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Cover of FUJI

FUJI

by a stream of unfamiliar names. The current Fuji took shape around 17,000 years ago. Thus it did not precede humans but grew up among them. It erupted now and then, disastrously in 1707, but has gone quiet for the past few hundred years. From prehistory, humans settled nearby and grew crops—especially tea and mulberry trees for silk—that thrived on the volcanic soil. The volcano’s beauty as well as its behavior attracted attention both mystical and literary. An 18th\u002Dcentury mystic who starved himself to death on Fuji gave rise to a cult, “Fujiko,” devoted to its worship that included a pilgrimage to the summit, which in turn gave rise to a major local industry. Fujiko adopted many Buddhist practices and competed with the more nationalistic Shinto movement. Much of the book details the legal, doctrinal, and organizational quarrels between the three religions. Fujiko did not do well and is now a fringe movement, but almost all religious ceremonies surrounding Fuji evaporated after World War II. The mountain is now a major tourist attraction, fueling quarrels over trash, sanitation, crowds, and the deteriorating environment."

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Cover of FURNITURE SLIDERS

FURNITURE SLIDERS

by a mysterious woman whom he only vaguely remembers—she’s another slider, named Alicia, who proves to be as brilliant as he is. She warns him that he’s still in danger from the Mirror, and that its creator, Dr. Emil Krane, plans to continue using it without regard for who it might hurt. The two of them travel to Vienna, Prague, and finally Montevideo in an effort to stop Krane and neutralize—or destroy—the Mirror. Along the way, they meet many old friends and foes, encounter treachery and violence, and face the impact of the past. Bentley does a deft job of keeping the many narrative threads straight, and the story flows well, as do its action sequences. The SF elements are solid: the Mirror is described in fascinating detail, and the ideas behind it are explored thoroughly but not overwhelmingly. The spy and noir elements are less successful\u003B Max is so impossibly talented, so antisocial yet simultaneously alluring that he reads almost like a parody (“You were always the best one of us”). But he’s played straight, and that means there isn’t a lot to him aside from clichés. Alicia is similar, though it’s worth noting that she has agency and perspective beyond the role of a romantic interest. This inventive novel displays a lot of potential, and one hopes that in the future Bentley will apply the same complexity to his characters as he does to his physics."⭐ 5.0/5(2)

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Cover of GAS GIANT GAMBIT

GAS GIANT GAMBIT

by the San Juan\u002DPaul Waystation bulls—“law enforcement on the Cygnus Trail”—she is rescued by a kind robot, Maurice, and given temporary shelter with the Vega ranching family. With Tilly—her steed sporting a Faster Than Light engine—needing expensive repairs, she must pick up odd jobs to secure the fuel and money (“rubidium and spoons”) to escape. Assuming the name Gus, the wry gunslinger with a beam\u002Dshooting pistol soon learns that lying low won’t be easy in a town where too many things don’t add up: “Strange disappearances. A mining outpost that wasn’t doing any mining.” After a whiskey\u002Dfueled night leads to a bar brawl with Aaron Leconte, son of the greedy town administrator Laszlo, Gus becomes enmeshed in Las Ráfagas’ precarious political situation at the powerful Leconte family’s behest. In her new role as deputy marshal, she uncovers snippets of shady dealings that suggest Laszlo is “snatching natives, trying to force down the price of…land and shares” and attempting to drive away the Vega family. In addition to these abuses of power, she learns that the native Deiopeans—“child\u002Dsized bipedal spiders”—are at risk of deadly exploitation. Gus must saddle up for a new mission: save Las Ráfagas before being killed by the Leconte family’s militia. In this inventive novel, Raye creates an instantly absorbing world, seamlessly marrying SF technology and Western tropes. The floating mining station has a complex history of colonialism with its subjugated robots, genies, and displaced Indigenous population. As readers gradually uncover the scope of the historical abuses of power alongside Gus—an indelible queer protagonist with her share of vices—her reluctant move from a focus on monetary gain to comradeship with the townsfolk is a deeply satisfying one. Gus and the community’s fight for justice is a reflective allegory for contemporary times."

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Cover of GHOSTLY ROULETTE

GHOSTLY ROULETTE

by the pack leader, but Joe volunteers to stay to find Parker’s killer. Because of how the murder was committed, vampires, not ghosts, become the primary suspects (“Vampires can transform into bats and clouds of mist as well as exert control over electronic devices”). Joe struggles to find anyone with a motive to kill Parker\u003B he soon learns that the Minnesota woods are full of supernatural creatures working in opposition to each other, and that Parker may have been collateral damage. Joe gets help from an unexpected source: Parker’s ghost appears to him, explaining that recently minted spirits can’t cross over, and that more ghosts are being forced to return from the other side. Joe must determine who is behind this situation and Parker’s murder. Carpenter has fashioned this second volume of his Joe the Werewolf series into an educational outing for his lead character that will prove equally compelling to his readers. In addition to the were\u002Dbeasts, aliens, and vampires with which he’s familiar, Joe here encounters sasquatches, ghosts, and hodags (evil creatures that spring from the ashes of cremated oxen). The revelation that so many exotic beings are living among humans is what makes Carpenter’s work fun—readers will be engaged while encountering various supernatural creatures along with Joe, who gets roped into the role of peacemaker trying to get the various groups to work together against a common threat."

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Cover of GHOSTS OF HIROSHIMA

GHOSTS OF HIROSHIMA

by survivors, include the sight of a cart falling from the sky with the hindquarters of the horse pulling it still attached\u003B a young boy who put his hands over his eyes as the bomb hit—and “saw the bones of his fingers shining through shut eyelids, just like an X\u002Dray photograph”\u003B “statue people” flash\u002Dfossilized and fixed in place, covered in a light snowfall of ashes\u003B and, of course, the ghosts—people severely flash\u002Dburned on one side of their bodies, leaving shadows on a wall, the side of a building, or whatever stood nearby. The carnage continued for days, weeks, and years as victims of burns and those who developed various forms of cancer succumbed to their injuries: “People would continue to die in ways that people never imagined people could die.” Scattered in these survivor stories is another set of stories from those involved in the development and deployment of the only two atomic weapons ever used in warfare. The author also tells of the letter from Albert Einstein and Leo Szilard to Franklin D. Roosevelt that started the ball rolling toward the formation of the Manhattan Project and the crew conversations on the Enola Gay and the Bockscar, the planes that dropped the Little Boy on Hiroshima and the Fat Man on Nagasaki. We have to find a way to get along, one crew member said, “because we now have the wherewithal to destroy everything.”"⭐ 4.3/5(294)

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