Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

Set in the far future amidst a sprawling feudal interstellar empire where planetary dynasties are controlled by noble houses that owe an allegiance to the imperial House Corrino, Dune tells the story of young Paul Atreides (the heir apparent to Duke Leto Atreides and heir of House Atreides) as he and his family accept control of the desert planet Arrakis, the only source of the 'spice' melange, the most important and valuable substance in the cosmos. The story explores the complex, multi-layered interactions of politics, religion, ecology, technology, and human emotion as the forces of the empire confront each other for control of Arrakis.Published in 1965, it won the Hugo Award in 1966 and the inaugural Nebula Award for Best Novel. Dune is frequently cited as the world's best-selling sf novel.

In reality, Hiro Protagonist delivers pizza for Uncle Enzo's CosoNostra Pizza Inc., but in the Metaverse he's a warrior prince. Plunging headlong into the enigma of a new computer virus that's striking down hackers everywhere, he races along the neon-lit streets on a search-and-destroy mission for the shadowy virtual villain threatening to bring about infocalypse. Snow Crash is a mind-altering romp through a future America so bizarre, so outrageous… you'll recognize it immediately.

Apparently a classic of the sci-fi cannon, I'd never heard of this book until it came up on a book club here. It took me a long time to read only because of lack of time, and a rather annoying trait the author has that I'll go into later.This is one of those books that tells us more about the period it was written in than anything else, so it's important to note that it was first published in 1961 and later again in 1968 - when moon fever was running high and people seemed to have high expectations for human achievement. Events are set in an undisclosed future but the older characters seem to remember the first moon landing, so I wouldn't be surprised if Heinlein was thinking of it being set around about now. With a mix of very daggy technology like "stereo tanks" (TVs) and large, clumsy listening devices, alongside hover crafts and spaceships to Mars, the scope of the setting is hampered by a 50s' imagination. Stranger in a Strange Land is about Michael "Mike" Smith, the "Man from Mars", offspring of two of scientists on board the original mission to Mars, who was raised by Martians. He is more Martian than human, especially in his thinking and outlook and philosophy, when he is brought back to Earth. Heir to a shitload of money care of his parents' heritage, it's unsurprising that the bigshots on Earth are wanting to keep him locked up tight. A nurse at the hospital where he is first kept, Jill, offers him a glass of water and in that one action becomes a "water brother" - the highest accolade for Mike. She rescues him from the politicians with the help of her journalist friend Ben and takes him to the home of a grumpy, reclusive man, Dr Jubal Harshaw, who lives with three young women who serve as secretaries - Anne, Miriam and Dorcas - and two men who take care of the property - Duke and Larry. Mike's particular talents slowly reveal: he can vanish things, including people, if he recognises there is a "wrongness" in them; he can withdraw from his own body and shut down his body so there is no heartbeat; he can teleport and think telepathically; he can absorb books in minutes and regulate his own body, making it muscular and mature at will; and so on. All of this can be done with understanding of the Martian language, which Jill starts to learn. He's completely ignorant of human ways, of human concepts - things like jealousy, possessiveness etc. are all alien to him. He doesn't understand religions and he has never laughed.After months on the road with just Jill, learning and "grokking", he finally knows why humans laugh and how to do it himself, and gets the human condition. It leads him to start his own "church", though it's more of a way of life open to people of all religious denominations, with free love and open mindedness, and abilities gained through mastery of the Martian language. With Mike set up as a new Messiah, a prophet, there's only one logical conclusion for this story.As a story, Stranger in a Strange Land is enjoyable and original. Yet, as a story, it's also bogged down with sermons, with Heinlein's opinions, and a very out-of-date mentality. It reads very 60s and 70s, though it was written before then. Not as far-sighted as it would like to be! It's especially noticeable in the relations between men and women, which have that faintly liberated tinge that's all really lip service, and a great deal of sexist language. Which is ironic, really, considering Mike's free love cult. There's also an affectionate insult for a Muslim character who's nicknamed "Stinky" that I couldn't help but be offended by.It does make it hard to read, though, when you come across lines like this, as spoken by Jill very matter-of-factly: "Nine times out of ten, if a girl gets raped, it's partly her fault." (p304) While today the statistics are more like "nine of ten times, a woman's rapist is someone she knows", the idea that it's "partly her fault" is still considered true by way too many people. To hear this come out of Jill's mouth makes it especially awful.Another example is Jubal saying: "Pipe down, Anne. Close your mouth, Dorcas. This is not a time when women have the vote." (p382) Granted, they ignored him and did what they wanted anyway, but there're a lot of these flippant, dismissive remarks all through the book. Product of its times, sure: just not at all futuristic.Then we come to the proselytizing, which the book is rife with. Today, reading this book, the opinions shared are very "yes, so?" - old hat, in other words. Though it is fun to read the rants, the set-up is cringe-worthy. Jubal is the main lecturer, and the characters around him serve as props. There are a great many "Huh?"s from educated and knowledgeable people so that Jubal can share his abundant wisdom. One "huh?" is okay, but when each long paragraph of Jubal is responded to with a "huh?" it gets a bit silly. Frankly, it's bad writing. It reminded me somewhat of The Da Vinci Code, which also uses characters to expound the author's theories on religion etc. at great length. While these things did at times make it harder to read the book, essentially the book is easy to read and often quite fun too. Jubal's sermons (and when Jubal isn't around, other characters fill the role, like Ben and Sam) can be a bit heavy-handed and obvious but a lot of it I agree with, so it wasn't rubbing me up the wrong way. Mike is a challenging character to write, because in order to write a naive, ignorant character to this extent, you need to be incredibly self-aware. Heinlein has fairly good success here, and Mike's growth, maturation, development and resolutions fit the character and work. He has charisma and is definitely intriguing; yet because he lacks the human flaws, he's also somewhat unapproachable and alien: a good balance to achieve.

For the first time, all five novels in the epic fantasy series that inspired HBO's "Game of Thrones "are together in one boxed set. An immersive entertainment experience unlike any other, A Song of Ice and Fire has earned George R. R. Martin--dubbed "the American Tolkien" by "Time" magazine--international acclaim and millions of loyal readers. Now here is the entire monumental cycle: A GAME OF THRONESA CLASH OF KINGSA STORM OF SWORDSA FEAST OF CROWSA DANCE WITH DRAGONS Winter is coming. Such is the stern motto of House Stark, the northernmost of the fiefdoms that owe allegiance to King Robert Baratheon in far-off King's Landing. There Eddard Stark of Winterfell rules in Robert's name. There his family dwells in peace and comfort: his proud wife, Catelyn; his sons Robb, Brandon, and Rickon; his daughters Sansa and Arya; and his bastard son, Jon Snow. Far to the north, behind the towering Wall, lie savage Wildings and worse--unnatural things relegated to myth during the centuries-long summer, but proving all too real and all too deadly in the turning of the season.  Yet a more immediate threat lurks to the south, where Jon Arryn, the Hand of the King, has died under mysterious circumstances. Now Robert is riding north to Winterfell, bringing his queen, the lovely but cold Cersei, his son, the cruel, vainglorious Prince Joffrey, and the queen's brothers Jaime and Tyrion of the powerful and wealthy House Lannister--the first a swordsman without equal, the second a dwarf whose stunted stature belies a brilliant mind. All are heading for Winterfell and a fateful encounter that will change the course of kingdoms.  Meanwhile, across the Narrow Sea, Prince Viserys, heir of the fallen House Targaryen, which once ruled all of Westeros, schemes to reclaim the throne with an army of barbarian Dothraki--whose loyalty he will purchase in the only coin left to him: his beautiful yet innocent sister, Daenerys."

In this masterful book, David McCullough tells the intensely human story of those who marched with General George Washington in the year of the Declaration of Independence - when the whole American cause was riding on their success, without which all hope for independence would have been dashed and the noble ideals of the Declaration would have amounted to little more than words on paper.Based on extensive research in both American and British archives, 1776 is a powerful drama written with extraordinary narrative vitality. It is the story of Americans in the ranks, men of every shape, size, and color, farmers, schoolteachers, shoemakers, no-accounts, and mere boys turned soldiers. And it is the story of the King's men, the British commander, William Howe, an his highly disciplined redcoats who looked on their rebel foes with contempt and fought with a valor too little known.At the center of the drama, with Washington, are two young American patriots, who, at first, knew no more of war than what they had read in books - Nathaniel Green, a Quaker who was made a general at thirty-three, and Henry Knox, a twenty-five-year-old bookseller who had the preposterous idea of hauling the guns of Fort Ticonderoga overland to Boston in the dead of Winter.But it is the American commander-in-chief who stands foremost - Washington, who had never before led an army in battle. Written as a companion work to his celebrated biography of John Adams, David McCullough's 1776 is another landmark in the literature of American history.

The Zombie War came unthinkably close to eradicating humanity. Max Brooks, driven by the urgency of preserving the acid-etched first-hand experiences of the survivors from those apocalyptic years, traveled across the United States of America and throughout the world, from decimated cities that once teemed with upwards of thirty million souls to the most remote and inhospitable areas of the planet. He recorded the testimony of men, women, and sometimes children who came face-to-face with the living, or at least the undead, hell of that dreadful time. World War Z is the result. Never before have we had access to a document that so powerfully conveys the depth of fear and horror, and also the ineradicable spirit of resistance, that gripped human society through the plague years.Ranging from the now infamous village of New Dachang in the United Federation of China, where the epidemiological trail began with the twelve-year-old Patient Zero, to the unnamed northern forests where untold numbers sought a terrible and temporary refuge in the cold, to the United States of Southern Africa, where the Redeker Plan provided hope for humanity at an unspeakable price, to the west-of-the-Rockies redoubt where the North American tide finally started to turn, this invaluable chronicle reflects the full scope and duration of the Zombie War.Most of all, the book captures with haunting immediacy the human dimension of this epochal event. Facing the often raw and vivid nature of these personal accounts requires a degree of courage on the part of the reader, but the effort is invaluable because, as Mr. Brooks says in his introduction, "By excluding the human factor, aren't we risking the kind of personal detachment from history that may, heaven forbid, lead us one day to repeat it? And in the end, isn't the human factor the only true difference between us and the enemy we now refer to as 'the living dead'?"Note: Some of the numerical and factual material contained in this edition was previously published under the auspices of the United Nations Postwar Commission.

”The trouble you’re expecting never happens; it’s always something that sneaks up the other way. Mankind had been trembling about destruction through war, and had been having bad dreams of cities blown to pieces along with their inhabitants, of animals killed, too, and of the very vegetation blighted off the face of the earth. But actually mankind seemed merely to have been removed rather neatly, with a minimum of disturbance.”\
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Isherwood “Ish” WIlliams is out in the wilderness rock climbing to clear his head from the buzz of civilization when he puts his hand in the wrong crevice. He hears the rattle and feels the strike. He is pretty sure he is going to die. He gets back to the cabin, uses the snake kit to suck as much of the poison out as he can. He becomes too sick and too woozy to drive. He waits for someone to find him. As his time to return comes and passes he becomes angry that no one has come looking for him, not family or friends. He doesn’t die and when he recovers enough to drive into town he finds only dust motes and echoes. A virulent disease has swept through humanity, killing indiscriminately, collapsing society as easily as a biker crushes a beer can. The one thing that we have always been able to count on is our genetic diversity. There always seems to be a fraction of a percent of humanity that is immune to whatever nature has to throw at us. “As for man, there is little reason to think that he can in the long run escape the fate of other creatures, and if there is a biological law of flux and reflux, his situation is now a highly perilous one. During ten thousand years his numbers have been on the upgrade in spite of wars, pestilences, and famines. This increase in population has become more and more rapid. Biologically, man has for too long a time been rolling an uninterrupted run of sevens.”It was just our turn to roll snake eyes. He goes through this period of time swamped with a buffet of feelings. Ish never quite feels lucky to be alive, but certainly reaches varying levels of depression as the extent of the devastation becomes apparent. But for now the electricity still flows through San Francisco. Street lights come on as if the hand of humanity was still guiding the way. For a while he just goes about his life. There is plenty of food. He makes friends with a dog. He reads books, but his curiosity gets the better of him and he explores the city. He finds people, a few stragglers, still alive. He decides that he has to see what has happened to America. \
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The Earth reclaims what man has built, quickly.There is too much of everything now, too many cars, food spoiling, too many clothes, piles of things that no one might need for a thousand years. He drives across country and finds a survivor here or there. Some survivors can’t cope and suicide rates skyrocket among the few fortunate/unfortunate people who find themselves facing a new world bereft of family and friends. He discovers the the virulent entity has been thorough, unrelenting, all-embracing, and taken more far more than it has left. He returns to San Francisco and finds a woman who becomes his wife. She moves in with him because, he...well...had a house full of books and anybody who has moved books before can relate to the fact that it is easier to move to the books than move the books to you. Ish uses the term this is a New Deal to describe this new era which was ironic given that this book was written in 1949. Franklin D. Roosevelt’s New Deal policies had just been enacted in the decade before. The book moves languidly along. There is never this feeling of desperation or Mad Max situations or really even scenes of high tension. George R. Stewart was more interested in exploring cultures, how they emerge, how they survive, what motivates them to innovate. Being in the San Francisco area with a temperate climate, they don’t have to fight weather. The city is full of canned foods, weapons, bullets, clothes, and anything else they could possibly need. When the power does finally go out they switch to candles and lanterns. When the water shuts down they find streams and they dig latrines. Life overall is relatively easy almost better than before. Ish is the only intellectual in his tribe of survivors, soon offspring start to become plentiful. Ish finds himself to be the only one concerned about teaching them the ability to read. The only one that sees the importance of sharing a vision of the world through the lens of science. Ish has a dream of restoring the world, to bring back the civilization that took several millennium to create, but to the new generations who never lived in that world they have all they need now. To bring that world back to life will take more labor than they are willing to give. They respect what he knows and even look on him, superstitiously, as a deity of knowledge, but they lack the curiosity or the desire to learn what he knows. Ish reluctantly gives ground on his expectations. He soon realizes that instead of building an ice machine, or aqueducts, or keeping cars in working order that he needs to give them something they will desperately need when the supply of bullets finally run out, something that can be made with a sharp blade and a handful of feathers...the bow and arrow. \
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Original Ace Publishing painting for the 1949 cover.Certainly another very different take on the post-apocalyptic world. Some of the complaints that people may have about this book are the same ones that they had about On the Beach, that there isn’t enough action, not enough tension, not enough claws and teeth, but those situations were not of interest to Stewart. He wanted to explore what we need. Why civilization is necessary? What do we gain from it? Are we happier in a penthouse apartment or would we be happier if we had to forage for food every day? One thing that Stewart and I can agree on is: “Men go and come, but earth abides.” At least I like to believe the earth will ultimately survive us. You can read my most recent book and movie reviews at http://www.jeffreykeeten.comCheck out my Facebook bloggers page at: https://www.facebook.com/JeffreyKeeten

The hero-narrator of The Catcher in the Rye is an ancient child of sixteen, a native New Yorker named Holden Caulfield. Through circumstances that tend to preclude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days. The boy himself is at once too simple and too complex for us to make any final comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it. There are many voices in this novel: children's voices, adult voices, underground voices-but Holden's voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher orders, he keeps most of the pain to, and for, himself. The pleasure he gives away, or sets aside, with all his heart. It is there for the reader who can handle it to keep. J.D. Salinger's classic novel of teenage angst and rebellion was first published in 1951. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923. It was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the court for its liberal use of profanity and portrayal of sexuality and in the 1950's and 60's it was the novel that every teenage boy wants to read.

Robert Neville is the last living man on Earth... but he is not alone. Every other man, woman and child on the planet has succumbed to the vampire plague, and they are hungry for Neville's blood.By day he is the hunter, stalking the undead through the ruins of civilisation. By night, he barricades himself in his home and prays for the dawn.How long can one man survive like this?

"Alas, Babylon." Those fateful words heralded the end. When a nuclear holocaust ravages the United States, a thousand years of civilization are stripped away overnight, and tens of millions of people are killed instantly. But for one small town in Florida, miraculously spared, the struggle is just beginning, as men and women of all backgrounds join together to confront the darkness.

Days before his release from prison, Shadow's wife, Laura, dies in a mysterious car crash. Numbly, he makes his way back home. On the plane, he encounters the enigmatic Mr Wednesday, who claims to be a refugee from a distant war, a former god and the king of America. Together they embark on a profoundly strange journey across the heart of the USA, whilst all around them a storm of preternatural and epic proportions threatens to break.Scary, gripping and deeply unsettling, American Gods takes a long, hard look into the soul of America. You'll be surprised by what - and who - it finds there...This is the author's preferred text, never before published in the UK, and is about 12,000 words longer than the previous UK edition.

I could say that I love Dick, but that would be weird. I do very much enjoy Philip K. Dick's writing and though this is not one of his best, the "Pizza and Sex Rule" applies to him; ie. just as even bad pizza and / or sex is still pretty good, bad PKD is as well. And this is not bad at all. The first mistake that a new reader would make is to watch Blade Runner and expect a novelization of that film; it was LOOSELY based upon the book. I'm a big fan of the Ridley Scott film starring Harrison Ford and Rutger Hauer, but the movie diverged from Phillip K. Dick's literature early on. The book is far more bleak than the film, if you can believe that, and much more intricate and complicated. Blade Runner benefits from a simplified storyline. The author was far ahead of his time both in the complexity of his story and the perspective from which he writes. There are elements of Brave New World, I, Robot, and Dune; but the author has a unique voice and the story is an original. It is not an excellent work, as there are gaps and inconsistencies and many loose ends that are never tied in, but the concept and provocation are superb.One element of the book that was completely left out of the film was a sub-plot involving a Christ-like messiah and a faith system based upon what could have been a hoax. First published in 1968, this was one of his more theological based novels, and a trend that would continue steadily becoming more frequent and invasive until the end of his writing.A MUST read for PKD fans as well as SF/F fans period.

Substance D is not known as Death for nothing. It is the most toxic drug ever to find its way on to the streets of LA. It destroys the links between the brain's two hemispheres, causing, first, disorientation and then complete and irreversible brain damage.The undercover narcotics agent who calls himself Bob Arctor is desperate to discover the ultimate source of supply. But to find any kind of lead he has to pose as a user and, inevitably, without realising what is happening, Arctor is soon as addicted as the junkies he works among...

_Riddley Walker_ is the book that put Russell Hoban on the map (inasmuch as he is on the map…he is criminally neglected as an author) and will likely be the one work for which he will be remembered (sadly he passed away in late 2011). So far I have read three other Hoban novels and while I have thoroughly enjoyed all of them I must admit that I think this one is his very best. Many, upon reading the first page, will dismiss the book as “gimmicky” (I am growing to hate that term as applied to books) due to the style in which Hoban writes. Admittedly his language isn’t easy to slip right into given that he has created his own broken, not quite phonetic, future version of English that is further complicated for many readers by being based on the Kentish dialect. Thus we have as our introduction to Riddley and his world:  On my naming day when I come 12 I gone front spear and kilt a wyld boar he parbly ben the las wyld pig on the Bundel Downs any how there hadnt ben none for a long time befor him nor I aint looking to see none agen. That’s definitely one of the easier passages and things get more complicated when words and phrases are elided or significantly changed when they refer to things from the deep past (our present), and concepts that people in Riddley’s day don’t fully comprehend or whose meaning has changed in their time. Still, for me _Riddley Walker_ is probably the non plus ultra of post-apocalyptic fiction. Sure there are many others out there that are excellent, and I have by no means read in the genre exhaustively (I still have to read classics like The Death of Grass and Earth Abides), but there is something about Hoban’s work that seems to define the genre for me. His ability to capture a world that is at the same time horrifying and homely, a world that shows humanity utterly changed and yet exactly the same as we’ve always been is superlative.Our hero, the eponymous Riddley Walker, is a young boy just coming of age at a moment when his world stands at a crossroads, change is either going to sweep humanity forward or back into the dustbin of history. Riddley truly is the crux of the novel (both thematically through the role he plays in the plot and stylistically given that the narrative is his own first-person account), the centre around which it revolves and also the primary element upon which it succeeds or fails for the reader. For me his character is an unqualified success. He is an everyman who harbours within himself unknown potential. He is a realist not given to self-delusion and yet in him is a belief in the human spirit, a sense of the positive, that is uplifting without being cloying. Through Riddley we are given an effective melding of hopelessness and hopefulness: a picture of a world steeped in melancholy and loss that may be the dying gasp of humanity or its first step forward out of the ashes. Riddley's world is a grey one, painted in the broad strokes of grizzled rain, decaying edifices of the past, and a hard life of scrounging amidst the muck and ruins in search of the bare necessities of survival. Despite this bleak setting Hoban still presents us with a fully realized world of warmth, humanity, danger, and loss. It is obviously a post-apocalyptic world that stands on the far edge of the fall: the ‘Bad Time’ of fire and destruction is now only a distant legend (as is the world that preceded it), as opposed to those ‘survivalist’ post-apocalyptic books that take place while the horror of loss and oblivion is still a fresh wound. As is to be expected Riddley’s world is not an easy one. He lives in an Iron Age society in an England that had been bombed back to the Stone Age and is slowly clawing its way back up the ladder. The old ways are starting to die out as the nomadic, foraging lifestyle is gradually being replaced by the more settled life of farming. The old tales and stories of our own lost time are perpetuated primarily through the existence of a modified Punch and Judy show. This puppet show is a government-sponsored propaganda machine wherein the main character is Eusa (a degraded and highly modified version of St. Eustace), a stand-in for the perpetrators of Armageddon, in which old knowledge and new superstition are mixed together to create a truly unique experience. Through the Eusa Show and the legends it spawned we come to see the hum drum aspects of our own age both through the eyes of wonder and awe, a sort of golden age when giants walked the earth, and through the lens of condemnation: how could those so wise have been so foolish? How could the god-like beings humans had once been have allowed Armageddon to have occurred? ”O what we ben! And what we come to!” laments Riddley at one point. These people are keenly aware of their loss. Whether it is through fluid medium of stories and legends or the more concrete witness of the ruins of burnt out cities and the hulks of dead machines, the ghost of the past lives on in Riddley’s present and is carried on the backs of those that remain as both a reminder and a deadly weight. Government lackeys travel from place to place and perform their ‘Eusa Shows’ based on a memorized approved text, usually in order to give a government spin on recent events and enforce the accepted truths of what has been and what will be. In the midst of this endless round of ‘business as usual’ there is beginning to grow a renewed interest in the “cleverness” of the old ways and knowledge, especially that which revolves around power and destruction (known in Riddley’s vernacular as the “1 Little 1” and the ”1 Big 1”)…it’s a common theme in this type of literature: the human fascination with the worst side of our nature that seems inevitably to lead us to commit the same horrible mistakes time and time again no matter how harsh the lessons taught us (see Miller’s A Canticle for Leibowitz for another example of this; these two books would actually make for a good paired reading). You can get jus as dead from a kick in the head as you can from the 1 Littl 1 but its tha natur of it gets people as cited. I mean your foot is all ways on the end of your leg innit. So if youre going to kick some 1 to death it aint all that thrilling is it. This other tho youve got to have the Nos. of the mixter then youve got to fynd your gready mints then youve got to do the mixing of the mixter and youve got to say the fissional seakerts of the act befor you kil some body its all that chemistery and fizzics of it you see. Its some thing new. Which ever way you look at it I dont think Aunty and her red eyed rat be too far from us.Of course the huge stumbling block for this book is obvious, it jumps out at you once you flip to the first page: the language itself. Is this degraded form of English nothing more than a gimmick? There will I suppose always be those for whom the answer is “yes”, but for me that isn’t the case…or at least it could have been simply a gimmick if it didn’t work, if there wasn’t more to the text than a degraded phonetic spelling. Luckily the language is built around a great story with much thoughtfulness on the human condition and human nature. Who are we and why do we act as we do? What does it mean to be human at all? Why do we live, and what is the purpose of our seemingly unimportant little lives? How do we connect with each other, and what are the things in life that are truly worth cultivating? How much of our life is determined and how much is freely chosen? All of these questions and more are asked in the text and while precious few answers may be given the possibilities that are presented give much food for thought. The language also allows the required distance between our world and this one of the far off future to be built and emphasized. Perhaps most importantly it allows us to zero in on what matters as we are forced to pay close attention not only to what is said, but how it is said. The strangeness of the language forces you to look at the familiar in a new way, to see things with new eyes as you work your way towards an understanding of what exactly is being discussed or viewed. Finally it also lets us inhabit the mind of our narrator and protagonist Riddley (as well as his world) in a uniquely engaging way. This book is one of my favourites and it is highly recommended. The labour expended in reading it will be amply repaid as we go “roading thru that rainy dark” with Riddley Walker.Also posted at Shelf Inflicted

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