Following on from Part 1, I’ve now read the eleven stories that only Clarke or Dozois selected. Part 1 left off with a question about whether multiple quality Dozois selections and a slower start from Clarke would continue.
As far as Clarke’s selections, I didn’t care for Margaret Ronald’s talky alien infonet tale “And Then, One Day, the Air was Full of Voices” and I previously ambivalently reviewed Lettie Prell’s artsy post-human “The Three Lives of Sonata James.” I couldn’t go for a full-tilt recommendation of Karin Lowachee’s “A Good Home” (paraplegic vet adopts PTSD android) or Sarah Pinsker’s post-apocalyptic “Sooner or Later Everything Falls Into the Sea” but they’re certainly reasonable selections to me and you probably wouldn’t go wrong to give them a try.
The only solo Clarke selection that really impressed me was Rich Larson’s “Extraction Request“ and that in a very specific way. It is undeniably effective but if you don’t wish to read nihilistic military horror SF (The Dirty Dozen economized to an Evil Eight and then dropped in a blender with Aliens and The Blob) then you can safely give this a pass. I wouldn’t have wished in advance to read such a thing but, as I say, it does effectively draw the reader in and is quite creative, especially in certain sadistic details.
I would also recommend Dozois’ selection of Rich Larson’s “Jonas and the Fox“ more generally but with reservations. Jonas is the older brother of Damjan. They’re living through a revolution when a distant relative, the Fox, who had helped start the revolution prior to being deemed an enemy by it, arrives and hides out with them. Damjan later falls to his brain-death and the Fox has his mind sideloaded into Damjan’s body to hide more effectively. Our story picks up at this point as starry-eyed and contrary (and guilt-plagued) Jonas and his parents and the Fox deal with their situation and try to survive informant teachers and bloodhound soldiers and so on. The reservations come from this being a gripping story throughout yet not especially satisfying in the end. The ending is certainly apt enough and prepped for but somehow the story overall feels like a slight letdown. Also, I’m perfectly happy to swallow the personality/consciousness/soul backups and several other things but, even in that context, the plausibility of aspects of what can and can’t be detected (at least three things) bothers me. Still, quite good and just as gripping as “Extraction Request” with psychological horror but without the visceral horror and nihilism.
Dozois’ other selections were pretty solid. I was least impressed by Maggie Clark’s “A Tower for the Coming World” (interconnected sketches dealing with a variety of people connected to a space elevator) but it wasn’t bad. Eleanor Arnason’s “Checkerboard Planet” wasn’t great, but was a pleasant good ol’ planetary exploration tale starring her recurring Lydia Duluth character. Like Larson’s tale, only more so, Mercurio D. Rivera’s first contact tale, “Those Brighter Stars,” suffered from a somewhat unsatisfying ending (albeit by design) in a tale of abandonment on both small and large scales but was mostly brisk and vivid.
James Patrick Kelly’s “One Sister, Two Sisters, Three” – a tale of siblings, jealousy, mortality, religion, and the Fibonacci sequence – is an embarrassment for me since I have to confess I don’t get it. It seems really superb until the end where I think I understand what happened and why but then simply do not understand the lack of response to it in the denouement. I understand why there wouldn’t be much focus on a certain kind of response but an absence? So I don’t know what to say about it. If the whole thing does hang together and is as good as the bulk, it’d certainly be recommended.
Along with the Larson, the other tale I can clearly recommend is Ted Kosmatka’s “The One Who Isn’t“ which stays confusing and disorienting for almost too long but finally crystallizes into a remarkable story. As such, it’s one I hate to say anything about because even a simple characterization would spoil the journey. The setup “starts with light. Then heat.” It goes on with a woman “in a porcelain mask” testing a child on his perceptions of colors. Given his inability to distinguish blue and green, she informs him he’s “getting worse.” Then she tells him a bedtime story and I encourage you to go find out about it.
For awhile now, I haven’t been thrilled with Dozois’ annuals but, if the parts I’ve read are at all reflective of the whole, this seems like a very good anthology. One of my major complaints has been an excess of depression, death, destruction, and dystopia in the annuals of late. This certainly has some of all that but in more tolerable quantities and with a lighter or more nuanced touch. Of the nineteen stories from the volume I’ve read thus far, I especially liked eight of them and disliked or wasn’t interested in only a handful with the rest at least being okay. That’s a pretty strong batting average.
Next up, the Horton and Strahan solo selections to finish up this little project!
Edit (2017-01-29): And here’s that conclusion.