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The protagonist, Quentin Coldwater is a nerd. He’s an academic over-achiever living a life of privilege, set on a path of success. He’s also extremely unhappy, feeling disconnected from the rest of the world. He struggles with his inability to connect with others and the meaninglessness of life. He has sought out and found some respite in the fantasy world of Fillory. A magical land created and explored in the books of an American author that lived in England. At the start of The Magicians Quentin in on his way to an interview as part of the admissions process for Princeton. But this does not end up as another normal day for Quentin. Rather than his ultimate destination, Princeton, Quentin ends up at Brakebills. Brakebills is a university in upstate New York where students learn magic.

While Hogwarts was not the first literary school of magic, it is the model Grossman has in mind and he is very up front about that fact. The students take part in a magical game called Welters. At one point a team member of Quentin’s, Josh, is absent at the start of a match. Quentin hunts him down and the following interaction takes place between the two of them.

Josh stood up. He saluted smartly. “Send me an owl.”
“Come on, they’re waiting for us. Fogg is freezing his ass off.”
“Good for him. Too much ass on that man anyway.”
Quentin got Josh out of the library and heading toward the rear of the House, though he was moving slowly with a worrying tendency to lurch into door frames and occasionally into Quentin.
He did an abrupt about-face.
“Hang on,” he said. “Gotta get my quidditch costume. I mean uniform. I mean welters.”
“We don’t have uniforms.”
“I know that, ” Josh snapped. “I’m drunk, I’m not delusional. I still need my winter coat.”

This sliver does a lot to reveal the similarities and differences. Brakebills is very much like Hogwarts in external ways, and completely different in substance. The school is for adults, not children and the life that Grossman portrays is much more in line with reality than fantasy. This is not a book to pick up for a young child. This story contains profanity, sexual content, graphic violence, as well as alcohol and drug abuse. This is where I ran into my first issue with The Magicians. I’ll get to that shortly, but first I’d like to finish laying out what the book involves.

Not all of Brakebills is lifted straight from Hogwarts, though I don’t think the reader with much experience in reading fantasy will find anything that could really be called new. What there is, as I have mentioned, is very well done. Grossman builds up to moments of palpable tension. He pulls the reader into the life of Quentin and shows real finesse at times. His characters very much come alive, in their brief moments of joy and in their many moments of pain, frustration and loss. Anyone who has felt the hurt of being outside, dealing with the cruelty of others or a general questioning of meaning will be able to relate well to the protagonist.

Eventually school is over and the students graduate. And here is the turn that I think the promotional material makes obvious but some may not want to know about going into reading the book. The second section of the story begins as Quentin and his fellow Brakebills alumni find out that Fillory is real. They immediately prepare to set out on an expedition to the land they’ve loved since childhood. That Fillory is better spelled N-a-r-n-i-a is just as obvious as the connection to Rowling’s work. Quentin and company enter fillory using magic buttons that take them to an intermediary world of fountains. Jumping into each fountain takes a person to a different world. They have to take care to jump into the correct pool at the base of the fountain that will take them to Fillory. Fillory is a land of talking beasts and magical creatures.

So what sets The Magicians apart from lesser books that lift heavily from other works? Why is The Magicians a strong story while something like Eragon is a weak rip-off? I think it boils down to two elements. First is Grossman’s strong writing. Even if this were just a big piece of fan fiction, it would be well written fan fiction. Secondly, this isn’t just an homage to the work of others. While Grossman has lifted the settings and externals, the substance is completely different often to the point of taking a position that is completely antithetical to the original work.

My first problem, which I tie to the very adult content is wrapped up in why I read fantasy. I read fantasy on many levels as a form of escape, much like Grossman’s character Quentin did. Much of the fantasy I’ve read is not only fantasy but it is written for children. At the bottom of it all there is no real risk or fear. I read with anticipation, not of an outcome but rather how that outcome will be worked out by the author. There is often death or treachery but it takes on a fairty tale like quality. It does not feel real or cruel but rather cartoonish. Grossman completely jettisons any of this kind of approach. He tackles the safety of these childrens tales and eviscerates it. The violence in The Magicians is not cartoonish, it is often cruel even sadistic. There’s not much in the way of escapism here. What Quentin finds is that magic doesn’t change the basic underlying facts of life, not even traveling to another world does this. This is combined with the fact that much of Grossman’s realism includes behavior and speech that isn’t something that I would consider normal or appropriate. It may be for others but this isn’t a book I would feel comfortable recommending to friends or family.

Then there is my second issue. I’ve read that Pullman’s His Dark Materials trilogy is intended to be a type of anti-Narnia. Well Grossman doesn’t just create an alternative world that is contrary to Narnia. He destroys Narnia from the inside. And this caused issues for me in both sections of the book at times. Not because of ideological difficulties with what Grossman puts forward but because it would frequently push me outside the story as it felt like Grossman would move from telling his own story to commenting on the story of another. It isn’t that what he has to say about the other stories isn’t interesting and that he doesn’t bring up intriguing issues and criticisms of both, but rather that it jarred me out of the narrative as the story became more a work of exposition. Something like the flashbacks to History and Moral Philosophy class that fill so much of Starship Troopers. The author shows his hand, that he is more interested in making a point than telling a story.

The fact that a major component of the book is polemic in nature means much of the discussion around the book will not be about plot or setting but rather about the argument the author sets forth. I don’t agree with Grossman’s premise or conclusions but I do admire how well he states his case throughout the entire book, not only in those portions that might feel a bit preachy. I’ve read in an interview Grossman did about The Magicians that he feels that Rowling lets her characters solve their problems, rather than resting on divine intervention like the characters of Lewis’s works. This is reflected in how he handles the world of each, though I would argue that this is not the case, especially in light of how Rowling’s series ended. I think it does explain why he is so much rougher on Lewis.

Anyone looking for a dark story that questions the assumptions and underlying principles of those that are not so dark should really enjoy this book. Any parent that picks it up for their young one because they hear it compared to Harry Potter is in for a rude surprise. Those looking for a fun little escape from the real world wont find it here, though things are so grim at times they made find the real world a bit of a relief after the weight of Grossman’s. The Magicians held my attention and I was impressed with Grossman’s ability, unfortunately at the same time I was a bit disappointed with how he used that ability. With something this subjective YMMV, and since release The Magicians has hit number nine on the New York Times best seller list.

Title: The Magicians
Author: Lev Grossman
Publisher: Viking
Pages: 402
ISBN: 978-0-670-020550-3
Rating: 7/10

In 1953 John Myers brought his friend Gary Wolf a book he had just read, Space Hawk by Anthony Gilmore. The two were already avid readers but this would be their introduction to an entire genre, Science Fiction. They both say that it was Space Hawk that sparked a life long love of all things Sci-Fi. According to both of them, they had an opportunity to re-read Space Hawk as adults and found that it had not weathered the years well. They decided they would write their own science fiction adventure in the same style, but do a better job. The result is their book Space Vulture.

As is evident in the title alone, Space Vulture leans much more in the direction of paying direct homage to the work that inspired it, rather than offering something in the same vein but different. There are many more similarities between the books than their are differences. This seems to be at odds with the author’s stated goal of doing a better job. What we get instead of improvement is nostalgia and a throw back to the style and content of the author’s childhood. Seen in that light, for those who wish to go back to those days, this is probably a great ride. They can get a new story, in the old format. The issue for newer readers is that they don’t have the nostalgia to gloss over the stories issues.

I started reading science fiction in elementary school in the late seventies. I moved out of the kids section of the library in the early eighties and tore through anything I could get my hands on. This means that I read a lot of science fiction that was written in the fifties and even further back in some cases. Many books that are still favorites today come from that era. That is what drew me to Space Vulture. As I read it though, I found myself caught off guard. I could not recall reading anything like this, even as a kid. Then it hit me. The books I’ve read from the fifties are the cream of the crop. They are the classics that I am sure will continue to be read for years to come. Space Hawk and others like it do not fall into this category and now I know why.

The characters of Space Vulture are flat and unbelievable. I would say they are cartoonish but many of todays cartoons provide a much richer experience than is found in this book. The villain is Space Vulture. An evil, beautiful, genius. He enjoys rape, murder and slavery. He operates throughout the galaxy capturing innocents to sell as slaves or food. Everyone who would stand up to Space Vulture is either unwilling or incapable of doing so. He is the scourge of the galaxy, with his private army of aliens and humans carrying out his will without any choice.

There is one exception to those who tremble in fear of Space Vulture. It is Galactic Marshal Captain Victor Corsaire. In every way that Vulture is bad, Corsaire is good. Criminals everywhere tremble at Corsaire’s name. He has an unbending code of moral conduct and even in the face of a corrupt and ineffective justice system, Corsaire single handedly brings what peace and safety there is in the universe. The entire book turns on Vulture and Corsaire, though we have a single mom, a couple precocious kids, a shifty con-man and a handful of aliens and such to round things out.

The book reads like the cereal style stories it imitates. In the short time frame it covers, the hero is captured, escapes, gets recaptured, escapes, etc. multiple times. The side plots are filled with narrow escapes and cliff hangers. And it all feels rather like a carnival ride. Characters do what they do because that is the function they fill in the story. There is little ambiguity and very rarely do the actions of characters feel like something that comes as a result of their being a person. They are all set pieces going through the motions that create the ride. So it seems to really boil down to the question, “Do you like this kind of ride?” It seems to me that the only people who are going to really enjoy it are those who have fond memories of going on the same ride as children.

With one of the co-authors being an archbishop, it seems only fair to consider how religion fits into the book. The previously mentioned single mother prays a lot. There is not much over the head religious reference otherwise. Myers and Wolf seemed to have steered clear of any heavy handed dealing with religious issues. At times this is a bit of a weakness. Once again, the hero does what is right because it is. The villain will do evil and there is no effort to dig into what might separate the two. There are opportunities that would be perfect to dig a little deeper but no effort was made to do so. This is probably in keeping with the style and format they are emulating. It’s also probably a part of the reason that you don’t find people still reading the older works.

While the religious angle isn’t pushed there are some anachronisms that do come out that I think would have been better dropped. The most noticeable was the heroin’s apparent inability to do much for herself. She’s not completely useless all the time, and she does make small efforts here and there, but other times she just sits on the side lines and watches events unfold. How a frontier living leader could be so ineffective at times just breaks one out of the story. I guess she can’t show up Corsair or interfere with his heroic scenes. I’m sure in the fifties this would have been an outright progressive portrayal of a woman but today it still comes across as sexist and demeaning.

There are sizable plot holes and inconsistencies. The ending is not going to surprise anyone. I’m not all that bright and I had everything nailed down by half way through the book. Really the bright spot for younger readers is that it may be bad enough to come across as campy, but to be honest I doubt it. For anyone who was reading Space Hawk as a kid, there is that nostalgia factor. I almost rated this a four because of those folks, but I just couldn’t do it. There are just too many good books still around from that time that will provide all the fun but with better writing and plot.

Title: Space Vulture
Author: Gary K. Wolf and Archbishop John J. Myers
Publisher: Tor
Pages: 333
ISBN: 978-0-7653-1852-0
Rating: 3/10

• Liberation, by Brian Francis Slattery
• Anathem, by Neal Stephenson
• Nano Comes to Clifford Falls, by Nancy Kress
• The Alchemy of Stone, by Ekaterina Sedia
• Sly Mongoose, by Tobias Buckell
• The Night Sessions, by Ken MacLeod
• Postsingular, by Rudy Rucker
• Little Brother, by Cory Doctorow
• Matter, by Iain M. Banks
• Hunger Games, by Suzanne Collins
• Multireal, by David Louis Edelman

Have you ever been reading a book or watching a film and as the plot moves to involve some use of technology you begin to brace yourself, and the cringe as you are ripped out of the story by what is an obviously ignorant treatment of matters you know well? Do you find the idea of creating a “gui interface using visual basic” to see about tracking an ip address as more fit for a sitcom rather than crime drama? And if so, have you ever wondered what it would be like if one of us, a geek, wrote a techno-thriller? What if someone who grokked our culture and understood our tech wrote something? Would it be great, or would it just get bogged down in the techno babble?

It is not necessary to wonder any longer. Database consultant, geek and now author Daniel Suarez has stepped up to the plate with his effort Daemon and he does not disappoint. This is a techno-thriller with a healthy dose of techno but absolutely zero let down on the thrill. The story gains momentum rapidly and then never lets up. I had a terrible time trying to put it down, eventually just giving up and plowing through in an all nighter. It was worth it.

The story of Daemon’s beginnings has already been documented by Wired. Suarez had Daemon finished in 2004 but literary agents found it to be too long and complex. Rather than give up, Suarez pushed ahead on his own and took the self publishing route. The book slowly built up a following and began to be trumpeted by the likes of Feedburner’s Rick Klau and Google’s Matt Cutts. And sales of the book grew and now it is available via traditional publishing channels with a hard back release in January of 2009.

The book introduces us to Matthew Sobol, genius software engineer and creator of one of the world’s most popular MMOs. Sobol is dead when the book begins, having succumbed to brain cancer. But it quickly becomes apparent that while Sobol has moved on out of this life, his code has lived on and his death has triggered events that rapidly take a life of their own. Sobol’s code is working so some unknown end and murder is part of the program.

Suarez may push the envelope at times but his deft handling of current tech and the possibilities is at times frightening. There isn’t really much here that isn’t very possible right now. At no point will a child sit down at a terminal where the operating system is run by flying through a bunch of 3-d shapes that look like building surrounded by network traffic that looks like it is flying about. But there are young people, capable and knowledgeable of current tools and vulnerabilities. People who may not fit into society but who are willing to engage in activities that they believe will build a society of their own.

Of course this is fiction and there are some leaps. But the story is so skillfully woven that the reader is never jarred out of it by some glaring error or lapse in understanding. It’s easy to slip into what is an incredibly energetic ride all the while thinking, “This could happen.” In fact the only real issue I had with the plot was as I thought about the book after I had finished it. Things work out so well for Sobol’s software, and that is the biggest stretch for me. I’ve worked for and with some extremely bright people, but none have ever engineered systems that could achieve such complex goals unattended. That aside, this is an amazing story.

This book really brought back to me the sense of joy I felt in the 80′s when I first began to work with personal computers. It was that sense of infinite possibilities brought on by this new technology. I’ve grown a bit jaded to it all over the years since then. Daemon brought a lot of that rushing back.

And while all the tech aspects of this story are solid, they do not make the story itself. The whole crazy adventure is pushed along by solid characters. These are well written, very real human beings. They are fully fleshed out people with strengths and weaknesses spread out between protagonist and antagonist alike. There are no super heroes and really no super villains, though at times it comes close on both accounts. These characters are locked in an extraordinary series of events that are at times pulling them along and at others they are the ones pushing things forward. Dialogue is believable and well written. All of that is what ultimately makes this such a satisfying and fun read. The tech trappings are just the bonus payoff for the true geek that has been waiting for a story like this.

People who are on the outside, the non-techie types may find this book confusing and hard to understand. That relative that calls you and asks what happened to their toolbar in word that seems to have disappeared may not really get this book. But anyone who spends an appreciable time in our world on-line and plugged in may just find this to be the most entertaining book that they have read in a very long time.

Title: Daemon
Author: Daniel Suarez
Publisher: Dutton Adult
Pages: 448
ISBN: 978-0525951117
Rating: 10/10