NEW BOOK RELEASE: INFINITY TRIALS #2

It's finally here. The 2nd book in the ongoing story of Jacqueline Talbot, "Wolves at the Door," is now available across most platforms. Here's a little about the book:

WOLVES AT THE DOOR

Sometimes, a girl just wants to be a girl...

Now that the cat’s out of the bag, the other secrets regarding Jacqueline Talbot’s past—and future—begin to come clear. It’s a lot for a sixteen-year-old girl to deal with, especially when she’s told that the fate of the world rests on her shoulders. 

Jacqueline now must prepare herself to take on the rest of the Trials; the only problem is, no one’s really sure what they are. Not even her aunt, who seems to know a little too much about everything. 

At least she has her support system to help her through it all. But that system is as fragile as everything else in Jacqueline’s troubled life. Just one small misstep and it could all be over…for everyone.



Purchase now at the following outlets:

Amazon (Ebook)
Amazon (Paperback)
Barnes & Noble
Kobo
Google Play

iTunes coming soon!

Request for reviews: ARCs now available

As I wrote in my previous blog post, The Mirror of Souls will be live in a scant 21 days. With that in mind, and having received a good number of betas back from my proofreaders, it's about time for me to start sending the call out for reviews.

If you would like an Advance Review Copy of The Mirror of Souls, please email me at rjduperreauthor@gmail.com and write "ARC Request" in the title. In the body of the email, tell me whether you require a .mobi (Kindle), .epub (Nook), or simply a PDF of the book, and I will send it on its way.

All I ask in return for these giveaways is a fair and honest review on Amazon (or whatever platform you use, aka Barnes & Noble or Kobo) when you are finished. Even though the release date for the Kindle isn't until January 22nd, it will be available at most other outlets ten days before that date, and the paperback will be live as well. Any words there, even if it's just a couple, would be greatly appreciated. This I beg of you.

Thank you in advance, and I look forward to hearing from you.

Rob D

Review: Spirit Storm by E.J. Stevens

Rating: 4.5 out of 5

It looks like my newfound love of paranormal romance will continue, and I can pretty much blame it on one of my new favorite authors, E.J. Stevens.

A couple months ago, when I read She Smells the Dead, the first book in her series, I wrote that the innocent and almost ideal aspects of the relationships between the characters appealed to me the most. It reminded me of my own youth – actually, reminded me how lacking in sincerity my own youth was – and left me grinning by the end.

Well, with Spirit Storm, Stevens has raised the bar…in that category and just about everywhere else.

We start out where SStD leaves off. Yuki, our heroine who receives “smell impressions” from the dead, is busy preparing herself, in both mind and body, for Samhain (aka Halloween), when spirits enter the world in overwhelming numbers and could potentially drive her crazy, or worse. She is assisted by her werewolf boyfriend Cal, Simon, Cal’s werewolf mentor, and Emma, Yuki’s best friend/vegan/animal rights activist/all around spitfire.

It would be all well and good if all this group had to do was prepare for the horrors of that night. But no, fate intercedes with a tragedy: a member of Cal’s pack has been murdered by a werewolf-hater and the ghost of the dead man now haunts Yuki, urging her to help put his soul to rest. And then another werewolf is kidnapped, potentially by the same person. The small group of four is put on the case, future obstacles be damned. Can’t a girl get a break? It’s not like she doesn’t have enough to deal with.

Add to this to the stresses between Emma and Simon (they really don’t get along, though the text makes you wonder if there might be a hidden attraction that slips between the cracks during their fights) along with the pressure Cal is under now that it’s been revealed to his hidden society that he is the alpha male, and therefore leader of the pack by birthright, and we have a recipe for potentially overwhelming these poor, loveable young people.

Luckily, they’re up for the challenge.

The plot of this book is really quite simple and straightforward. As with SStD, the dialogue is impeccable and the story flows as smooth as any you’ve ever read. There are no dull moments, and even the dream sequences, which in the first book seemed to come from left field a couple times (which is appropriate, actually, seeing as that book served as an introduction, and those dreams ways to extrapolate on the functionality of the mythology presented), serve to heighten the tension this time around. The characters are idealized versions of teenagers yet completely believable, especially if you allow the language to take you on the magical ride it has to offer. Also, the author has curtailed her penchant for inserting Yuki’s thoughts into the story. Instead of being redundant this time around, they’re funny and poignant, which is a great improvement.

Perhaps what Spirit Storm does best, however, is something more mundane, more easily overlooked, especially when dealing with teenage romance. Stevens drives home the point that Yuki and Cal are soulmates throughout the story, and yet there are subtler tones there as well that bode well for future conflict. The author, while at times idealizing their behavior, doesn’t allow that to make them caricatures of young love. Instead, she inserts a rather brilliant thread involving the dangers of being too close, too young. In this way, she’s telling us that although these two wonderful creatures belong together, things don’t always end up the way we think they should. She’s careful to let her audience know that these are still children, that there will be other choices, other paths, other dangers, presented to them as time goes on. The risk comes from obsession, from thinking a situation to be too good to be true. She warns against holding on to this love, even if it might hurt to let go, because in life, when things go bad, the hurt and pain will do nothing but drag you into a deeper well of despair, the full cost of which may actually be a loss of self or identity.

As I said, this point isn’t preached about, but it’s there. And this line of reasoning is pressed up against the more surface themes of the work – responsibility, morality, and loyalty. This is illustrated wonderfully when the characters finally come face-to-face with the werewolf killer, himself. I won’t get into the particulars, but it was quite refreshing to see that a simplistic tale such as this, which often can veer into absolute shades of black and white, took the opportunity to splash massive amounts of gray on the landscape. What makes us who we are, the story asks. And who is to blame when we discover that those we’ve judged have reasons beyond our capacity to understand for acting and thinking the way they do, that their lives, and their actions, are the result of a cacophony of unfortunate life experiences? The book offers no answers to this question, only begs for forgiveness, for patience, for perspective. In this regard, I’ll even go out on a limb and say that this book may not only be an outlet for entertainment, but a teaching tool for the young, as well. It has something to say, after all, and it states its message with class and respect.

Now I have to be honest here and say that I was this close to giving Spirit Storm only the third perfect score

I’ve ever handed out. By the time I reached the last page, however, I discovered that I couldn’t. For as wonderful as the first ninety percent of the book is, I found the last bit a little…unsatisfactory. Again, I won’t go into detail, but there is a huge buildup to a climax that never seemed to come. I’ll leave this open to interpretation by the rest of you readers out there, because I’m only one man and perhaps I’m saddled with a need for action and resolution. Perhaps others will see the ending differently, perhaps they’ll find it perfect for the story it has to tell. But for this reviewer, it was slightly disappointing.

However, with that being said, the points I dock for this are minimal. The rest of the book is fabulous. More than anything, it is beautiful in both style and substance. It’s a quick read, and I continued to fall in love with the characters and root for them to succeed, both at the tasks at hand and at love, as the layers that make them who they are get pulled back. The romance between Yuki and Cal is refreshingly innocent yet needy, and it’s interesting to think about whether they’ll be able to grow as people or if they’ll find their only distinguishing characteristics are each other. This is a story of perseverance and devotion, both to loved ones and community, and still makes sure to let you know that there are pressures, both internal and external, that wish to rip apart everything they’ve built.

What else can I say? I adored this book, ending be damned. It deserves to be up there in the pantheon of new PR releases, right alongside Amanda Hocking, another of my favorites in the genre. I know I will be passing both Spirit Storm and She Smells the Dead down to my daughter, and I will feel confident in doing so; confident that the messages she receives from the words Stevens has put down on paper will enlighten, amuse, and most important of all, make her think.

That’s really all you can ask for.

Plot - 10

Characters - 10

Voice - 9

Execution - 7

Personal Enjoyment – 9

Overall – 45/50 (4.5/5)

Buy Spirit Storm in the following formats:

Paperback








Ebook

Review: She Smells the Dead by E.J. Stevens

Rating: 4.3 out of 5

I’ve said before that I have no love of paranormal romance as a genre. It’s too girly, too gushy, too intrinsically self-absorbed and flighty, to be worth my while. I mean, who wants to read about some young girl with “special talents” who falls head-over-heels in love with some otherworldly creature?

Uh, apparently I do. So color me a liar.

I received She Smells the Dead by E.J. Stevens as a review copy, and honestly I was excited to dive into it. No matter my previous statements on the matter, the truth is I’ve had a long and enduring love for Buffy the Vampire Slayer and trashy romance novels. It’s the inherent impracticality of the stories that draw me in; how can you not feel affection for a story told about youngsters who want nothing more than to be naïve and free, yet have massive, mythical responsibilities heaped on their shoulders? It offers us a chance to explore adolescence without having to relive it, in many ways offering up an idealized version of teenagers without ever losing sight of the inborn selfishness and idiosyncrasies that come with being a teen in the first place.

She Smells the Dead introduces us to Vanessa Stennings, a girl who likes to be called Yuki (we’ll get into my trepidation over the popularity of Japanese culture among today’s youth another time) and who possesses a very quirky paranormal talent – like title of the book suggests, Yuki can smell the dead. As she says in the prologue, this isn’t like smelling rot or something of the like. Instead, what we have here is an actual haunting; a ghost wants to tell Yuki something, and so gives her clues through her olfactory senses. Think The Sixth Sense with nothing but your nose to guide you (and minus one creepy little boy). I found this to be a very original innovation on a somewhat overused theme, which made it stand out.

Yuki is a senior in high school. She has all the shortcomings of any girl her age – indecisiveness, doubtful of her future, obsessed with clothes, falls in love with the wrong guys – and yet she is still almost idyllic in the way that she has this (recently discovered) power and makes it her goal to help those wayward spirits haunting her find their way back home.

For support, Yuki has the prerequisite quirky cast of friends – Emma, a brilliant vegan with a tendency to seek out and expose oppression against the animal (and insect) world, and Calvin, her scruffy bff-for-life (who might also be something more than that). Just as in shows like Buffy and Smallville, this little group bands together to help Yuki solve the “spirit problems”, researching at the public library and going on (sometimes not very well thought out) investigative ventures. Many times the solutions are outrageously easy (not to mention unexplained), but that’s okay. This isn’t a book intent on bending your mind.

It is all pretty formulaic, but She Smells the Dead gains its wings with dialogue (conversations flow without a hitch, which takes copious amounts of talent) and an imaginative reclassification of standard tropes. As an example of the latter, I must bring out a plot point that may be a spoiler (and some may roll their eyes at): Calvin is a werewolf. However, author Stevens has created a fresh perspective on werewolvery by doing the unthinkable – going backward. She fastens their existence to the root of the original (Native American) shapeshifter myth; a spiritual partnership between creatures of the wild and man, beneficial to both with nary a mention of curses or evil deeds. When I read this I wanted to stand up and say, “Bravo!” Very well done, indeed.

There are quite a few customary themes to the work, with those of self-discovery and duty climbing to the forefront. As you might have been able to tell, I appreciated Yuki’s steadfastness when it comes to her obligation to the dead (as well as the difficulty with figuring out their problems with only something like, say, the smell of vinegar to go on). But the scenes where she trains with Calvin, trying to harness her power, are truly well done. We get to see her weak – both with a burgeoning love for her old friend and the doubt of her capacity to channel her abilities – and strong. She is a young girl facing seemingly insurmountable odds, yet she never once really hesitates.

There is an innocent quality to the work that I appreciated, as well. I think, at the end of it all, that’s the most appealing facet. Like with the Harry Potter series, we see young people (who could be any one of us) grow up before our eyes. They think and act like the teenagers they are, but hold an almost preternatural sense of honor. Looking back on my own life, when reading material such as this, I sometimes wish I could have as sturdy a head on my shoulders as they do.

On the minus side, Stevens has a strange habit of interjecting Yuki’s thoughts into the text, even though they are directly preceded by information that makes those thoughts repetitive. And redundant, too! (See what I mean?) At first I found this quirky and even a bit funny, but as the story went on I started to roll my eyes whenever something like that came across. A slight drawback, but a bearable one.

Other than that, there really isn’t much to complain about. Not that I would want to. I had a lot of fun reading She Smells the Dead. It’s nostalgic in a wish-you-were-here sort of way, and the mushrooming young love between Calvin and Yuki is something like a bunch of kindling teetering perilously close to an emotional firestorm. It’s well-written and it flows, it’s not too violent, and surprisingly original. And it’s also very short, as it is basically the introduction into a series that continues with the second book, Spirit Storm, a book I’m itching to dive into, which will undoubtedly reveal the solution to the rather ingenious cliffhanger of an ending.

Yes, I recommend She Smells the Dead. This man fell in love with it, and I think women of all ages will, as well.

Plot - 8

Characters - 10

Voice - 8

Execution - 8

Personal Enjoyment – 9

Overall – 43/50 (4.3/5)

Purchase She Smells the Dead:

Paperback

Ebook

Interview with Amanda Hocking

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This interview with Amanda Hocking was conducted via email over a span of three days. Amanda is the author of seven books and is one of the highest-volume independent booksellers. To read more about Amanda, her books, and her life, visit her website, My Blood Approves.

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Journal of Always: Hello, Amanda, and thank you for taking some time out of your obviously packed schedule to spend some time with us. Let's get started, shall we?

You've had great success self-publishing your books (currently seven books out there right now, soon to be more). My question is, how did you approach marketing your writing before you decided to go it on your own, and what was the final straw that caused you to forgo the traditional route?

Amanda Hocking: It was a bit of luck, actually. I think it was a tweet from DA of Chester French, who I’ve said for a long time is the smartest man on Twitter. He’d posted a link to an article about self-publishing, and it mentioned Joe Konrath and his success with it. After years of hearing horror stories about self-publishing, vanity presses, and Publish America, I was wary of the idea at first.

But the more I thought about it, the more I realized I had nothing to lose. I had done everything I could think to get published traditionally.

Besides that, I had an absurd goal to be published by the time I was 26 because that’s how old Stephen King was when he first published, so I knew had to do something to get going.

I didn’t do much marketing before I uploaded my first book. I mentioned it on Twitter and my blog, but I didn’t have any real followers there. When I’d had them on sale for a few weeks, I made an announcement at Kindleboards, and I mentioned them a few places on the Amazon forums. That was about it for promotion.

JOA: Can you give us a brief overview as to your sales progress? Did they start slow, or simply take off immediately?

AH: What I didn’t realize then and do now is that my sales were always a little above average, and I have no explanation for this. The first day I think I sold 1 or 2 books, and I’ve never sold any less than that. I was averaging 3 sales a day after the first two weeks they’d been out.

My sales really began to take off in June, and I think that was in large part because I began contacting book bloggers in May, asking if they would want to review my book. A few of them did, and that has been tremendously helpful. I went from averaging 20 sales a day in May to 137 sales a day in June.

My sales continued to grow each month, but not super dramatically from that. In October, I actually sold fewer books than I did in September. But then in November, for reasons I don’t really know, my sales exploded. They jumped from 157 a day in October to 704 per day in November.

JOA: Has your success changed the way you look at yourself as a writer? How has it altered your lifestyle?

AH: I think, in a really weird way, I actually had more conviction in my writing ability before I was published than I do now. And that opinion hasn’t changed because of negative reviews or anything. It’s because I realized that people are actually paying to read what I have to say, and it makes me more aware of how good the story needs to be to entertain them.

Before, I was my only audience, and I always entertained myself. So it was easier to believe that what I did was good.

My lifestyle hasn’t really changed, other than the fact that I don’t have a day job anymore. This has all happened so fast, it hasn’t had much of a chance to change. My bills are all caught up for the first time in about three or four years, though. So that’s nice.

JOA: Do you in any way worry that your distinctive voice could be tainted by the need to remain a top seller?

AH: Not really. I think anything I write sounds like me, if that makes sense. If you give me any topic to write about – be it Nazi’s or aliens – I would still write it the way I write. My stuff tends be character driven with a lot of dialogue and pop culture references. So even if I do follow trends to stay on top, I’ll still be writing an Amanda Hocking book that sounds like me.

JOA: Your success has brought about a lot of attention, as well. Your name constantly pops up in blog articles, and in a way you are looked at as an icon in the independent community. How do you feel about this? Is it in any way uncomfortable for you?



AH: It’s a little strange.

JOA: Of all the books you've written, which is your favorite? Why?

AH: My favorite to write is probably Ascend, the third book in the Trylle Trilogy. And I’m not just saying that because it’s coming out soon. The Trylle Trilogy is something I really believe in. I had a lot of fun writing it.

The best book I’ve written, though, I think is Hollowland. That was actually the hardest for me to write.

JOA: As you well know, I read and thoroughly loved Hollowland. Why do you say it was the hardest to write?

AH: Having a female lead that strong was difficult. Remy is really tough, like super bad ass, and I juxtaposed her with a male lead who is less so. That dynamic was hard to write. Usually, even if you have a strong female, the male is at worst as strong as her, and he’s often stronger. But Remy had to be hard and world weary without being a bitch or cold, and her suitor had to soften her and humanize her, but he couldn’t be weak. Finding that balance was very hard.

It really made me think about stereotypes and roles of men and women in general. It was kind of eye opening in the way I thought them, and the way I feel like society thinks about them.

JOA: It's interesting that you should mention stereotypes. Not to get too far away from the subject of writing, but what is your opinion on the state of women's rights in this country? Personally, I see trends backsliding, as if people have forgotten what the purpose of feminism was in the first place. This scares me. Do you see this, as well?



AH: What drives me nuts about feminism is the idea that women have to be certain things or they’re not strong. That certain types of strengths and abilities are exalted and others are frowned upon.

My mom only ever wanted to get married and have kids. That’s it. But sometimes people treat that like it’s a bad thing. Like, “Oh, that’s all you wanted to do with your life?” Raising kids is hella hard. That’s why I don’t have any. And I don’t have a husband, either. I’d rather focus on my career than a family. But I don’t see either choice as being less than the other.

The idea of feminism is that women are equals and free to do things as they choose. And they should be, but it’s not fair to take away half of a choice because it’s stereotypically feminine.

I’ve never thought I couldn’t do anything because I was a girl. And no girl should. If you want to go out an save the world, more power to you. If you want to get married and be a secretary, equal power to you. That’s what it should be about.

But in all honesty, I think equality in general has taken a massive back slide.

JOA: There’s so much I could ask in response to this, but I think that would make this interview stretch into eternity, so let’s keep with the writing theme.

The majority of your work falls under the umbrella of paranormal romance. What is it about this sub-genre that appeals to you?

AH: I saw Dark Crystal for the first time when I was two, and it scared the hell out of me. Like nightmares terrified. Even some of the goblins in Labyrinth scare me, even as an adult. And yet this is my favorite stuff.

Well-done fantasy should scare you. You’re not afraid if you don’t believe in it, and it’s the belief that gives fantasy it’s magic. Fear and wonder are separated by a very thin line.

Romance, I think, is the other side of fantasy. You don’t fall in love if you don’t believe, and that’s all part of the same wonder as fantasy. I’m equally as in love with Jareth as I am frightened by the goblins in Labyrinth.

Good fantasy should scare you and make you fall in love. That’s all paranormal romance is, the blatant combination of the best parts of make believe.

JOA: Speaking of romance, do you see a difference in the ways male and female writers depict intimacy? If you do, what kind of things can we learn from the opposite sex by exploring these contrasting aspects more deeply?

AH: I don’t read a lot of romance by male authors, which I just realized, so it’s hard for me to get a clear comparison. Books by male authors I read tend to be satirical and political, like Kurt Vonnegut and Chuck Palahniuk. They don’t address intimacy in a big way, and if they do, it’s more clinical and blunt. In the case of someone like Bret Easton Ellis, it can be downright graphic and violent.

Books I read by female authors are more romance, like Richelle Mead and Claudia Gray. Their YA intimacy is very nuanced and subtle, but Mead’s Succubus books are very graphic, and frequent.

The differences I can see from men and women, from that random sampling, is that the men wright about it more instructionally, as in, “We had sex,” and the women right about it more emotionally, “It felt amazing when we had sex.”

But I am comparing books that are written in two very different styles. In general, the men’s books are written that way. It’s more “This happened,” and with women, it’s more “How I felt when this happened.”

So that’s my really long answer.

JOA: Your work (especially the My Blood Approves series) has been compared to Stephanie Myers' series. How are your books different?

AH: The My Blood Approves series does have similarities to Twilight. I knew that going in. I think it branches way off in its own, especially as the series goes on.

The biggest differences I think from her books in mine is that I wanted my characters to have fun, at least sometimes. Yes, there’s peril and heart ache and all that. But I wanted flawed characters who made mistakes and laughed and were sometimes silly and sometimes immature, but they were real. They were what people are, not ideals of what people should be. Some people don’t like that, and that’s fair. They are reading fantasy.

But it’s important to me that a seventeen-year-old girl acts like a seventeen-year-old girl. Like many (but not all), teenagers, she thinks she knows more than she does, that she doesn’t need high school, and the first time she falls in love, it consumes her. I’m not saying she should be a role model, but she was never intended be. She was simply supposed to be real.

My other books I don’t think are like Twilight. The Trylle Trilogy still gets compared to it, though, which doesn’t make much sense to me. Yes, there is romance and it is paranormal, but it’s much more similar to Labyrinth and The Princess Diaries than Twilight, but nobody has made those comparisons.

So I think part of that is because she’s become the definition of this genre now. Regardless of what books came before her with similar themes.

JOA: What are you reading now? What new authors out there excite you?



AH: Right now I am reading Third World America by Arianna Huffington and Palo Alto by James Franco. Arianna’s book is very interesting. It’s about the decline of the American dream. Palo Alto is a collection of somewhat bizarre stories by actor James Franco.

I recently Land of Ash, which I really dug. It’s gotten me into shorty story collections. I like reading, but my mind’s always on about thirty things at once, so short stories are working really well for my attention span right now. I also really loved JL Bryan’s Jenny Pox.


But honestly, lately, I haven’t been reading that many new books. I’ve just been reading books I’ve read before. I’ve worked my way through most of Vonnegut’s stuff this year, and I reread Survivor and Invisible Monsters by Chuck Palahnuk recently. I really want to reread Good Omens but it’s not available on the Kindle, so I’m pretty bummed. 



JOA: What does the future hold for you? Are there any exciting events or new releases on the horizon? Inquiring minds want to know.



AH: I can’t even begin to speculate what the future holds. My life feels so bizarre right now, and I have no idea what’s going to happen next.

As for future projects, I have two more books coming out in the next couple weeks. The final book in the Trylle Trilogy Ascend, and a novella spinoff from the My Blood Approves series.




JOA: Thank you for spending some time with me over the last few days, Amanda. I rather enjoyed myself, and I hope others will find this interview informative and entertaining. Good luck to you, and we'll chat soon.



AH: Thank you for having me. And I enjoyed myself too. :)

Review: The Venom of Vipers by K.C. May

Rating: 4.6 out of 5

Science fiction many times comes down to en exploration of what it means to be human. When done well, it serves as an organic metaphor, breaking down the societal systems we exist within and revealing, through conflict, the best and worst of us. Sometimes it shows how far we’ve fallen, how our creations have ended up stealing a bit of our souls, bringing us to the brink of becoming slaves to that which we’ve created or, worst of all, regressing into a form of pre-humanity that is both untrustworthy and violent. In other instances, these works allow humanity to rise above, to demonstrate the goodness and ingenuity we all know is possible. And then, we have those works of literature that accomplishes both. It takes a talented author to break through this final barrier, to approach their concepts with an innate balance that shows good and bad, hurtful and helpful, and brings us out on the other side with at least a modicum of hope.

With The Venom of Vipers, K.C. May has proven herself to be in that rare class.

This is the story of humanity on the brink of extinction. A terrible new plague has gripped the globe, called moliomyositis (or molio for short). It is a disease for which there is no cure, and science has, in a way, resigned itself to the possibility that humans will cease to exist over the span of only a few short decades. To combat this, they have created a new human subspecies by splicing human and reptilian DNA. The resulting life-forms, dubbed Saphers, are immune to the virus, but they offer no magical solution to the outbreak. One might ask, if there is no help to be found from them, why did we create them in the first place and why are we keeping them alive? The answer to this I found most interesting, and philosophically poignant: to bring about a species that will carry on after we’re gone, to have the memory of our existence, our legacy, live on through them and, just maybe, they’ll progress enough to bring humanity – regular humanity – back some day.

There is one problem with this theory, however. The Saphers can’t breed on their own. When they try, the females’ bodies reject the fetus before seven weeks is up. For a genus designed to carry on our legacy, this is obviously a huge problem.

Enter Katie Marsh, the daughter of the man behind the creation of the Saphers. As the story opens, she is returning to the center she grew up in. She is now a reproductive scientist, and she’s been added to the team in hopes of finding a solution to the Sapher reproduction “problem”. Her presence inside the facility is a tension builder in and of itself, for Saphers aren’t considered viable people by the government, and she’s had a lifelong relationship with one of them – albeit (mostly) plutonic. The character in question is a hotheaded yet supremely bright and protective Sapher male named Ryder Storm. (Ignore the soap opera name. It might be clunky at first, but after a while it grows on you.) Their relationship, revealed expertly through tiny bits of flashback and simple character interaction, drive the story. This is a pair you can root for, even if Katie doesn’t seem to realize at first how much they mean to each other.

There are so many conflicting plot points in this book. You have the disease wiping out the globe. You have the issue of failed reproduction. Yet even greater than that are the conflicts that occur outside the written word – we’re told about them, but don’t necessarily see examples until the very end. There are two warring factions fighting over the imprisoned Saphers. One is the Freedom for All Peoples, an organization much like PETA, who wants science to stop experimenting on the poor saphers and grant them human rights. The other is the Human Purification Initiative, a bunch of nearsighted bastards who want nothing more than to see these “perversions of science” wiped off the face of the earth. The opposing groups are examples of extremism. The fact is, both sides have a point, but they’re too obsessive to look at what’s going on around them with any sort of clarity. There needs to be a balance in all ideas, and May does a fantastic job of showing how unbalanced – and henceforth unstable – these people are.

Add to this a plot point where some of the guards at the center, who themselves have fallen to be less than human, scheme behind the scenes and pull off some rather perverse (actually, downright evil) acts, and you have a story so rife with drama and conflict that you want to hurry up and get to the next page, just to see if any of it gets resolved.

This book is such a satisfying read. It was emotional at times – especially when it comes to Ryder and his daughter – and the way author May delves deep into the subjects of sensuality, doubt, and survival instinct are fantastic. The characters – especially Katie and the chief guard, Nelson – are wonderfully fleshed out and believable. Ryder, who is a man of thirty who’s never been outside the walls of the foundation he grew up in and desires the freedom that’s been preached to him but never delivered, is successfully not presented as a cartoonish good guy. The way the author inserts snippets of morose metaphysical ponderings in to the text (Does humanity deserve to be saved? Do we have the right to play God? Are we fooling ourselves to think we’ve risen above our most base animal instincts?) is fantastic. I found myself wondering much the same things as I was reading, and I realized that the Saphers, themselves, were almost mirror for the people who cared for them. They feel the pain of losing a child, while their human captors treat them as just another failed experiment. To the guards, they’re annoyances and sexual playthings, while they experience every moment of hurt and torment levied upon them.

Humanity is the monster, and humanity’s creation is more human than we are. It’s a common thread in science fiction, and here it’s done beautifully.

I had only a couple problems with this book, and they’re small, at that. One was the dialogue. At the beginning, it’s stilted, as if the author couldn’t get a grasp on a free-flowing conversation. This ends after a very short time, however, and doesn’t miss a beat again for the rest of the book. The other is the (SPOILER ALERT) solution to the reproduction problem. It comes about by the end, but I didn’t understand the explanation for how it was accomplished. This may simply be my own problem, however, so I won’t let it hurt the rating much at all, and it shouldn’t effect anyone’s enjoyment of the story.

In all, I had a very, very good time with The Venom of Vipers. It’s a poignant and fast-paced melding of science fiction, drama, and mystery. KC May solidifies herself as a writer to look out for in the future. She has something to say, she’s not afraid to say it, and she’s damn good at telling her story.

I highly, highly recommend it.

Plot - 9

Characters - 10

Voice - 9

Execution - 8

Personal Enjoyment – 10

Overall – 46/50 (4.6/5)

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Review: Pale Boundaries by Scott Cleveland

Rating: 4.8 out of 5

Diving into an excellent work of science fiction can be like swimming through a sea of red tape; it’s muddled, sometimes it can tie you down and be more than a little confusing, and yet, once you put everything together, you finally know the answer and the effort it took to get through becomes worth it.

This was my experience reading “Pale Boundaries” by Scott Cleveland.

In truth, this is the first science fiction novel I’ve read since my high-school love of the Cyberpunk micro-genre. At times I found it difficult to keep everything in order – the technical terms tripped me up occasionally and I found myself backtracking constantly, trying to stay the course and understand all that was going on – and because of this, a book whose length I can usually complete in four days took me a little over a week. Now this is not a complaint, mind you; in fact, the act of staying with a book longer than usual struck me as a cathartic experience. By the time I reached the end, I thought I had a pretty good understanding of the mind that created the work.

“Pale Boundaries” is the story of Terson Reilly, a young pilot existing on a backwater planet called Algran Asta. The story follows his adventures – from his arrest on his home planet for smuggling Militia weapons, to his relocation to a gorgeous, sun-splashed world named Nivea, where pregnancy laws and environmental controls are draconian, at best. Along the way he works through the guilt of watching his friend back home die a gruesome death, finds love (with a refreshingly strong and intractable woman named Virene), begins a relationship with his probation officer, Malaan Bragg, a noble man whose ignorance of his own society’s corruption will lead him down a rather depressing path, and encounters conflict when he and Virene try and rescue the pilots of a downed shuttle, only to discover that not everything within Nivean society is exactly what it seems.

Terson, himself, is a wonderful character. He is young and brash, following a common trope among science fiction heroes, and yet he is imminently faulted and damaged. He’s prone to violent outbursts, wears his guilt like a designer suit, and is untrusting. His is a grand journey of self-discovery, awakening, loss, self-destruction, and revenge. The many scenes between he and Virene are beautifully portrayed, looping together their naiveté with their not-so-innocent animal passions for each other, bring about a sense of reality and crunchiness to the characters. If we’ve been lucky, we know the lust and dedication for each other they feel…and quite honestly, this is the sort of pragmatic relationship I’ve found lacking in many novels I’ve read recently.

Another character I found fascinating is Halsor Tennison (Hal for short), the facto leader of The Family, a criminal organization that operates out of Nivia’s other large continent. The Family is, as we find out, the real reason behind Nivea’s strict ruling guidelines, which all come about as a way to keep their pockets overflowing through illegal shipping of technology and goods and help to hold down a society of people who also inhabit the Beta Continent – an Asian/Japanese-like culture called the Minzoku. Hal and The Family are constantly at odds with the rulers of these other peoples. He is without a doubt the villain of the piece, and yet his character is fleshed out with as much caring and intensity as Terson’s. In fact, more often than not, you can’t tell he’s the baddie, at all. When he falls in love with the niece of the Minzoku ruler, Dayuki, we admire and root for their relationship as much as we root for Terson and Virene. In fact, it can be said that Hal and Terson are meant to be played against each other in a literary sense; they are mirror images of each other, each possessing strengths and faults that the other doesn’t, which suggests that, had their circumstances been reversed, they might have become each other.

The plot of this book is convoluted in the best of ways. It’s rife with deception and backward dealing, and none of the characters are privy to what the others are doing, which makes for an intriguing read. It also has emotional threads that are surprisingly strong. When Terson suffers the greatest loss of his life, my heart dropped along with his. I saw him give up, and said, “I’m right there with you, brother. I’d have done the same thing.” There is also an exploration of power and culture that makes this much more than a technological thriller. Author Cleveland disperses throughout the text little clues as to why humans have traversed space at all, why Earth is no longer their home, and it made perfect sense. The author has an insight into human behavior that allows him to create this fantastic world and make it, in every way, believable.

In this regard (and many others), this is a great book. I’ve said many times that genre fiction allows us to ingest real and potent problems under the guise of something strange and otherworldly, and Pale Boundaries accomplishes this in spades. From presenting the idea of environmental protection and its drawbacks when the fanaticism involved outlives its practicality to the dangers (both for the suppressed and the suppressors) of xenophobia, it yanks you into the world it’s created and forces you to think about your own world. The examination of mob culture and how much sway they have on our everyday lives is also an interesting thread. All one has to do is look at the history of their own country (no matter where in the world they live) and wonder how much of their society’s success and failure has been the result of the suppression and hegemony of some clandestine group. After all, conspiracy theories don’t exist in a vacuum.

In all, I loved this book. Along with being a fantastic read, it is also the most well refined self-published novel I’ve ever read. The structure is near perfect, and there are scant errors or typos, which is rare in this new world of publishing. Actually, when I look back on it, I don’t understand why this book wasn’t picked up by a publishing house. With a near-flawless construction and a potent (and concise) storyline, I would figure it would attract the attention of at least someone in the industry. I emailed the author to see if he’d ever sent the book out to agents or publishers, and he replied that yes, he had many times without a single bite. This strikes me as both odd and disheartening. If a work as brilliant as this can slip through the cracks, it doesn’t gather much confidence in the decision makers who put out books for the mainstream to read.

(As a side note, though, I feel I must mention the one problem I did have with the book. Although it is well-constructed and near perfect, I reached the end realizing that very few of the plot threads had been resolved, and there is another book due out in 2012 that will continue Terson Reilly’s adventures. This, I feel, should have been known from the start. Unfortunately, it could turn off readers, and this is something that I would find a very, very large disappointment. So please, Mister Cleveland, tell us it’s the first book in a series from the getgo. For this, I dock you (gasp!) one point in execution.)

So go out and purchase this book. It’s a dense read, but well worth it. And perhaps you’ll come out on the other side the same way I did; mystified, impressed, and feeling more than a little enlightened.

Plot - 9

Characters - 10

Voice - 10

Execution - 9

Personal Enjoyment – 10

Overall – 48/50 (4.8/5)

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