I knew about the pieces relating to Mr. Wednesday (and Low-Key Liesmith)...

I decided it was about time to pick up a new edition of American Gods.  My copy being an old, well worn, well loved, and well traveled paperback version.  I don't know if it was a first edition (I don't recall if there was a hardcover first edition or not, this was over 15 years ago), but if not a first edition, it was definitely an early run.

(Quick aside: I apologize for anything here that's duplicated in my wrap up post for the book, b/c I'm pretty sure some will be).

My mom and I were Gaiman fans from Neverwhere and Good Omens.  There a handful of books that stand out as profound reads from my adolescent years.  The Cider House Rules by John Irving, a whole slew of books by Sheri S. Tepper, and American Gods stand out quite prominently among those.

American Gods perhaps stands out to me in some ways due to my complicated relationship with religion.  I'm fascinated by mythologies and fables, and actively study them whenever the opportunity arises.  Religion on the other hand... I'm not quite a full on atheist, but agnostic doesn't quite seem right (though it's probably the best fit).  I'm interested in systems of belief, and even drawn to spirituality, but find no resonance with any system beyond literary enthrallment.  And I'm not looking for saving, my journey away from the church began when I was very young, scattered memories from when I was younger than 5 where the seeds of confusion and doubt were sown by the very man that tried to raise me in the church.  I could never understand how people who were raised to believe their god was the one true god could be condemned to hell because it was a different god than I was taught in.  Also, my dad informing me my mom was going to hell had some pretty strong repercussions in my toddler's formation of faith.

As a teen I was active, imaginative, and prone to deep and often destructive depression.  The dark fantasy and overall darkness of the novel appealed strongly to me.

When I say my copy is well traveled, I mean it.  I lent it to college friends who then mailed it back to me when done.  This is on top of my numerous re-reads and the fact that I nearly always have a book with me.

When Anasazi Boys came out I was so excited at a sequel to American Gods that the actual reading was a confused let down.  It actually took significant deliberate separation of the two books (and some time) to enjoy Anasazi Boys in it's own right.  At times I might actually enjoy it more than American Gods, but the types of stories they tell are so different to me it's like apples and oranges.

I've actually never read the 10th anniversary author's preferred text edition.  And man, it's a pretty impressive paperback.  I'm interested to see what I remember and what pops out as new.

And yes, I'm dying with anticipation about the upcoming series.  Every trailer I've seen indicates that regardless of changes they're treating the concepts and series with respect to the inspiration, and they look amazing.  Thankfully, since I no longer have the fancy pants cable package as part of my monthly rent, I have a friend with Stars account so I'll be able to watch it before it comes out on DVD.

Gaiman has put together a lovely little introduction to Norse mythology in this collection of cleanly written tales.  The narrative voice is one that you could imagine belonging to a storyteller, sharing stories.  Some of my favorite myths are found in these pages, and several I had not yet read.  Overall the selection reads like a continuing story, rather than simply a collection of individual stories.  An enjoyable read for both those new to and familiar with Norse mythology. 

Advance Reader Copy courtesy of W. W. Norton & Company via NetGalley in exchange for an honest review; changes may exist between galley and the final edition.

The Dresden Files is probably one of my favorite series out there, and was quite conceivably my proper introduction to Urban Fantasy.  Thinking back, I know I read fantasy within contemporary and urban settings, but this grumpy, sarcastic, and too stubborn for his own good wizard caught my attention.

And then this collection comes across my radar.  With not just a new Dresden Files story, but stories by some of my favorite authors.

Shadowed Souls is an excellent collection of dark and urban fantasy, and a decent introduction to the genre for the curious.  If you're already a fan of urban fantasy but don't recognize the authors... pick up this collection, you've been missing out.


And editor Kerrie L. Hughes gave us some of her time to answer questions about working on anthologies!  Read on!

Hello!  Thank you for your time, both in answering these questions and the time invested in such a great anthology.

How do you get started with an anthology project?

This varies from project to project. In the case of Shadowed Souls, I had assembled a number of paranormal authors with the understanding that the finished project would change as needed in order to sell the project. The title can change, and in this case did once I got Jim on board. We came up with the title together, based on what I liked best about what he writes. On many levels it’s harder to put together an anthology than it is to write a book, so you have to love what you do. In the case of Shadowed Souls, I started the concept in 2012, sold it in 2014, and finished it in 2015 for publishing in 2016.

When putting together an anthology, how do you decide who to invite, what to include, what not to include?

First, I look at title ideas and make lists, lots and lots of lists. I know so many authors who want to be an anthology that I could put together a new one every month. For every idea I have, at least two others have failed for one reason or another. Anthologies are a tricky business. You have to find the right idea and get it to the right publisher with the right authors without missing deadlines or having authors drop out. It’s a lot like herding cats.

How does the process change when working with different co-editors?

It depends on the co-editor. Some want to be more involved than others. Some intend to be more involved, but then their own deadlines on other projects get in the way. The main reason a star author has a co-editor is so the co-editor can manage the project and work around them while making them look good. When I’m doing my job well I’m a combination of accountant, counselor, manager, and muse.

Is there an anthology concept you'd love to do that you haven't yet? What would your ultimate anthology contain?

Good question. I have numerous ideas. I’m always interested in doing anthologies in the paranormal realm. Witches are my favorite. Lately I’ve been obsessed with lost histories that tell the stories of people we aren’t necessarily aware existed unless we go looking for them. I also wouldn’t mind doing a collection of future dystopias based on current historical timelines. I’m basically a history nerd in addition to being a paranormal aficionado and an art geek. Ooh, can you imagine an anthology based on works of art? I’m going to write that down and make a list.

Do you have a favorite anthology that you like to recommend to readers (one of your own or someone else's)?

I love every anthology I’ve ever done, and I recommend all of them. I started out doing anthologies for DAW with Maiden Matron Crone, and caught anthology fever. I ended up doing a total of nine for them. Children of Magic, Fellowship Fantastic, The Dimension Next Door, Gamer Fantastic, Zombie Raccoons and Killer Bunnies, Girls Guide To Guns and Monsters, Love and Rockets, and then finally Westward Weird. All of these were done when working for Martin H. Greenberg, who was the largest producer of anthologies in North America. I also wrote a number of short stories for other anthologists, and did some small press anthologies here and there. Hex In the City and Alchemy and Steam were particularly fun. Until Shadowed Souls came along, Chicks Kick Butt, co-edited with Rachel Caine, was my biggest one, and I still think it’s great.

SHADOWED SOULS
Edited by: Jim Butcher and Kerrie L. Hughes
Roc Trade Paperback Original
$17.00 / 352 pages
November 1, 2016
In this dark and gritty collection—featuring short stories from Jim Butcher, Seanan McGuire, Kevin J. Anderson, and Rob Thurman—nothing is as simple as black and white, light and dark, good and evil..

Unfortunately, that’s exactly what makes it so easy to cross the line.

In #1 New York Times bestselling author Jim Butcher’s Cold Case, Molly Carpenter—Harry Dresden’s apprentice-turned-Winter Lady—must collect a tribute from a remote Fae colony and discovers that even if you’re a good girl, sometimes you have to be bad…

New York Times bestselling author Seanan McGuire’s Sleepover finds half-succubus Elsie Harrington kidnapped by a group of desperate teenage boys. Not for anything “weird.” They just need her to rescue a little girl from the boogeyman. No biggie.

In New York Times bestselling Kevin J. Anderson’s Eye of Newt, Zombie P.I. Dan Shamble’s latest client is a panicky lizard missing an eye who thinks someone wants him dead. But the truth is that someone only wants him for a very special dinner…

And New York Times bestselling author Rob Thurman’s infernally heroic Caliban Leandros takes a trip down memory lane as he deals wih some overdue—and nightmarish—vengeance involving some quite nastyImpossible Monsters.

ALSO INCLUDES STORIES BY

Tanya Huff * Kat Richardson * Jim C. Hines * Anton Strout * Lucy A. Snyder * Kristine Kathryn Rusch * Erik Scott de Bie *

A martial arts enthusiast whose résumé includes a long list of skills rendered obsolete at least two hundred years ago, #1 New York Times bestselling author Jim Butcher turned to writing as a career because anything else probably would have driven him insane. He lives mostly inside his own head so that he can write down the conversation of his imaginary friends, but his head can generally be found in Independence, Missouri.

Kerrie L. Hughes has edited thirteen anthologies in addition to Shadowed Souls, including Maiden Matron Crone, Children of Magic, Fellowship Fantastic, and Dimension Next Door.

Advance Reader Copy courtesy of Roc (Penguin RandomHouse) in exchange for an honest review; changes may exist between galley and the final edition.

It's Carnival on the planet of Toussaint, and young Tan-Tan dons her favorite guise, that of the Robber Queen.  But bigger games are afoot, and Tan-Tan is inadvertently caught up with her father's trespass and taken into exile as he escapes to New Half-Way Tree.  From a world where manual labor is a lifestyle choice to one where it is a necessity in ever aspect of life, Tan-Tan's world is forever changed.  Challenges never imagined now become a reality, and Tan-Tan must become the Robber Queen in truth to meet them.

A good article over at Strange Horizons here.

This year I included a few outside suggestions for the Virtual Speculation reading list, and our March read was one such suggestions.  I'm really glad of it, as I was only peripherally aware of Nalo Hopkinson before this (it appears I had an opportunity to review a new collection of short stories a few months back, but I didn't yet recognize the name so I passed).  I definitely recommend trying out her works.

Midnight Robber is a rich and painful story.

Discussion Fodder:

• What do you think of the narrator, narration style, and reveal?  Would you consider it a reliable narrator?
• Folk tales and history are intertwined in Toussaint lore.  How has slave trade and racism shaped this future culture?
• The society of Toussaint is high tech to the point of manual labor as a life-style choice rather than a requirement.  How do you envision the effects of such technology on society?  How does that compare to society as described here?
• What do you think of the book's handling of abuse and rape, and the reactions of those in the community?  How does the trauma effect Tan-Tan?  What do you think about her coping mechanisms?
• How does the the Robber Queen fit into the different narratives of the story?
• When Tan-Tan first arrives on New Half-Way Tree she calls out the inequality in respect between the douen and humans, to which Claude says "is a human that?... So how he could call we Compere?"  Later on we read "A simple gift, but Tan-Tan had come to understand over the years that douens were simple people; Aislin had told her so.  They did everything with their hands and never thought to advance themselves any further."  What do you think of the relations between humans and douen?  What about the douen deliberate deception of humans as a method of self-preservation?
• What are the implications of the reveal at the end of the book?