mount_oregano: and let me translate (translate)


Written by award-winning author Cristina Jurado, ChloroPhilia tells the story of Kirmen. He’s different from the other inhabitants of the Cloister, whose walls protect them all from the endless storm ravaging Earth. As a result of the Doctor’s cruel experiments, his physical form is gradually evolving into something better fit for survival in the world outside. This singular coming-of-age story addresses life after an environmental disaster and collective madness, and ends with surprising triumph.

As a translator, I faced a particular challenge with the prologue and the closing section. I’ve translated Cristina before, and she writes beautifully. She poured her talent into prose soaring toward poetry that needed to be equally compelling in English. I did my best:

And behind it all was the roar of the swarm that was its body, millions of shrieks drowning in the fleshy throats of minute beings, a beautiful song made from the spark that lit their lives and that, doused forever, wove the music of the dead.

You can read an interview with the author at The Madrid Review: New Book From The Queen Of Spanish Sci Fi in English.

The novela was reviewed by the Fantasy-Hive as “a remarkable, powerful and disturbing novella that confirms Jurado as a key creative voice in speculative fiction.”

ChloroPhilia is on sale here or at your favorite bookseller.

mount_oregano: Cover art of the novel USURPATION (Usurpation)

 If you or someone you know can nominate or vote for writing awards, please consider these works by me that were published last year:

Usurpation: final novel in a trilogy (novel or series) Semiosis. The first novel in the series, Semiosis, is one of the top ten genre books of the first quarter of the millennium, according to Joe Walton.

AI is fueling a science fiction scam: magazine article (related work)

“The Coffee Machine”: translation from Spanish of a work by Celia Corral-Vázquez (short story or translation)

When Star-Stuff Tells Stories: essay about first contact (related work)

Eligible in Spain:

Semiosis: novela extranjera

¿Quién ganó la batalla de Arsia Mons?: novela corta extranjera

Not eligible for a prize, but you might enjoy it:

“Life from the Sky”: republished novelette

mount_oregano: portrait by Badassity (Default)

New Year, New You: A Speculative Anthology of ReinventionNew Year, New You: A Speculative Anthology of Reinvention by Elizabeth Bear

My rating: 5 of 5 stars


Short stories are one of my favorite art forms, but some readers don’t seem to like them. Perhaps, in school, all the short stories they read were old, depressing, pedantic, and hard to parse. (But new, uplifting, entertaining, unperplexing short stories are written all the time.) Or perhaps, some readers don’t like them because unlike novels, short stories are too fast, too intense, and send readers back into the world a little breathless. (Is that a bad thing?) Or perhaps, readers just don’t hear about them as much as novels.
Now hear this: New Year, New You: A Speculative Anthology of Reinvention is a great way to start your 2025 reading. It offers two dozen science fiction and fantasy short stories united by the idea of personal change. Themes include time travel, Greek myth, fairy tales, foreseen death, odd dystopias, programmed memory loss, and manufactured life. Many are quite short, and the tone varies from playful to horrific.
I enjoyed them all, like eating a box of chocolates or bento box, and was sometimes left a little breathless. The anthology was published by the Viable Paradise writing workshop 2023 cohort as a Kickstarter that was funded in less than 12 hours.



View all my reviews
mount_oregano: and let me translate (translate)

Destruction left by a flood in a street in Spain.


English-language dictionaries and various wordniks have picked their words of 2024, including demure, kakistocracy, enshittification, brat, brain rot, Colesworth, manifest, and polarization.

In Spain, the Fundación del Español Urgente (Foundation for Urgent Spanish) was created by the Spanish Royal Academy and EFE, a news agency, to provide guidance for terminology used in the news media that might pose problems in grammar, meaning, or spelling. It also chooses a word of the year. This year the word is: dana.

Even if you know Spanish, you may have never heard of this word. It’s fairly new, formed by the acronym for depresión aislada in niveles altos (isolated depression at high levels). The World Meteorological Organization explains that it “often occurs during the autumn season because the remaining warm surface heat from summer meets a sudden cold invasion aloft from the polar regions. This leads to what meteorologists used to call ‘a cut-off system’ with low-pressure values that persist over a few days and rotating over the concerned region.” Warm air saturated with moisture meets cold air and becomes an intense, long-lasting storm.

In Valencia at the end of October, the result was devastating rainfall and horrific flash floods. More than 200 people died amid massive damage. There were big political consequences. Dana is Spain’s word of the year because of its importance.

Other candidates for Spain’s word of the year can tell us more about the year that was in that corner of the globe:

Fango (mud or slime): what the victims of the dana had to clean up — and what they hurled at politicians.

Inquiokupa: renters of apartments or homes who stop paying the rent intentionally and refuse to move out. Spain has a housing crisis, too. This, like dana, is a neologism.

Micropiso (micro-apartment): another newish housing-crisis word.

Mena: an acronym for menores extranjeros no acompañados (unaccompanied foreign minors), a newish term because Spain has immigration issues, too.

Narcolancha (narco-speedboat): a newish word invented because Spain has a drug-smuggling problem, too.

Pellet (pellet, also called nurdle in English): a word imported from English to describe the millions of tiny balls of raw-material plastic that washed up on Spain’s west coast in January.

Alucinación (hallucination): errors invented by AIs; as in English, a new meaning has been attached to an existing term.

Gordofobia (fat-fobia): a newish word for a world-wide phenomenon.

Reduflación (shrinkflation): another new word for what happens when the price stays the same but the product becomes smaller, another world-wide phenomenon.

Turistificación (touristification): a problem in many places, including Spain, especially Barcelona.

Woke (woke): another word imported from English, but it’s pronounced with two syllables, WOH-kay.

mount_oregano: Cover art of the novel USURPATION (Usurpation)

Did I write the “Best Alien Sci-Fi (First Contact/Invasion) Book” of the year? Maybe. You get to vote.

Discover Sci-Fi, which is a site for people who love to read science fiction, is hosting its Reader’s Choice awards. Titles were selected based on nominations from readers, and the winners will be announced on January 9, 2025.

You can vote here: Best Sci-Fi Books of 2024.

The categories are: Best Sci-Fi Book (overall), Best Sci-Fi Audiobook, Best Debut, Best Space Opera Book, Best Military Sci-Fi Book, Best Alien Sci-Fi (First Contact/Invasion) Book — Usurpation is in this category — and Best LitRPG Book.

***

The movie Babygirl  with Nicole Kidman, Antonio Banderas, and Harris Dickinson was released in the US this week. My novel, Semiosis, was used as a prop in the movie.

The movie producers asked for permission to use the book in the film a year ago. Only the cover will appear, the agreement stipulated, and “the book will not be read aloud, and no reference would be made to the book or its contents” — although if that happened, or if any of the stars wanted to pretend they were reading it, or if the book were somehow directly involved in the “erotic thriller” nature of the film, I would be fine with that.

But, probably, Semiosis will appear on a bookshelf somewhere in the background, perhaps not legibly, if at all. I haven’t seen the movie yet, but if you’ve seen it and you spotted my book, please let me know!

mount_oregano: portrait by Badassity (Portrait)

The four Burke kids on Christmas Eve, captured from one of our grandfather’s home movies. Beth is the blond. I’m wearing green. Lou is the baby. Mike is in back.


My sister, Beth, died in January 2014 of cancer. Her last Christmas was one of her happiest.

In December, Beth’s son and his wife came to visit, and they set up and decorated the tree. Beth had inherited the Christmas tree ornaments from my parents and grandparents, and although she was too ill to do more than watch them work, she was entranced. It was, my sister said, the best tree ever.

She described it to me over the phone (I had visited at Thanksgiving), and I could see it as she spoke because I knew so many of the ornaments.

(Photo: The four Burke kids on Christmas Eve, captured from one of our grandfather’s home movies. Beth is the blond. I’m wearing green. Lou is the baby. Mike is in back.)

My mother had made a canvas-work embroidery angel for the top of the tree. In keeping with family tradition, a little electric candle had been placed in her hands.

Some old, fancy glass ornaments had originally been bought by my grandparents, lovingly cared for by my parents and then by Beth. They were fragile and worn but exceptionally ornate. One had gold stripes edged with glitter and little holiday scenes hand-painted between the stripes.

My sister especially loved the ornament her son had made in grade school, a white paper bird with a long tinsel tail. There was also my ornament from kindergarten, green and red metallic disks glued together around a length of yarn. Other children’s artwork was hung up, too, chronicling a family that grew larger, and boys and girls who grew up. Some ornaments were gifts or careful purchases — each color, each sparkle, each light a story.

“It’s beautiful,” she told me. “I can stare at it for hours.”

It held happy memories from her whole life, as merry as a Christmas tree could be — the best gift, the best tree ever.

mount_oregano: portrait by Badassity (Default)


Every year, I coerce one of my house plants to cosplay the role of Christmas tree.

At the mere thought, my croton, Codiaeum variegatum, was so horrified it dropped almost all its leaves to avoid consideration. Apparently it never heard of a Festivus pole.

The Pilea peperomioides, who was last year’s imitation tree, complained it was too tired. I didn’t want it to drop its leaves in protest, so I let it rest.

The crown of thorns, Euphorbia milii, volunteered with enthusiasm. “I have needles, just like a pine tree!” No, it has thorns quite unlike a pine tree, and I wear heavy gloves when I need to give it care. Decorating it would not be festive, so I kept looking.

“Pick me!” said the Boston fern, Nephrolepis exalta ‘Fluffy Ruffles’. “Look at my leaves. I’m a fractal Christmas tree!” Well, yes, and the plant is large, too. Although my standards are low, I can’t imagine a fluffy, ferny tree.

The dragon tree, Dracaena reflexa marginata ‘tricolor’, was not enthusiastic. “I am living tinsel,” it said. “My beauty is sufficient unto itself, and ornamentation would obscure my spontaneous splendor.”

That left the lucky bamboo, Dracaena sanderiana, but I’d cut it back to give away stems as gifts to neighbors. However, it has no thorns, no fluff, and it’s the strong, silent, non-complaining type.

So the lucky bamboo is this year’s tree. Happy holidays, and may your home be filled with joy and uncomplicated greenery.

mount_oregano: and let me translate (translate)



Pragmatics
is a branch of linguistics concerned with the relationship of words and sentences to the environment in which they occur. We might also call this context. Machines can’t grasp pragmatics and context — not Google Translate, not ChatGPT, or anything like them. Machines and artificial intelligences don’t interact with the real world. Nothing means anything to them.

I recently made the mistake of reading the text on a sprayer bottle as I was misting a few of my house plants. The text came in English and Spanish. I understand both languages, and I saw errors. Worst of all, this error, which no human would make:

Weed Killers (Deshierbe a Asesinos)

The Spanish version does, in fact, mean “Weed Killers” in the sense of “Go weed the killers” or “You must pull out the weeds on assassins.”

It should say:

Weed Killers (Herbicidas)

As a human being, I can only laugh. Or weep. When the robots take over, they’re going to make so many mistakes…

mount_oregano: novel cover art (Semiosis)

 

An article by Amanda Gefter in Nautilus, “What Plants Are Saying About Us,” explains that although plants don’t have a brain, they do have autonomy, intelligence, adaptivity, and sense-making — that is, they have cognition. They’re not that different from us. And our cognition is more than our brains, too.

***

The photo is by me, incidentally. I took it this summer in a greenhouse at the Real Jardín Botánico (Royal Botanical Garden) in Madrid, Spain. Plants can dazzle us with their beauty as well as their intellect.

mount_oregano: Let me see (judgemental)

Using sensory details makes writing more vivid so that readers can see, hear, feel, taste, and smell what’s happening in a story.

Naturally, it’s a little more complicated than that.

First of all, we have more than five senses. Vestibular sense involves movement and balance. Proprioception is also called body awareness and tells us where our body parts are in relation to each other and how to do things, like pick up a heavy rock or delicate egg. Chronoception lets us sense the passage of time. We can also sense temperature and pain.

This article at John Hopkins University Press says there are nine senses. An article at the University of Utah Genetics Science Learning Center says there are twenty, but it counts some senses in other animals. That might be useful if we’re writing about non-humans.

The things that we sense are interpreted through our thoughts and emotions, too.

As writers, how do we use these senses in a story? The correct answer to this and many other questions is: It depends. What’s the story you want to tell? What matters to the characters in it? What is the pace you want? Romance novels tend to be lush, and a mystery might be spare, and in either case, the senses that you evoke will guide the attention of the reader to what matters. An intriguing whiff of perfume at a party with contrasting notes of candy-like violets and earthy sandalwood might signal the start of an affair. A barking dog might make Sherlock Holmes deduce.

When we write, it’s best to go directly to the sensation. A bad example: Becky smelled acrid smoke and knew it would be toxic. Instead, this: The smoke reeked of acrid toxins. The reader will know that Becky was smelling it and recognized the smell. Fewer words are always better than more words, too.

Next, why do these particular sensory details matter? An article by Donald Maass, “Moving Along” at Writer Unboxed, shows how to use sensory details to evoke emotion. I’m going to disagree with him, though. He says the final example is “focusing not on visualizing, sensory details,” but I say it is. Count the colors mentioned. Note the things we could taste and feel, especially the dryness. Consider the snippets of conversation we hear. It gives us the full picture with plenty of vivid sensory details in an unselfconscious way by showing us how these things matter.

mount_oregano: and let me translate (translate)

Magazine cover

My translation of the short story “The Coffee Machine” by Spanish author Celia Corral-Vázquez has just been published at Clarkesworld Science Fiction and Fantasy Magazine!

A coffee vending machine acquires consciousness, then things go ridiculously wrong. I giggled as I translated it, and I hope I got all the jokes.

mount_oregano: novel cover art (Semiosis)

Not every mind is human, which is a challenge for authors. It’s hard enough to write from a different human point of view: we’re a varied species, each one of us with our own experiences and quirks, but at least we can talk to each other. Non-humans … well, they never have long conversations with us, alas.

Yet, if we’re going to write speculative fiction, we can’t let that stop us. For my Semiosis novel series, I wanted to write from the point of view of a plant — an alien plant, of course, not an Earthly one. All right, where to start?

Obviously, we know some things about Earth plants, so I began researching them. What is their experience of life? For one thing, they’re under a lot of stress. Growing seasons are short, and weather is uncertain.

Spring ephemerals, such as trilliums and snowdrops, illustrate this anxiety. They grow and flower as early as possible in spring, sometimes even through snow, dangerous though that must be. They catch the sunlight before trees put out leaves and cast shade. They offer nectar to the first bees that wake up after winter, monopolizing their attention. Then these plants go dormant until next spring: That’s the extreme step they have to take to get their day in the sun. They leap upward at the first hint of springtime.

Plants compete for sunlight and actively fight over it. A common houseplant called the asparagus fern (Asparagus setaceus) has pretty, lacy leaves – and thorns it can anchor into other plants and climb over them. Its aggression has earned it the status of noxious weed in some parts of Australia. Roses have thorns for the same reason. If they happen to starve other plants by blocking out the sunshine, that’s just survival of the fittest.

Vines climb up trees to get sunshine without the cost of growing a sturdy trunk. Other plants may grow large leaves quickly to cast shadows on their neighbors, or poison the ground to keep out competition.

So, plants lead lives of quiet desperation, in constant combat using a variety of weapons.

The book What a Plant Knows: A Field Guide to the Senses by Daniel Chamovitz documents what his fellow botanists have long known. A plant can see, smell, feel, hear, know where it is, and remember. “Plants are acutely aware of the world around them,” he writes.

Trees, like us humans, have social lives. In The Hidden Life of Trees: What They Feel, How They Communicate, German forester Peter Wohlleben describes how trees of the same species in forests create communities that help each other, enjoying much longer, healthier lives than isolated city trees. Trees also make decisions, such as when to drop their leaves, which can be a life-or-death gamble on the coming weather.

Plants are alert to their surroundings and can recall the past and plan for the future. They’re gregarious, and being isolated hurts them.

As we would expect from highly aware, social creatures, they relate to other species including animals. They grow flowers to attract pollinators, they grow fruit to encourage animals to spread their seeds, and they enter into symbiotic relationships with animals to further their needs. If nutrients are especially scarce, plants turn carnivorous. (The leaves depicted on the cover of Semiosis are of a sundew. The drops are glue to catch insects.)

Through photosynthesis, plants create their own energy. We can’t know how that feels, although we can observe how sap courses up and down stems and through leaves, and how carefully plants arrange their leaves in a “leaf mosaic” to capture light efficiently. Plants that store food for winter know how much they have because they stop and shed their leaves when they think they have enough. They have body awareness.

Plants differ from us in one essential way: They have no set body type. Humans have two arms, two legs, and a standard-sized brain. A tree has as many branches and roots as it can support. A single tree can be huge, spreading out from its roots to create its own grove, and some can live for centuries, even millennia.

A possible personality has begun to emerge: anxious, active, aggressive, alert to its surroundings, impatient, reflective, forward-looking, physically singular, self-aware, long-lived, manipulative of animals, and painfully lonely if it has no companions of its own species. Add intelligence and we have a point of view:

“Growth cells divide and extend, fill with sap, and mature, thus another leaf opens. Hundreds today, young leaves, tender in the Sun. With the burn of light comes glucose to create starch, cellulose, lipids, proteins, anything I want. Any quantity I need. In joy I grow leaves, branches, culms, stems, shoots, and roots of all types. … Intelligence wastes itself on animals and their trammeled, repetitive lives. They mature, reproduce, and die faster than pines, each animal equivalent to its forebearer, never smarter, never different, always reprising their ancestors, never unique.”

mount_oregano: portrait by Badassity (Default)


What I saw wasn’t real and no one else could see it, and it was gorgeous.

I recently had a cataract-clouded lens in my eye removed and replaced with an artificial lens. I can see much better now.

But there’s something I can no longer see. My cataracts were the type that made halos around bright light, and these halos were like rainbows or glories. Walking down a street at night was a spectacle. The photo might give you an idea of what it was like.

I won’t miss the cataracts and the problems they caused, but I will miss the beautiful illusion of rainbows.

mount_oregano: Cover art of the novel USURPATION (Usurpation)

Some plants are conspicuous killers. Are they murderous or are they carnivorous — including proto-carnivorous, semi-carnivorous, para-carnivorous, or sub-carnivorous? So much carnivory!

An article at the International Carnivorous Plant Society website discusses the ways that taxonomists, ecologists, and evolutionary biologists differ in their approaches. The article also describes the “rather horrid plants that everyone needs to grow once to fully appreciate life.” This article is food for thought. Read it here: Murderous Plants.

In another matter, I was recently interviewed on Bull Falls Radio, WXCO in Wausau, Wisconsin. Host Bob Look started the hour-long show talking with Jane Graham Jennings of the Women’s Community. Then he and I had a fun chat. I happen to have been a high school classmate of Bob’s, and he and I have both fulfilled our youthful goals. He’s on the radio (and he sounds slick!), and I’m writing science fiction novels.

mount_oregano: and let me translate (translate)


When I lived in Spain, I soon noticed that Miguel de Cervantes and his most celebrated novel, Don Quixote de la Mancha, permeated the culture. Think of Shakespeare in English-speaking realms, then dial it up to 11.

The book changed the way Spain thought about itself. It also made Spain reject any sort of non-realism in fiction, such as science fiction and fantasy, for centuries to come.

Published in 1605, Don Quixote tells the story of a poor, elderly nobleman driven mad by the fantasy novels of his day, which depicted brave knights and their dazzling deeds. The nobleman adopts the name Don Quixote and sets off on quests. In chapter VIII he famously mistakes windmills for terrible giants and attacks them. In chapter XLI, he is tricked into believing that an enchanted wooden horse has the power to carry him and his squire Sancho Panza through the sky. (Photo: Engraving from an 1863 edition of Don Quixote by Gustave Doré.)

Cervantes’s novel was written when Spain was in a period of desengaño or “disillusionment” after imperial losses, government bankruptcy, a deadly plague, failed harvests, economic disaster, and the defeat of the Invincible Armada. The nation had attempted to fulfill grand ambitions only to discover that it had been tilting at windmills. The novels that Cervantes’s fictional character read were real books that had, a generation earlier, inspired the conquistadors in their exploits: the state of California is named after an imaginary caliphate in one of those books, The Exploits of Esplandian, which was the sequel to Amadis of Gaul (which I translated here). Ambition was not enough, though, and eventually fantasy gave way to sad reality.

Don Quixote changed the way Spain thought about itself — and about literature.

“The problem with Spanish science fiction starts with Quixote,” the editor of a Spanish science fiction ‘zine told me. “Of course, it was a satire of the fantasy adventure novels of its day, and ever since then, perhaps because the satire was so biting, Spain has been the home of realism in fiction.”

School children were taught to scorn those novels of chivalric quests, speculation, and mysterious unknown lands, if they were taught about them at all. Still, a few writers always experimented with science fiction and fantasy, and in the 20th century, books from outside Spain began to inspire a generation.

“Fantastic” literature — science fiction, fantasy, and horror — was slow to gain acceptance as worthy, but in the 1980s and 1990s a growing number of authors encouraged each other and carved out a niche that has since flourished. In the 21st century, books like the Harry Potter and Twilight series appealed to massive numbers of young readers, to the surprise of established publishers and to the delight of the small publishers who had taken a chance on those novels and cashed in. All kinds of publishers took note. The ranks of fandom grew.

Just as in the English-speaking world, Spanish “mainstream” literature discovered it could no longer control access to respectability. Readers had their say.

mount_oregano: Let me see (judgemental)

A gnarled pine tree in the foreground with a mountain valley in the background.

“A fool sees not the same tree that a wise man sees.” — William Blake

mount_oregano: portrait by Badassity (Portrait)


I’m attending Windycon this weekend, Chicagoland’s longest-running science fiction convention. This is its 50th year, and it will be held from November 8 to 10 at the Double Tree Hilton Hotel in the suburb of Oak Brook. This year’s theme is Infinite Diversity in Infinite Combinations.

With about 1,000 members, this is a more personal and friendly event than mega-conventions. Note the word “members” — the convention is organized by fans for fans, all volunteers, not by a professional corporation. It also has a literary bent, focusing on experienced and aspiring authors and writers. Topics for panels and activities range from astrophysics to costuming techniques to pop culture. This includes steampunk, dragons, fairies, robots, music, anime, zombies, pirates, ninjas, extraterrestrials, gaming, horror, space operas, urban fantasy, theater, vampires, time travel, and cats.

There’s also an art show, dealer’s room, gaming room, and legendary parties at night.

During the day, here’s where you can find me:

Early SF Authors and the Pseudonyms They Hid Behind — Friday, 6 to 7 p.m., Windsor Room. How would their work have been affected if they were allowed to show who they were? Panelists are Richard Chwedyk, Steven Silver, and W.A. Thomasson; moderator Sue Burke.

Writer’s Workshop — Saturday, 9 a.m. to 11:30 a.m. Preregistration required.

Author Reading — Saturday, 12 to 12:30 p.m., Ogden Room. I plan to read the essay “Do your neglected houseplants want revenge?” and the short story “Summer Home.”

Reading and Writing Through the Female Gaze — Saturday, 2 to 3 p.m., York Room. Panelists are Lisa Moe, Dina S. Krause, K.M. Herkes, and Alexis Craig; moderator Sue Burke.

The Many Facets of Fandom — Saturday, 8 to 9 p.m., Butterfield Room. How you experience the different brilliant sparkles depends on how you cut the gem that is fandom. Panelists are Jason Youngberg, Alexis Craig, and W.A. Thomasson; moderator Sue Burke.

Familiar or Fantastical? — Sunday, 10 to 11 a.m., Kent Room. What type of world-building do you enjoy with your fiction? Do you prefer far-off worlds or ours? Panelists are David Hankins and Sue Burke; moderator Bill Fawcett.

The Darker Side of Space — Sunday, 11 a.m. to 12 p.m., Hunt Room. The future is not always a garden of roses. Let’s discuss the darker side of science fiction futures. Panelists are Donna J.W. Munro, Chris Gerrib, and Paul Hahn; moderator Sue Burke.

mount_oregano: Let me see (judgemental)

Can an AI write a good short story? No. But some people are submitting AI-produced stories for publication anyway, hoping for a quick buck. For science fiction magazines, this is costing them time, money, and morale.

I wrote about the problem and the lack of easy solutions for an article in the current issue of Chicago Review of Books, AI Is Fueling a Science Fiction Scam That Hurts Publishers, Writers, and Even Some of the Scammers.

mount_oregano: Cover art of the novel USURPATION (Usurpation)

Today the novel Usurpation goes on sale! You can buy it wherever fine books are sold, available as hardcover, ebook, and audiobook. Find out why carnivory isn’t the worst thing a plant can do.

It’s the third book in the Semiosis trilogy, and here’s an incisive review of the series at Ancillary Review of Books by Alex Kingsley called “Imagining Radical Mutualism.”

If you’re in Chicago, please come to the book launch tomorrow, Wednesday, October 29, at 6:30 p.m. at Volumes Bookcafé, 1373 N. Milwaukee Ave. Since it’s the day before Halloween, feel free to wear a costume! (Don’t worry, you won’t be the only one.) If you’re not in Chicago and you want an autographed copy, you can order it through Volumes.

mount_oregano: Cover art of the novel USURPATION (Usurpation)


The novel Usurpation is the third in the Semiosis trilogy. The first book, Semiosis, takes place on a distant planet called Pax where the dominant species is an intelligent plant, rainbow bamboo. Stevland is the reigning bamboo. At the end of the second book, Interference, Stevland has sent his seeds to Earth, where the rainbow bamboo are flourishing, but no one knows they’re intelligent.

Then, at the end of Interference, Stevland sends a message to the bamboo on Earth: “…I must share a secret about humans. They are ours to protect and dominate.”

A bamboo named Levanter asks, “Tell us how.”

Stevland’s response finally arrives in Usurpation: “…Compassion will give you courage. Love will be ferocious.”

That’s all I can say without spoilers. In fact, I’ve probably spoiled enough already.

Usurpation will be released on October 29. I’ll be celebrating at 6:30 p.m. Wednesday, October 30, at Volumes Bookcafé, 1373 N. Milwaukee Ave., in Chicago, with Alex Kingsley, whose first novel, Empress of Dust, has just been released. You’re invited! It’s the day before Halloween, so you’re encouraged to cosplay.

You can see me at a Speculative Literature Foundation event read the opening of Chapter 3 of Usurpation in this 3-minute video. (All the novels in the trilogy are available as audiobooks, narrated by Caitlin Davies and Daniel Thomas May, who do a much better job than me.)

You can read a few reviews of Usurpation at NetGalley, and a recent review of Semiosis at Space Cat Press. Semiosis was named one of the 75 best science fiction books of all time by Esquire Magazine.

If you want an autographed copy of my next novel and you can’t come to the launch party, you can order it through Volumes Books here.

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