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What makes a narrator credible? How is that relationship built between reader and storyteller? Told through flashbacks, memory slips, fantasies, hallucinations, and journal entries, You-Jeong Jeong’s The Good Son is a Korean thriller with a most unreliable narrator. College student Yu-Jin has woken up covered in blood and his morning gets more puzzling, dark, and creepy... Continue Reading →
'A hundred years ago, The Sisters came, a string of asteroid strikes that destroyed civilization and brought on a decades-long winter.' After the initial disaster, a century of storms in England brings disease, infighting, and the decimation of all technology the world once knew. Small enclaves, clans, and even a major port or two has... Continue Reading →
“Here, we’re privileged. There, we’re nobodies.” - A white expat husband tells his black Rwandan wife the stark reality of their life in Burundi as opposed to his native France in the 1990s. But the underlying message is that she needs to turn her back on the lower class Burundians and to 'know her place.'... Continue Reading →
Larry Bond’s Arctic Gambit is a shifting-chessboard of a military thriller. With a lost American submarine, unrest in the Baltics, and suspicions of advanced Russian missile technology, Bond moves the plot forward in each chapter with quick shifts in the point of view from all sides of the conflict. Set in the near future, the... Continue Reading →
A few thoughts on the end-of-days premise: whether it’s zombies or disease or a natural disaster, authors create these situations to produce an immediate external conflict. One that can divide or unite, one that tests and may change their characters. Authors' purposes for writing in this type of speculative fiction are as varied as the... Continue Reading →
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