The Last Surviving Gondola Widow, by Kristine Kathryn Rusch
A properly steampunk story, in that the time period fits, it contained Victorian Super Technology, and actually used steam/coal to fuel the machines. Nicely researched alt-history focusing on Chicago after the Civil War; bonus points for including a magic system that makes sense, and a female main character that fit well within the context of the story. Good steampunk is hard to find, since it requires that the alt-tech is actually necessary for the world, and isn’t just gears slapped onto a story. Rusch’s characters, setting, and plot all work together into something extraordinary, and I’m delighted to have read it.
Indelible, by Gwendolyn Clare
Eh. I can’t remember a worse story in Clarkesworld, which is usually home to the best of the best of SFF short fiction. It’s not terribly bad, it just isn’t good, isn’t unique, isn’t much different from work I reject on a regular basis. I’m tired of the Western/English predisposition to using ze/zer/mx for genderless pronouns; it’s not the only way to express “them” even in human languages, so why is it the only way we see it written in SFF? Especially considering that the main character has an Asian name — they have words in Chinese, Korean, Tagalog, and several other Asian languages for this exact situation that don’t translate into English as “zer”. (Much more likely to be “this person” or “that person”.) Beyond that, the story is nothing special. The twist at the end isn’t well-supported, and doesn’t answer the essential “question” that the opening evokes. Two stars only because it’s okay enough that if you were completely unfamiliar with this sort of tale, you might enjoy it somewhat.
(TW for rape, violence) The Three Resurrections of Jessica Churchill, by
Having it be 9/11 doesn’t add anything to the story for me, and sets the reader up looking for a connection which never quite materializes (and for me, wasn’t at all necessary to make the rest of the story work). And, I questioned the suddenness of the big decision at the very end, but not so much that I couldn’t buy it. Otherwise, it’s great! Visceral, moving, dark SF bordering on horror. I easily connected with the character — a teenage girl, sexually abused, neglected by her parents — but I don’t think you need to have been any of those things to be well and truly creeped out.
Ah, so good! Intelligent extrapolation from current events/cultural mores to a not-so-distant future, giving us a glimpse of crisp SF from the perspective of an everyday guy. It’s fun, quickly worded, completely plausible, and yet also emotionally solid. There is nothing in this story that I didn’t think, “Yes, sure, that could happen,” about.
The Osteomancer’s Son, by Greg van Eeekhout (First published in Asimov’s Science Fiction, April/May 2006.)
I’m a fan of van Eeekhout’s work, but if you’re not, this story is a good introduction. It’s self-contained, but relates to his bone-magic tales, and gives the reader a sense of van Eeekhout’s casual, conversational style: the way he turns big reveals in side comments, and ends a sentence before the surprise has leaked all the way out of it. He’s a fun author, even when he’s telling a dark story, and this is an enjoyable read.
It Takes Two, by Nicola Griffith (First published in Eclipse Three, edited by Jonathan Strahan.)
I was thrown immediately by the opening line: “It began, as these things often do, at a bar—” which immediately distances the reader by telling you that you’re not watching the scene unfold, you’re being told about the story after it’s already over. That particular story structure removes the immediacy of this tale, which already involves so much required belief in what one character is telling another at different points in the story. For me, that takes away from what should be the reader’s experience parallel to the narrator’s. As the story develops, it gets more interesting, if not very original, at least in being a newer (GLBT) presentation on a common theme. It’s a strong story, though, and if you like those “hooker with a heart of gold” stories, or the “it’s real love this time, I promise” trope, then you’ll enjoy Griffith’s telling of it.