contemporary sensibilities and healthy doses of intelligent and not too abstruse science... Extremely well written, tightly plotted, full of that old fashioned sense of wonder about the universe. I hope to see much more from this author in the future."

Meanwhile, I've found a host of Pyr reviews that I mostly missed in his 2006 archive. Don says that the reviews "were written for Science Fiction Chronicle, but most were never used." So let's look at some of them here!

Fast Forward 1, edited by Yours Truly:

"Lou Anders has put together a collection of twenty original stories, designed to be the first in an ongoing series along the lines of Terry Carr’s Universe series or Damon Knight’s Orbit collections, although the emphasis appears to be on hard SF. There are stories by some of the best known writers in that sub-genre – Stephen Baxter, Larry Niven, Ken Macleod – as well as representatives of the more literary end of the spectrum – Gene Wolfe, Paul Di Filippo, Pamela Sargent. Non-theme anthologies are almost always more readable than specialized ones and this is no exception, very high quality throughout and enough variation to reward almost any reader’s taste."

Sagramanda (A Novel of Near-Future India) by Alan Dean Foster:

Near future India is the setting for this surprisingly low key novel, surprising because there are a lot of violent things happening in it. The central plot is the theft by a scientist of a revolutionary new, but undescribed, discovery which he is trying to sell to a competitor... Nicely understated, and a depressing and unfortunately not entirely inaccurate portrayal of the future of much of the urban world, and not just India."

Starship: Pirate by Mike Resnick:

"Resnick combines space opera, a touch of military, more than a touch of humor, and his usual talent for creating larger than life characters in this new series. Consistently good fun from beginning to end."

Mappa Mundi by Justina Robson:

"This one might well have been packaged as a contemporary thriller rather than SF, and it’s a good one regardless of your mind set while you’re reading it."

Infoquake by David Louis Edelman:

"A debut novel and the first in a trilogy, set in a future when multi-national corporations have become virtual governments... Lots of interesting speculation and a plausible and interesting plot. I found the prose a bit awkward from time to time but not so much that it significantly interfered with my enjoyment of the story."

Paragaea: A Planetary Romance by Chris Roberson:

"The cover blurbs compare this to Edgar Rice Burroughs and Leigh Brackett, and with some justification.... a bit difficult to take seriously at times, but if you just let go and enjoy the ride, Roberson conducts a pretty rousing tour of his universe."

New Dreams for Old by Mike Resnick:

"I am so used to thinking of Mike Resnick as primarily a novelist that it came as a surprise to read through the table of contents of this new collection and discover how many of them I remembered. And how many of them have appeared on Hugo and Nebula ballots. Although a few have been previously collected, most appear in book form for the first time... Some are funny, some are dead serious. All are nifty. This is a big, representative, and above all very satisfying selection of his short fiction."

Resolution: Book III of the Nulapeiron Sequence by John Meaney:

"The final volume of the Nulapeiron trilogy concludes this sequence set in a future so remote and different that it is sometimes difficult to identify with the characters and situations. Technology and mental powers have advanced to the point where they are indistinguishable from magic....You'll have to suspend your disbelief pretty radically for this one, but if you can get yourself into the story, you'll have a wild and exciting ride ahead of you."

The Destiny Mask by Martin Sketchley:

"Pyr Books has been reprinting quite a few British and Australian novels which had not previously appeared in the US, including this, the second in a series. The setting is an interstellar empire and the plot is one familiar to readers even outside the genre, the rivalry between two twins, separated as babies and ignorant of each other's existence, who become pivotal players in a battle between rebels and a repressive interplanetary dictatorship. I liked this one considerably better than its predecessor, The Affinity Trap. The characters are more realistic and the plot tighter and more involving."

The Liberty Gun by Martin Sketchley

"I had a mixed reaction to the first two novels in the Structure series, but the third is a much more satisfying space adventure that mixes time travel, aliens, military SF, and general intrigue. ...the situation is considerably more complicated than any of the characters realize. It takes a while to get into the story, but once you’re there, you won’t want out."

Genetopia by Keith Brooke:

"Pyr has reprinted several British SF novels that have not previously been available in the US, including this one from 1999. Brooke should have been discovered earlier because he has definite talent... Many of the things Flint encounters are fascinating ideas, but after a while it becomes just a parade of wonders and readers may find themselves impatient to get to the destination."

Note: Genetopia is an original novel, first published by Pyr. Don is apparently confusing it with a previously published short story of the same name. Meanwhile, with this profusion of Pyr reviews, Don has put my own personal archive of our books' reviews over the 500 mark. And while I'm sure I have missed some somewhere, I'm happy to report that out of some 503 reviews I've tracked since we launched - appearing everywhere from tiny websites I'd never previously heard of to huge venues like the Washington Post and Entertainment Weekly - I've only logged 27 negative ones! Which is nice.

Future-Tech und Kastendenken

Phantastik-couch.de, a German language online magazine of fantatic literature, has just posted a review by Frank A. Dudley of Alan Dean Foster's Sagramanda.

I don't speak German - I dropped out of German 101 in college in frustration - but Frank very kindly summarized his main points for us:

• Alan Dean Foster is the genre's globetrotting chameleon.
• Foster takes the Indian society with its castes as a backdrop and charges it with a techno plot reminiscent of William Gibson's Bridge Trilogy.
• His protagonists are dazzling, and Foster manages to maintain this strength of the novel until the end. He follows their thoughts and motivations with subtle irony while elegantly proceeding the parallel story lines.
• The finale appears to be a bit constructed.

Which sounds like a pretty good review to me. And even without running it through Babel Fish to make sure, I think I agree with this: "Was Japan in den 1980ern Japan für Cyberpunk war, das sind Indien und China für die SciFi-Techno-Thriller des noch jungen 21."

Out of Africa

Alan Dean Foster, who as near as I can tell only uses his house in Arizona to store books because he never stops globe-trotting, sends along these pictures from a recent trip to West-Central Africa (Jan 19th to Feb 20th). The picture on the left is of buyers at the Gorom-Gorom market. Alan explains, "Gorom-Gorom is the northernmost real town in Burkina Faso, up in the frontier where Burkina meets Mali and Niger."

Also pictured, a hunting spider shot in Lope National Park, Gabon, which Alan says was six inches across. Touareg women photographed in their camp at Darkoye, "their group having just come over from Niger," a mud-brick mosque at Bani, and a forest elephant, from Langouie Camp near Langouie Bai (in Gabon) "famous from Michael Bey's (National Geographic) megatransect of central Africa.




"Forest elephants are smaller than their Eastern and Southern relatives, have rounder ears, and...different toe arrangements."

As Alan says, "another interesting part of the planet."

What's a Macguffin?

Tom Easton of Analog's Reference Library column is frustrated that Alan Dean Foster doesn't reveal the maguffin of Sagramanda until the very end, but concludes that, "No, I won’t tell you what the macguffin is. But I will say it is indeed one that would be valuable to society and to certain businesses, while other businesses might want to suppress it. And despite Foster’s coyness, he is such a deft and evocative writer that Sagramanda is a good read anyway. Enjoy it."

Easton's solution - to skip ahead to the end of the book. My mother does this - and sometimes my wife - but it drives me nuts. My own advice: read faster! The end will come sooner that way.

Meanwhile, for those not-in-the-know, a macguffin is a plot device that is used in film and other narrative (particularly mysteries and thrillers) to advance a story but whose nature doesn't really matter. The term is usually credited to director Alfred Hitchcock, though it may have been coinced by his friend, screenwriter Angus MacPhail.

In a 1966 interview, Hitchcock described the macguffin's purpose thusly (via Wikipedia):

"It might be a Scottish name, taken from a story about two men in a train. One man says, 'What's that package up there in the baggage rack?' And the other answers, 'Oh that's a McGuffin.' The first one asks 'What's a McGuffin?' 'Well' the other man says, 'It's an apparatus for trapping lions in the Scottish Highlands.' The first man says, 'But there are no lions in the Scottish Highlands,' and the other one answers 'Well, then that's no McGuffin!' So you see, a McGuffin is nothing at all."

Update: Neth Space also weighs in with a review of Sagramanda: "Sagramanda becomes a character all its own as we see a microcosm of India – the poor, desperately poor, the rich, the tourist, the huge population, the filth, the decadence, and the contrast of old and new – through the eyes the hunters and hunted. The portrayal of India is fascinating – especially for someone like me who has never been there. As I said about John Burdett in relation to Bangkok 8, I don’t know if Foster gets it right, but it feels like he does.... It’s a fascinating portrayal of near-future India with an average techno-thriller plot holding it together."

Sagramanda & Fast Forward

Michael Berry of the San Francisco Chronicle reviews Alan Dean Foster's Sagramanda. He praises Foster's "his versatility and ingenuity" but also makes a good point about the inevitable comparisons:

"Some readers may suspect that Sagramanda suffers in comparison with another recent near-future thriller set in India, Ian McDonald's River of Gods, also published by Pyr. Both use purloined technology as a major plot device and present multiple viewpoints from a large cast of characters. Foster's approach to the material is more direct than McDonald's, but his eye for telling and exotic detail is sharp, and his instincts for constructing a gripping story line are sure. India is vast, and the subcontinent's potential influence on this century shouldn't be a subject restricted to only one science fiction writer at a time. "

Meanwhile, Monster's & Critics reviewer Sandy Amazeen reviews Fast Forward 1:

"Inventive and thought provoking, with solid storylines and imaginative twists, this excellent new sci-fi collection delivers. "

Sagramanda on Cool SciFi

Rich Horton posts his review of Alan Dean Foster's Sagramanda, apparenlty orphaned from Locus magazine, over on CoolSciFi.com. He makes the inevitable comparison with River of Gods, though is fair in pointing out it really is apples to oranges in terms of authorial intent and scope, but seems to like Sagramanda none the less:

"Foster's novel is not so brilliant as McDonald's, and really it makes no attempt to be brilliant at that level. Rather, it is an enjoyable and fast-moving thriller - and quite successful as such.... It's quite an exciting read. The plot moves sharply, and quite believably... The portrait of fairly near-future India is fairly well-done, though here the book truly does suffer by comparison with McDonald's altogether more complex and deeper portrait. Sagramanda is no masterpiece, but it is fun and not without deeper shadings."

I would add only that both McDonald and Foster were plugging into the zeitgeist at the same time and have produced two very different works, both valuable and enjoyable in their own rights and for their own reasons. Where McDonald's work is sort of a futuristic Kim, Foster's is a technothriller enhanced by the experience of a nonWestern setting. Obviously, I enjoyed both enormously, but then, I would. I think you will too though.

Three More Pyr Reviews

A review by David Hebblethwaite over on SFSite.com for George Zebrowski's Macrolife: A Mobile Utopia. David writes:

"Macrolife is a novel with ideas at the fore. ... There's a welcome complexity to the issues examined. For instance, technology is not characterized as something wholly good or bad; but, more accurately, as a potential source of both problems and solutions, depending on how it is used... Zebrowski does not shy away from looking at the downside to macrolife; and there is much debate on the rights and wrongs of interfering with planetary civilizations, with no easy answers... The Library Journal quote on the cover says that Macrolife is 'one of the 100 best science fiction novels of all-time.' Whilst I'm not knowledgeable enough to be the judge of that, I am sure that the book is no less relevant now than it was in 1979. Whether macrolife as depicted here will be part of humanity's future, it is good that we should think about it -- and it is good that we have such an eloquent and spirited expression of the idea as Zebrowski's novel."

And a review on Lesley on the Eternal Night for Alan Dean Foster's Sagramanda compares the fictional city of the title with the reviewer's actual experience of India:

"Having been fortunate enough to visit a number of cities across India I did wonder how the city and population of Sagramanda would compare to the real people and places I have experienced. I was pleasantly surprised. As I read I could almost smell the air of Delhi or Kohlapur and feel the heat of the sun. What did impress me was the way the author introduced subtle touches of technology into the India of tomorrow; just enough to let you know you are in the near future without destroying the overall sensation of being in the Indian subcontinent."

Finally, Cheryl Morgan can't resist reading Justina Robson's Keeping it Real in time for the lamentably-final issue of the great site Emerald City:

"Black leather, motorbikes, elf rock stars who actually know what an electric guitar is for, a small nuclear reactor, and some big guns. And, because this is Justina Robson we are talking about, a heroine with a great deal of self-doubt who is just as likely to let go with the tears as with an Uzi... Yes, Keeping It Real is a thrill-a-minute adventure yarn full of sex and elves and motorbikes. But it is also a book in which dragons are well versed in quantum mechanics."

Thrill Kill Cult, Hindu Style

John DeNardo has posted a review of Alan Dean Fosters' Sagramanda over on SFSignal. He gives the book four out of five stars, and praises it for its characters and action, though feels that it has too many plot threads running in parallel for too long. Overall, though, DeNardo seems to have liked it, as he proclaims Sagramanda a "wonderful depiction of Indian culture; fast-paced; entertaining characters and back stories; excellent finish."

But what catches my eye is his concluding remarks that "the detached threads unite into a nail-biting, Tarantino-like finale."

There is definitely a Pulp Fiction / Jackie Brown vibe to this techno-thriller. Talking about the amorality of the characters in Sagramanda, DeNardo says, "even though most of the characters were not quite likable, their stories were consistently and thoroughly entertaining." Yes, exactly. And it occurs to me: could it be that mystery readers and the audiences for mystery/thriller/crime films are sometimes more comfortable with morally-ambiguous protagonists than science fiction and fantasy readers? The crime genre is full of bad people fighting worse people, and Sagramanda certainly shares attributes with the many Elmore Leonard novels and their ilk, where we root for the losers going for their one big score.

The Importance of Being Ernest

Ernest Lilly reviews two Pyr books over on SFRevu. I'm glad that he seems to like both, while being upfront about what he sees as weaknesses in the works too. But I read these two reviews late last night, rather hurriedly/tiredly and didn't - I confess - glance at the byline. When I was done, I was struck by how remarkably well written they both were. As a former full-time, now occasional, journalist, I appreciate the well turned phrase, whether its being turned in the service of one of our authors or not. So when I read both reviews back to back, I wasn't surprised to discover both stemmed from the same source. Ernest is the Sr. Editor of SFRevu's as well, though by no means the only reviewer. But I wanted to pause to give a shout out to some good writing before continuing with your regularly scheduled Pyr plug. Now...

Ernest says a lot of good things about Alan Dean Foster's Sagramanda, which you can check out for yourself, though what struck me the most is his concluding remarks:

"Alan Dean Foster is a master of creating alien worlds for his protagonists to deal with, but his near future India is more complex and alien than anything he's attempted yet. That's the good news. The bad news is that it doesn't feel like India as much as it feels like one of his created worlds, though I admit I've never been there, and Foster, an accomplished world traveler, had undoubtedly done thorough research on the ground. In the end, Sagramanda's strength is the author's willingness to engage in cross cultural conversation with people who may well emerge as the technological leaders of this century, but it's only the beginning of a dialog which will hopefully lead to understanding on both sides. To achieve this, Foster needs to keep the story going for another few books, though Sagramanda has a stand alone feel to it."

The city of Sagramanda is definitely a character in its own right. I don't know that the other (human) characters from the book need to continue, though if New York has a million stories, a city of 100 million - even a fictional one - surely has a few more to tell, right? And Ian McDonald, who wrote the other big Indian novel out now, keeps spinning off new kyberpunk tales. Why not?

Meanwhile, Ernest puts Joel Shepherd's Crossover on his highly recommended list and includes a sidebar that notes the books similarity to Masamune Shirow's landmark work Ghost in the Shell. Again, I encourage you to go read the review for yourself, while I mull over something from his concluding remarks:

" I liked Crossover both for the hot cyber combat action and the chunks of exposition that the author drops from time to time. Call it perverse, but I think the discussion of technology and philosophy is one of the things that makes SF more interesting than mainstream fiction. As a result I'm all for spending a few paragraphs or even a page or two musing about the humanity of machines, or the cultural subtext of warfare, or why androids need breasts. A more aggressive editor might have trimmed this book back a bit, but I'm glad it didn't happen."

I don't know what I would have done if the manuscript had come in on loose leaf, as opposed to my taking on board a book that was published some years ago in another territory. For N. American debuts of existing work, unless the author expresses a strong desire to revise something specific into an "author's preferred edition," and not counting the correction of any typos that have come to light, I prefer our edition to match the original published edition for the sake of history. I know that if I bought a US book, then read that 50 pages were cut from the Australian or UK edition, I'd be rushing out to see what those 50 pages were. In fact, I held off buying the US edition of the aforementioned Masamune Shirow's latest work of manga, when I heard the US edition was missing 12 pages deemed too "mature" for an American audience.

But in Joel's case, I would like to think I would have resisted the urge to trim the fat here if I'd come to the work cold. For one thing, as Ernest points out, once you get through the first chapter, "the action comes fast and hot by the end and never lets up thereafter." For all the above talk of philosophy and grand ideas, this is one hell of an action story, with machine pistols blazing and bionic women leaping out of flying cars from hundreds of feet in the air. Joel really knows his combat, too, and manages to translate the kinetic feel of anime into prose better than I've ever seen done before. But what I always loved about the Shirow is the way that amid all the violence and hardware fetishization, suddenly the comic book will go into a discourse on geopolitical theory or some social/ethical concern and that's vital for the tone of the work as well.

Plus, I've cited Joel's book several times now, on blogs and on convention panels, as a perfect example of entertainment plus depth, in my ongoing insistence that these are not mutually exclusive concepts. Joel's work is rife with politics and philosophy, as well as sex and combat. Just like its clear inspiration, it manages to marry both rousing adventure and rousing speculation - and while not perhaps a perfect book by all assessments, I hope I would have recognized these asides as central to the work he was creating.

Now, with all these Ghost comparisons, it should be said that Shirow usually seems to insert these dialogues into the mouths of naked anime girls in a shower or massage scene. Joel, for his part, leaves out that slightly uncomfortable/puerile aspect, trading the somewhat exploitive scenes for a more mature, balanced portrayal of his many strong female characters. Oh, the sex is still there and then some, but it feels sexy not sexist; it's a sexuality that owes more to the well-drawn characterization and tension of something like the relationship between Xena and Gabrielle than it does to Shirow's work. Several female readers asked me recently, in fact, how Joel was able to write women so convincingly, and we not surprised to learn that he also writes about women's basketball as well. So, I guess what I'm saying is - remove the doll-like anime women from Ghost in the Shell, insert Lucy Lawless, equals great book.

Tigers and Monsters and Critics, Oh My!

Sandy Amazeen of Monsters and Critics on Alan Dean Foster's Sagramanda:

"...gripping thriller set in India’s not too distant future. Foster’s adroit touch weaves tradition and technology together as he develops a fascinating range of antagonists negotiating Sagramanda’s back streets and fashionable neighborhoods. India’s diverse culture adds a nice layer of depth to this enjoyable, fast moving techno drama."

Love X 3 from the LJ

This from the LIBRARY JOURNAL September 15, 2006 Issue:

Foster, Alan Dean. Sagramanda: A Novel of Near-Future India. Pyr:Prometheus. Oct. 2006. c.290p. ISBN 1-59102-488-9. $25. SF Taneer is an Indian scientist who has stolen a secret project code from a multinational corporation. On the run from both the organization and his unforgiving father, he meets and falls for Dephali, a beautiful woman of India's untouchable class. Add a farmer-turned-merchant, a Kali-worshipping Frenchwoman, a chief inspector, and a man-eating tiger and the result is a fast-paced urban adventure set in a near-future India of high technology and desperate people. The prolific author of the Pip and Flinx novels (his latest, Trouble Magnet, publishes in November) adds to his considerable body of work with this polished hybrid of page-turning action and taut suspense that belongs in large collections. [For another novel about a future India, see Ian McDonald's River of Gods.-Ed.] --SF/FANTASY By Jackie Cassada, Asheville Buncombe Lib. Syst., NC

Meaney, John. To Hold Infinity. Pyr: Prometheus. Sept. 2006. c.529p. ISBN 1-59102-489-7. $25. SF When newly widowed biologist Yoshiko Sunadomari travels to the planet Fulgar to reconnect with her estranged son Tetsuo, she discovers that he has run afoul of the Luculenti, the planet's genetically changed ruling elite, and is now wanted for murder. Yoshiko undertakes a mission to clear Tetsuo's name, putting herself directly in the path of Rafael Garcia de la Vega, whose nefarious schemes hold the planet in social and political turmoil. The author of the Nulapeiron Sequence (Paradox; Context; Resolution) has crafted a far-reaching vision of a future filled with potentials for both darkness and light, as seen through the eyes of a remarkably gifted and devoted woman. An excellent choice for most sf collections. --SF/FANTASY By Jackie Cassada, Asheville Buncombe Lib. Syst., NC

Williams, Sean. The Blood Debt. Pyr: Prometheus. (Books of the Cataclysm: Two). Oct. 2006. c.476p. ISBN 1-59102-493-5. $25. FANTASY Sal Hrvati's estranged father has brought a creature from the Void Beneath into the world, and now Sal and his friends embark on a quest to find his errant father. Their journey takes them on a search for magical artifacts on the floor of the great crack in the earth known as the Divide. The second installment in the author's "Books of the Cataclysm" series (after The Crooked Letter) follows the adventures of three companions who battle the unknown to save their families. Set partly in the modern world and partly in a fantasy environment drawn from archetypal myths and legends, this epic belongs in most fantasy collections. --SF/FANTASY By Jackie Cassada, Asheville Buncombe Lib. Syst., NC

Science Fiction Gets Global with Two Novels of 21st Century India

FOR IMMEDIATE RELEASE
September 13, 2006

CONTACT: Jill Maxick
800-853-7545 or jmaxick@prometheusbooks.com

Science Fiction Gets Global with Two Novels of 21st Century India

Amherst, New York—Science fiction authors have always been a forward-thinking group, so it shouldn’t be any surprise that they are turning their attentions to addressing the technological rise of the nation of India. Now, Pyr, the SF&F imprint from Prometheus Books, has published not one but two novels set in this emerging superpower.

Ian McDonald’s Clarke- and Hugo-nominated River of Gods, published March 2006, has been hailed as “a major achievement from a writer who is becoming one of the best SF novelists of our time” (Washington Post, May 28, 2006). Set in the year 2047, on the one hundredth anniversary of the birth of a nation, River of Gods teems with the life of a country choked with peoples and cultures—one and a half billion people, twelve semi-independent nations, nine million gods. McDonald’s novel, like the best of speculative fiction, projects the India of today forward to the middle of the 21st century, to a time when artificial intelligences of almost godlike capabilities exist amid a country still torn between ancient superstitions and fantastic technologies.

As for his reasons for setting his science fiction in South Asia, McDonald says, “Sometimes you just stand up like a meerkat and see where the future is coming from. In this case: one billion English-speaking people, the world's biggest democracy, education education education, a vibrant enterprise culture and six thousand years of history . . . Jai Hindustan!”

Best-selling author Alan Dean Foster brings his vision to bear on an even-nearer future. With its subtitle “A novel of Near-Future India,” Sagramanda (to be published October 3, 2006) presents a fast-paced and gripping techno-thriller set in an India just around the corner from today. Foster imagines the fictional city of Sagramanda, city of 100 million—this is the story of Taneer, a scientist who has absconded with his multinational corporation’s secret project code and who is now on the run from both the company and his father. Sure to appeal to both SF fans and mystery/suspense enthusiasts, Sagramanda has been described as an “unpredictable thriller, whose multiple threads Foster juggles like the professional he is” (Publishers Weekly, August 21, 2006).

“One sixth of humanity lives in India and the other five-sixths hardly know anything about it,” says Foster. “I thought people should. They’d better.”