No books published in 2010 received enough nominations in the poll to make it into the overall top ten. This is probably not a surprise; the books haven’t been out for very long, so fewer people have read them. And some 2010 books received enough support to suggest that, were this poll to be run again in a couple of years, they might have matured into strong contenders. I thought it would be worth breaking those books out into a separate post, since their poll ranking is probably not reflective of the strength of feeling about them — and because they may be awards contenders next year. And so here they are:
Zoo City by Lauren Beukes
Zoo City may dive a little too glamorously into terrible high-rises and worse tunnels, and its protagonist (who survives the tale she tells) may wear her deformations and her scars and her cabaret presentation of self like war ribbons, and the present tense of the tale’s telling may try a little officiously to shove our faces in the fleuve of the overwhelming nows of an alternate-2011 urban South Africa (Johannesburg is hardly exited), but throughout the horrors and the almost synaesthesical complexities of the scenes unfolded we get a sense of vigour, some of it irrepressible. The main joy of Zoo City is the energy of the thing, that it doesn’t stop for breath until it stops for good.
Also worth noting is a strong showing for Beukes’ first novel, Moxyland; thanks to Moxyland‘s first US edition this year, both books are Hugo-eligible.
Cryoburn by Lois McMaster Bujold
I think of Bujold, rightly or wrongly, as occupying the sort of position in US sf that Iain M Banks occupies in UK sf: absolutely central in her home country, somewhat marginal beyond its borders. I’m not sure any of her books has ever been published over here, and as a result I’ve not read any of them (although the recent free ebooks of her entire back catalogue may change this). On the other hand, Cryoburn may also be a suitable jumping-on point, for all that it’s the latest entry in a long series. Tansy Rayner Roberts:
Cryoburn, while not actually hitting the heights of my very very very favourite Vorkosigans (honestly it’s hard to top Memory which is one of the best books I’ve ever read) has all the ingredients of a very successful Miles Vorkosigan outing. It also shows that yet again, Bujold is not afraid to take risks, to change up any patterns her series has developed, and even the world itself. I’m not going to address in the least the most important change she brings down upon Miles’ world, because it’s the massivest spoiler of all spoilers, but suffice to say – this is, like Civil Campaign and to some extent Diplomatic Immunity, a book which could stand very successfully as the last of the series, and yet unlike both those volumes it could as easily be the new beginning that refreshes the books so entirely that we see another five out in the next decade.
Feed by Mira Grant
Winner of this year’s John W Campbell Award for Best New Writer (Not A Hugo), this is the first of Seanan McGuire aka Mira Grant’s books to be published in the UK, and was one of Publishers Weekly’s top five sf/f of 2010. It’s a zombie novel, but don’t let that put you off. Roz Kaveney:
Mira Grant’s Feed is less well-written [than The Passage] but has a can-do brio that Cronin would regard as whistling showtunes in the dark. Grant’s zombies are the result of experiments gone wrong – everyone is infected and everyone might turn in a moment. Yet civilisation does not collapse, and there are even elections; business as usual. Grant isn’t writing a horror novel at all – just an SF novel with zombies in it. And with bloggers – her heroine would die, or become undead, for a scoop.
Scoops follow her around. Hardly has she and her brother and team been embedded in a Presidential campaign than a saboteur tries to get the Candidate eaten or turned. Georgia and Shaun are supremely irritating young smart-arses, but Feed is a perfect antidote to Cronin’s gloomier excesses; sometimes after a well-cooked heavy meal, you really need a tub of ice-cream, with sprinkles.
Who Fears Death by Nnedi Okorafor
So much reverberates between the lines of Nnedi Okorafor’s Who Fears Death that the greatest marvel among the many here is that the novel succeeds in creating music and not cacophony. Archetypes and clichés jangle against each other to evoke enchanting new sounds, old narratives fall into a harmony that reveals unseen realms, and the fact of the book as artifact becomes itself a shadow story to that on the pages within. Okorafor is up to all sorts of serious, necessary mischief, setting up one expectation after another and dashing them all like dominoes made of dust. When the dust settles, rich realities emerge.
Blackout/All Clear by Connie Willis
Indeed, the least useful pages of All Clear are spent tracing its cast’s ultimately baulked attempts not to see anything, and it does take a while to grasp the beauty of All Clear, the intense humility of its portrait of London as her cast increasingly ignores Dunworthy’s strictures, especially in two superb, hugely extended setpieces: one devoted to the terrible first bombing raid on 7 September; the second massively expanding on the events first depicted in “Fire Watch” as Saint Paul’s almost burns at the end of December. Almost certainly some bad mistakes leak into the text (how else, given the oceans of data she had to attempt to master); but I for one found nothing to complain about. The main errors I noted myself were in fact easily correctible: Willis seems to have consulted a contemporary map of the London Underground, which seems to have led her to assume that the Victoria and the Jubilee Lines, both constructed decades later, were there in 1940; nurses bewilderingly tell patients their temperature in centigrade; and the term “disinformation” seems not to have existed before 1955, the first year it was used to describe false information created, usually by a government, for purposes of deceit. But none of these slips opened any plausible gulf into the alternate realities whose potential irruption haunts her cast. All Clear is a song of London, a song of England, and she has gotten the song right.