“Every Dialogue Scene Is a Duel” – Matthew Hughes, interviewed by Stephen Theaker

Hi Matt, thanks for agreeing to be our first interviewee.

I’m honoured to be here.

I’ve just finished reading the three Henghis Hapthorn novels, one after the other, and it was one of the most sheerly pleasurable reading experiences of my life. I’ve previously read The Damned Busters and Quartet & Triptych. Where would you recommend I head next? And is there one book of yours that you would recommend to first-time readers of your work?

Since you liked Quartet & Triptych, which is about my master thief and art forger, Luff Imbry, I would suggest The Other, from Underland Press in the US. It’s the first Imbry novel. It came out last month and it’s available in Kindle. You might also want to check with Angry Robot’s e-store in a little while. I’m just in the process of sending them the seven or eight Imbry stories that have appeared in various venues over the past few years.

Majestrum, by Matthew Hughes – reviewed by Stephen Theaker

This is the first of the Henghis Hapthorn novels. Having just read the second and third in the series I was surprised at how late in the story this one begins: already, Hapthorn is aware of magic, his intuition has developed a distinct personality, and his integrator has been turned into a grinnet. That is because the novel follows on from a series of short stories about the same character (collected in The Gist Hunter and Other Stories, now safely ensconced on my Kindle), but like novels two and three it stands perfectly well alone.

Crimewave Eleven: Ghosts, reviewed by John Greenwood

According to the publisher's website, Crimewave magazine was established in order to "plug a gap in the UK marketplace by publishing a crime and mystery fiction magazine". That sounds more mercenary than the magazine's creators probably meant it to. The attention to detail in the design and production of the book feels more like a labour of love than a mere marketing opportunity.

Founding editor Mat Coward is quoted: "We don't do cosy, we don't do hardboiled, we don't do noir. What we do is something entirely different to anything you've ever read before." The lovely noirish, hardboiled cover illustration seems to suggest otherwise, but the contents bear out his assertion, partly at any rate. None of the short fiction represented here falls neatly within such sub-genres. Whether it is entirely different to anything I've ever read before is a rather stronger statement.

Hespira, by Matthew Hughes – reviewed by Stephen Theaker

Like the previous Hapthorn novel I had read, Hespira declares its intention to be interesting from the very first page, in this case by introducing the concept of retrospectants. Collecting significant items such as buttons and twigs over the course of their lives, devotees of this spiritual path choose a day to die, and gather their friends together in order to “explain the hidden meaning and structure” of their existences, “as revealed by the seemingly random milestones” collected in their soul boxes. After the final revelation “the adherent would then be quickly killed and cremated”, leaving their boxes to become, with the passage of centuries, highly collectible. One could pick almost any page of this book and find an equally interesting idea.

Reviewing under a pseudonym

Guy Haley, a very experienced genre journalist, has been blogging about the critical response to his novel, Reality 36, a book I liked. There's a lot of good sense in the post, The Agonies of Criticism, plus a tiny bit of moaning about more negative reviews, but what caught my eye was this, with regard to his reviewing for SFX and Deathray:

“Sometimes I use a pseudonym Is there something that could possibly be construed as a conflict of interest by picky cyber-trolls? Then I write under a different name. There never is a conflict of interest, by the way, I’m always as subjectively objective as I can possibly be (or do I mean objectively subjective?), sometimes to the point of personal detriment.”

Get our magazine and books in print, a little cheaper than usual

Lulu has a special offer on the go, which'll let you get 25% off the already astoundingly low prices of our publications:

25% off any books
Coupon Code: LULUBOOKUK305
Coupon expires 31 January 2012
£50 Max Savings

You can find nearly all of our books and magazines here: http://www.lulu.com/spotlight/silveragebooks

The Spiral Labyrinth, by Matthew Hughes – reviewed by Stephen Theaker

This is the second novel in the Henghis Hapthorn series, but the first I read; the Amazon listings weren’t clear what the order should be, I downloaded the preview of this one to find out, and having read a page I refused to stop until I’d read the whole book. And what a fantastic and intriguing first page it was: by its end it had promised mysteries, thaumaturges, fancy words, an “intuitive inner self” called Osk Rievor, offworld travel, and that magic would “regain its ascendancy over rationalism”. I paid my eight pounds well before finishing the Kindle preview.

Ian Churchill’s Marineman, Vol. 1: A Matter of Life and Depth – reviewed by Stephen Theaker

Marine biologist Steve Ocean, known to fans of his TV show Ocean Encounters as Marineman, has a secret life as a water-breathing, super-fast, super-strong Navy operative. He’s a cross between Steve Irwin and James Bond, although if you’re a child he’s more likely to save your mum than dangle you in front of crocodiles, and he has a healthy respect for women rather than treating them as disposable playthings. That’s a major theme here: respect for women, and also for friends, colleagues, sea life and the environment.

Asking people to vote for you in awards...

Lots of debate among writers today on Twitter regarding literary awards – as usual, one might say. The question is: is it acceptable to ask people to vote for or nominate your work? Adam Roberts described it as a "demeaning and contemptible practice", to which Paul Cornell (one of my favourite writers of Doctor Who novels) replied "demeaning and contemptible my arse". The debate rages on, but that's the gist of it.

Asking people to vote for your work means you think your book would be a worthy winner, and that can look rather big-headed. Or even worse, it suggests you don't care if your book is the best: you want to win anyway. Both of those can rub people up the wrong way.

For example, just before Christmas I saw a guy on Facebook saying that "anyone who hasn't yet read my ---- can assuage their guilt by voting for it in the ---- awards". Now, that is exactly the worst of it: you haven't read my book, but vote for it anyway. Ptui!

Awards are nice, and I'll admit that, now TQF is eligible again for the British Fantasy Awards, I'd be very excited to pick up another nomination, even if I don't think we quite deserve it yet. But they're not worth being silly about. Be cool. Encourage people to engage with the awards process properly, to read as many nominees as they can, not just vote for you because they're your pals.

Incredible Change-Bots, by Jeffrey Brown – reviewed by Stephen Theaker

The incredible Change-Bots are divided into two camps: the Awesomebots, led by Big Rig, and the Fantasticons, led by Shootertron. Having devastated their home planet of Electronocybercircuitron, they come to a temporary truce and pile into a spaceship, but fighting breaks out over whether word processors and incredible Change-Bots evolved from a common ancestor and they crash land on Earth. With a handful of unfortunate humans caught in the middle, their never-ending but rarely fatal battle continues to continue.

Theaker's Quarterly Fiction #39 – now available for free download!

Merry Christmas and a happy new year! In this issue we have six more stories of Thornton Excelsior from the magnificent Rhys Hughes, mutant ultraviolence from Mike Sauve, and a science fiction tale from our dear friend Douglas Thompson. Ben Ludlam illustrates a Thornton adventure, and there are lots of reviews, from Jacob Edwards, Douglas Ogurek and me. Also, a mention for two people without whom I would have struggled to keep the magazine going these last two years: Howard Watts, who with his wonderful cover art has saved me from the quarterly hell of trying to create covers myself (TQF21’s awful, awful artwork still makes me shudder), and my co-editor John Greenwood, who has read virtually all the submissions this year.

Past contributors, new projects!

Some of our contributors have new projects out!

D. Harlan Wilson ("Houseguest", TQF33) and Douglas J. Ogurek ("NON", TQF33, and many, many reviews in recent issues) both appear in WTF?! from Pink Narcissus Press, which features "corrective surgery gone wrong, punk rockers abducted by aliens, zombie sharks, dead matadors, exploding ice cream factories, and dwarfs obsessed with pomegranates".

Alison Littlewood ("The Eagle and Child", DH53; "Day of the Bromeliads", TQF31; "Sarkless Kitty", DH55; "Off and On Again", TQF38) has a novel from Jo Fletcher Books about to hit the shelves, A Cold Season, about a young widow who takes her son back to the town she grew up in. I've read it, and let me tell you, that book is enough to give any freelancer nightmares for weeks. Especially if they're also a parent!

David Tallerman ("Imaginary Prisons", TQF29; "Friendly", TQF31; "Glass Houses", TQF34; "Devilry at the Hanging Tree Inn", TQF37) has a novel out from Angry Robot, Giant Thief, on February 2. I hope it's about someone who steals giants. That would be awesome. He'd have to take them to a giant fence, or possibly a giant launderer.

A reminder to any contributors to Theaker's Quarterly Fiction (or to Dark Horizons 53 to 57): we're always happy to run free adverts for you in the magazine, so do get in touch if you have a new project out.

(Thanks to ISFDB and its capable indexers for assistance in putting this blog post together!)

Atomic Robo, Vol. 2: The Dogs of War – reviewed by Stephen Theaker

Created by Nikola Tesla, Atomic Robo is a stout robot with big, expressive eyes who seems to have spent the twentieth century fighting evil and having adventures. There are similarities with Hellboy – his dry sass, the art style, his strength and toughness – and in some ways the comic does for science and adventure stories what the Hellboy comic does for supernatural tales and the weird. Unlike Hellboy, Atomic Robo wears trousers and shirts, which may seem a silly thing to note, but there’s no doubt that it’s part of the character’s appeal: it is visually intriguing to see a robot wearing clothes.

Kalin: The Dumarest Saga Book 4, by E.C. Tubb - reviewed by Stephen Theaker

The format of the Dumarest books is perhaps ideal for a long-running series. Earl Dumarest is searching for Earth, travelling from one planet to another, sometimes in time-dilated luxury, the next in frozen popsicle coach. On each world he has two goals: to find clues to Earth’s location, and to raise enough money to buy a ticket for the next hop. Each planet has its own cast of characters, its own particular challenges. That means you can pick up any in the series without struggling to follow continuity: any of the four books I’ve read in the series could have stood as the first.

Game of Thrones, Season 1 – reviewed by Stephen Theaker

To quote Andrew Collins, where did it all go right? Heroic fantasy on television should look shoddy and embarrassing, not as sumptuous as Liz Taylor’s Cleopatra. The dialogue should be stilted and silly, not as sharp, wise or venomous as the very best on television. The cast should be self-consciously slumming, not delivering – as Sean Bean does – what might be the best performances of their careers. If fantasy on television can be this brilliant, why were we so happy to have Hercules: the Legendary Journeys? And it’s from HBO, a channel whose dramas I traditionally enjoy for one or two episodes before drifting away. Cinematic television is a lovely idea, and I watched the first episode of Boardwalk Empire as if it were a movie, but was never quite in the mood for the sequel. Game of Thrones, however, is the most watchable, thrilling HBO drama since Band of Brothers, a million miles away from the elegant tedium of a Carnivale. Perhaps most astonishing yet is that for all the talk of how expensive it was, the budget of these ten incredible hours of television was reportedly less than half that of a film like Knight and Day.

Warhammer 40,000: Kill Team – reviewed by Stephen Theaker

This twin stick shooter acts as an aperitif for the full price Warhammer 40,000: Space Marine, but works in isolation. There are only five levels, all part of an assault upon an ork Kroozer, but each takes forty minutes or so to complete, and the different talents of the grunts provide a good deal of replayability. As a Sternguard Veteran the player mows the orks down the minute they pop out of their cauldrons; the melee weapons of the Librarian give them time to unholster their weapons, requiring more tactical play.

The Walking Dead, Season 1 - reviewed by Stephen Theaker

Post-apocalyptic programmes don't tend to do very well. Jericho, Jeremiah, The Survivors (both versions), The Tripods, Three Moons Over Milford, etc – not many have made it past or even reached a third series. After all, just how miserable do you want to make yourself just before bedtime? But The Walking Dead is good enough that it might just buck the trend. The six-episode first season certainly looks great. Occasional shots of massed CG zombies are used sparingly, physical make-up being more frequent. The story follows young police officer Rick Grimes as he emerges from hospital and makes contact with other survivors. This Life’s Andrew Lincoln makes an excellent lead and the rest of the cast is just as good. In Frank Darabont, director of The Shawshank Redemption and The Mist, the programme has a showrunner to die (and then return from the grave) for.

Dick Barton and the Paris Adventure – reviewed by Stephen Theaker

In a series of fifteen-minute episodes, Dick Barton and his chums work their way into the gang of black marketeer Spider Kennedy, who has a nasty habit of blowing up trains. Rather than the originals transmitted between 1946 and 1951, these are re-recordings produced for overseas transmission in 1949. Occasional line fluffs are not a problem, but do suggest these were recorded very quickly. Though there’s buzzing in places, the sound is good for such an old recording – particularly when it comes to the blood-curdling death screams.

Theaker’s Fab Five #2: Radiohead, M83, New Order, Broken Social Scene

I bet you’re excited, aren’t you? I’m going to talk about the CDs I’ve been listening to again! If this were a school it would be Excitement High! The numbers don't indicate an order of preference, but rather their slots in my five-CD stereo.

1. Radiohead - TKOL RMX 1234567 - CD1

I never quite noticed that I was becoming a fan of Radiohead, but I’ve bought three albums in a row now, and listened to them all an awful lot. This remix album continues the odd funkiness of the previous two, and has barely left the CD player since I got it. A good remix album can be perfect for listening to while working, since the words are usually broken up enough to stop you paying too much attention. I still have a soft spot for The Cure’s Mixed Up, and I used to love, inexplicably, The Beloved’s Blissed Out. My favourite remix album of all is probably Mogwai’s Kicking a Dead Pig. It was a track off there, R U Still In 2 It? (DJ Q Remix) which led me to them in the first place, after it was featured in a demo for Actua Ice Hockey 2. Apparently the full game featured two of the band as unlockable characters.

2. M83 - Hurry Up, We’re Dreaming - CD1

Still a bit on the fence about this one. I love Midnight City, in a Magnetic Fields disco kind of way, but not convinced by a lot of the rest just yet. Reunion sounds like Simple Minds or U2 or something equally abominable, but I almost like it. Since seeing the video for Midnight City (see below), which features a bunch of superpowered kids escaping from a facility, I’ve been looking out for clues that John Byrne’s Next Men was an influence on this album: at the beginning of their story the Next Men are dreaming…

3. New Order - Movement - Collector’s Edition CD2

The Radiohead remix album – specifically Nathan Fake’s remix of Morning Mr Magpie and the Mark Pritchard remixes of Bloom – has sent me back to early New Order in a big way. In the space of a couple of weeks I’ve bought Singles, the collector’s edition of Movement, Taras Schevchenko and Control on DVD, and even a Movement t-shirt. (Plus New Order’s last album, Waiting for the Siren’s Call, and Bad Lieutenant’s Never Cry Another Tear, which to a brief listen sounded a lot like The Cure at their cuddliest.) This CD has some of my very favourite New Order tracks: In a Lonely Place, Procession, Cries and Whispers, Hurt and Mesh. Wish they’d revisited that style a bit more in later years.

4. Broken Social Scene - Forgiveness Rock Record

A bit quieter and easier to take in than the eponymous album, which sounded like ten bands in a blender – but I miss the little rapping bits. I like a bit of rapping in a song. Some may think this heresy, but I thought Dizzee Rascal’s bits in the Feed the World remake were the best thing about it. This album has a nice cosy sound. But Texico Bitches uses the second word of its title way too much for me to be able to have this album on in the house very often. This may well find itself tucked away with the work of potty-mouths like the Wu-Tang Clan before I get a chance to develop any real affection for it.

5. New Order - Movement

One of my favourite albums since my school days. If I had any musical talent, I’d be making albums that sound pretty much exactly like this.

And on the iPlayer I’ve been enjoying Sorry I Haven’t a Clue, the Now Show, Richard Herring’s Objective, and Kermode and Mayo’s film programme.

I’m so lucky to work at home... Here's that M83 video.

Doctor Who: Castrovalva, by Christopher H. Bidmead, read by Peter Davison – reviewed by Stephen Theaker

In the fifth Doctor’s first full adventure, he’s accompanied by Tegan and Nyssa; Adric is in the clutches of the rejuvenated Master. The Doctor’s fourth regeneration has not gone at all well, and he needs to rest. The recuperative properties of the zero room lost to a brush with the big bang, the Tardis heads for peculiar Castrovalva – which ultimately proves to be another of the Master’s traps.

Like Bidmead’s previous story, Logopolis, Castrovalva plays with lots of clever ideas: the zero room, recursion, Escher’s artwork and entropy. The original broadcast of the television version was, for a child, quite mind-blowing (and, years later, helped me get my head around first year philosophy). Freed from budgetary constrictions, the audio version achieves moments of real grandeur. Freed from acting constrictions, Adric, Tegan and Nyssa become almost three-dimensional.