
Journey to other realities in June's best speculative fiction books
Multiverses rule pop culture right now, because we love imagining that the world might be better than this one — or at least different. This month's best science fiction and fantasy books include an alternate version of real-life history, plus two books where portals allow people to visit wildly different realms. Forget superheroes meeting other versions of themselves — these books offer truly earth-shattering thrills.
In Patel's version of the 1960s, the British Empire never abandoned India — instead, it brutally slaughtered Gandhi, Nehru and others in the 1930s. Kalki is a young woman whose long-missing father was a leader of the Indian Liberation Movement, and now she's ready to step up and fight to free her country.
Scenarios in which things turned out worse are a staple of the alternate-history genre (see Robert Harris's 'Fatherland'), but Patel takes a subtle approach to the trope, exploring the dehumanizing logic of colonialism and what it takes to fight back. 'Ten Incarnations of Rebellion' might remind readers of Season 2 of the Star Wars series 'Andor,' thanks to the one-year gaps between each of the 10 sections, but also to its unflinching look at the costs of liberation.
Patel's brilliantly observed story stands alone, though, showing both the empire's brutal tactics and the social dynamics of the colonized. Some Indians collaborate for their own gain, and the British use Hindu-Muslim tensions to divide and conquer. One of Kalki's allies is a low-caste Dalit, who fears more caste-based oppression in a postcolonial India. Patel cleverly demonstrates how great uprisings come from small acts of defiance, like sharing traditional songs and displaying Hindu myths. It's uplifting but also harrowing and at times distressing. Toward the end, Kalki looks at her friends and realizes, 'The empire had changed us all for the worse.'
In Patel's version of the 1960s, the British Empire never abandoned India — instead, it brutally slaughtered Gandhi, Nehru and others in the 1930s. Kalki is a young woman whose long-missing father was a leader of the Indian Liberation Movement, and now she's ready to step up and fight to free her country.
Scenarios in which things turned out worse are a staple of the alternate-history genre (see Robert Harris's 'Fatherland'), but Patel takes a subtle approach to the trope, exploring the dehumanizing logic of colonialism and what it takes to fight back. 'Ten Incarnations of Rebellion' might remind readers of Season 2 of the Star Wars series 'Andor,' thanks to the one-year gaps between each of the 10 sections, but also to its unflinching look at the costs of liberation.
Patel's brilliantly observed story stands alone, though, showing both the empire's brutal tactics and the social dynamics of the colonized. Some Indians collaborate for their own gain, and the British use Hindu-Muslim tensions to divide and conquer. One of Kalki's allies is a low-caste Dalit, who fears more caste-based oppression in a postcolonial India. Patel cleverly demonstrates how great uprisings come from small acts of defiance, like sharing traditional songs and displaying Hindu myths. It's uplifting but also harrowing and at times distressing. Toward the end, Kalki looks at her friends and realizes, 'The empire had changed us all for the worse.'
Type-A personality Brenda and rebellious slacker Kat might seem like opposites, but it turns out Kat lives in a different world than ours: one of magic and mystical creatures. Kat and Brenda spark a romance, thanks to mysterious portals that keep opening between their two versions of Los Angeles. But Kat is the Chosen One in a prophecy, destined to sacrifice her life to save her city, and Brenda finds clues to a conspiracy that threatens both realities.
I was expecting 'Coffeeshop in an Alternate Universe' to be similar to 'Spells to Forget Us' by Aislinn Brophy, another romance between a magic-user and someone who knows nothing of magic. Lee, however, takes a different path, showing how Brenda and her friends rejoice in learning about magic — and eventually change how Kat thinks about it, too. A great romance is partly about characters expanding their worldview, and Lee deftly uses her characters' love affair to explore their fictional world, slowly unveiling a complex mythos. In Kat's world, magic has been domesticated until it looks just like technology, and it takes people from a world of tech to see how magic can be used more creatively.
'Coffeeshop in an Alternate Universe' is a slow boil: It takes almost 90 pages for Kat and Brenda to spend time together. But after that, the book picks up steam and becomes endlessly fun, especially once you get to the adorable miniature dragon. Lee's book stands apart from the recent flood of fantasy romances thanks to its clever interweaving of high stakes with a heartfelt love story.
Type-A personality Brenda and rebellious slacker Kat might seem like opposites, but it turns out Kat lives in a different world than ours: one of magic and mystical creatures. Kat and Brenda spark a romance, thanks to mysterious portals that keep opening between their two versions of Los Angeles. But Kat is the Chosen One in a prophecy, destined to sacrifice her life to save her city, and Brenda finds clues to a conspiracy that threatens both realities.
I was expecting 'Coffeeshop in an Alternate Universe' to be similar to 'Spells to Forget Us' by Aislinn Brophy, another romance between a magic-user and someone who knows nothing of magic. Lee, however, takes a different path, showing how Brenda and her friends rejoice in learning about magic — and eventually change how Kat thinks about it, too. A great romance is partly about characters expanding their worldview, and Lee deftly uses her characters' love affair to explore their fictional world, slowly unveiling a complex mythos. In Kat's world, magic has been domesticated until it looks just like technology, and it takes people from a world of tech to see how magic can be used more creatively.
'Coffeeshop in an Alternate Universe' is a slow boil: It takes almost 90 pages for Kat and Brenda to spend time together. But after that, the book picks up steam and becomes endlessly fun, especially once you get to the adorable miniature dragon. Lee's book stands apart from the recent flood of fantasy romances thanks to its clever interweaving of high stakes with a heartfelt love story.
Seven doors appear around the globe, each of them opening periodically to reveal an otherworldly realm. Ayanna's father belongs to a cult that worships the doors, but her Catholic mother believes the doors to be a hoax — and after a divorce, Ayanna's sister, Olivia, goes to live with their mom, while Ayanna stays with their father. A fateful encounter traps one sister on the other side of a portal while the other starts being able to communicate with ghosts.
'Meet Me at the Crossroads' has a lot to say about grief and living with the constant presence of the dead — but it's ultimately a life-affirming book about overcoming depression. Giddings has an unparalleled ability to write about upsetting events while still capturing the tiny joys of being alive. Chief among those joys is finding a group of friends who see you and are willing to help you do foolish things to help you heal. She explores religion as both a response to grief and a nourishing fellowship. A subplot about an abusive ghost feels at times as though it belongs in a different book, but it eventually pays off beautifully.
All in all, 'Meet Me at the Crossroads' sparkles with humor and insight, confirming Giddings as one of the best current authors of speculative fiction. There are so many quotable lines, including a description of velociraptors as never needing vacations, because for them 'stillness was death. Their religion was momentum and feasts.'
Seven doors appear around the globe, each of them opening periodically to reveal an otherworldly realm. Ayanna's father belongs to a cult that worships the doors, but her Catholic mother believes the doors to be a hoax — and after a divorce, Ayanna's sister, Olivia, goes to live with their mom, while Ayanna stays with their father. A fateful encounter traps one sister on the other side of a portal while the other starts being able to communicate with ghosts.
'Meet Me at the Crossroads' has a lot to say about grief and living with the constant presence of the dead — but it's ultimately a life-affirming book about overcoming depression. Giddings has an unparalleled ability to write about upsetting events while still capturing the tiny joys of being alive. Chief among those joys is finding a group of friends who see you and are willing to help you do foolish things to help you heal. She explores religion as both a response to grief and a nourishing fellowship. A subplot about an abusive ghost feels at times as though it belongs in a different book, but it eventually pays off beautifully.
All in all, 'Meet Me at the Crossroads' sparkles with humor and insight, confirming Giddings as one of the best current authors of speculative fiction. There are so many quotable lines, including a description of velociraptors as never needing vacations, because for them 'stillness was death. Their religion was momentum and feasts.'
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Furia's films are all about social issues and messages about dealing with them. However, they are never preachy. Is that a conscious effort he needs to make every time? 'Yeah, I don't think preachy films have a very strong impact. I feel the message becomes stronger when it comes through a story being told, not just preaching about the message. I prefer to tell a story. I prefer that the audience put themselves in the shoes of the characters of the film and start living the story. I want them to understand what the character is going through. I like hitting the message sometime later, and slowly.' Furia's filmography traces the life of a woman - his first (Marathi original and Hindi remake) highlighted the horrors of female infanticide while the second one (Chhorii 2) underlined the aftermath of child marriage. The promotional videos of Maa suggest that his third one may be about child trafficking. The Evolution of Horror Films in Hindi Cinema Since the release of Stree in 2018, India has seen a surge in Hindi horror films which highlight social evils. Furia's Marathi film, Lappachappi came a year earlier. 'A huge number of audiences went to the theatres to watch that film. I believe the audience wants to watch good horror films that also make a difference to the society, but we failed to give them the right product.' He adds that horror 'took a little dip because of the kind of template and mold that it was made in'. Referring to horror erotica that was the popular genre in 2000s Indian films, the filmmakers adds that Indian horror films became 'not very friendly for everyone to watch'. 'It became a bit of a degraded genre. It lost its respect on the way somewhere and it was considered shallow because of that. People stopped watching Indian horror films. But they were watching horror from everywhere else in the world. We are back on the path of telling Indian stories, with respect and dignity while saying something even more. Now, I think we have come on track with that. I think now all sub-genres of horror will thrive going ahead.' Furia insists that the Chhorii franchise is not just horror but goes beyond the thrills of a horror film. It was an organic growth of the first story from childbirth (Chhorii) to the second one about a slightly grown-up child and child marriage (Chhorii 2). Furia laments how unfortunate it is for such social evils to still exist. 'Child infanticide, child marriage. Things that should not exist, unfortunately they still do. It organically went into a second part. My challenge was to make the sequel scarier, and darker. The world we created helped us in doing so. More the claustrophobic spaces, complex spaces and characters the more amplified is the horror.' Confirming that he has thoughts on more sequels to Chhorii franchise, Furia says, 'Unfortunately, the society is not very good with women, the way they treat women. There are so many issues that need to be talked about. I am angry, even as a male, and this is my way of showing my anger. I think it (Chhorii) is not over yet.' 'I am genre agnostic. Always something that I offered to the industry to start my career. I thought horror was quite under-serviced and it was a genre I really loved. Now, a lot of horror scripts come to me. Having said that, I am a filmmaker at heart. I want to tell good stories irrespective of the genre. I will continue crime thrillers. I am working on a comedy.'