What are you reading in 2024?

That's the exact same thing my friend said when she was putting me onto the series.
I still have about 100 pages to go, but I'm enjoying the weirdness of a society of space necromancers.

How dis you find it as a trilogy? Was it consistent across the 3 books? I'll be checking out the next book at some point when I'm finished, I do like her writing style.
I think these books are fantastic, and they're consistent in quality. Something that does hold in them is the form — 3/4 of the book is build up and the last 1/4 is kind of like a freight train, where she pays off the build up. I mean, they're all essentially locked room mysteries, so this is genre appropriate. It's a lot of fun.
 

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I liked Faded Sun better than Cyteen, it was less opaque
I'm reading those two back to back and after I finish the main run for a reason. Got through 'em once though, and remember enjoying them, so fingers crossed.

I desperately want to map out the Alliance-Union area somewhat properly, and work out a proper timeline, but it'd mean very nearly rereading almost every book. Ugh.
 

I'm reading those two back to back and after I finish the main run for a reason. Got through 'em once though, and remember enjoying them, so fingers crossed.

I desperately want to map out the Alliance-Union area somewhat properly, and work out a proper timeline, but it'd mean very nearly rereading almost every book. Ugh.
I also was on a Cherryh kick in the late 90's early 00's, and also read most of the ones you have mentioned over the course of a couple of years.

Chanur books still remain my favorites, but I also liked 40k in Gehenna and Downbelow Station. And the Faded Sun trilogy. Cyteen I recognized it's quality, but didn't connect with it emotionally
 

I also was on a Cherryh kick in the late 90's early 00's, and also read most of the ones you have mentioned over the course of a couple of years.

Chanur books still remain my favorites, but I also liked 40k in Gehenna and Downbelow Station. And the Faded Sun trilogy. Cyteen I recognized it's quality, but didn't connect with it emotionally
I do have sitting around here the Chronicles of Morgaine in an omnibus volume. It's not on my near term list, for at least another year. But eventually I'll get to it I think
 


Neon Nights: A Cyberpunk Detective Thriller by Anna Mocikat

I can only marginally recommend this. I was surprised to find it's not her first book; the characters are side characters from one of her other series. I say that because there's a lot of stuff I see in first novels: too much repetition, too much tell and not enough show, etc. A number of passages that I cannot decide if it's preachiness or just clumsiness; she seems to want to communicate that the 'perfect society' of Olympias is far, far from perfect even for the glitterati (apparently there was a war and the concept of nation-states did not survive it - everything is ruled by the Olympias Corporation, and things are really, really great for you as long as you don't step out of line or get in the way of the .0001%'s) but doesn't ever really pull that off.

It was a fair police procedural at best, not so good in the cyberpunk department. The tech we see is pretty standard fare, really, nothing new or surprising.


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Rising Tides (Capes, book 1) by Marion G. Harmon

I really, really enjoyed this.

This is the start of a new series in the Wearing the Cape superhero universe. I loved the first few books in the other series, and then kinda fell out of it. This got my interest back in spades. It's amazing.

You get all the best parts of superhero universe worldbuildfing, a zero-to-hero story, superhero training, and spy craft all mixed into one book. Anyone playing a teleporter in an RPG needs to read this book if for nothing else than the huge array of Stupid Teleporter Tricks you can see.

This have started to get bad for capes in the Wearing The Cape world. Public sentiment is turning against superheroes and powered peoples (many, many 'capes' have grade-c and -d abilities they use in mostly mundane ways, and they are definitely not going out and fighting crime). The rise of new terror organizations makes that even harder, as they have no problem targeting a cape's family, business, residence, etc.

Our hero. Kingston, gets grade-c teleporting abilities during a terror attack on Chicago (one of the most common ways to trigger a 'breakout' is extreme stress and danger to your life, which unfortunately leads scores of people to commit suicide each year), and then has to figure out if there is a way he can use this to make some buck. There are very, very clever scenes within his training montages and real world use of his abilities.


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Up next, I'm pulling Nassim Taleb's The Black Swan off the shelf again. I started reading it thirteen years ago, but never finished due to starting a new job. As such, I'm going to start from the beginning here; hopefully this time I'll be able to read it through to completion.
Well, I finally finished Nassim Taleb's The Black Swan, and it was just as fascinating as I remembered.

While the more mathematical aspects of the book were beyond me (even when I gritted my teeth and forced myself to read them), the overall thrust of the book is written very clearly, and no one needs to be an expert in math, economics, or risk management in order to understand the lessons here. Said lessons are, to quote the book's subtitle, the impact of the highly improbable.

What that means is that there are various aspects of life where unexpected, and highly improbable, events can have massive repercussions (positive or negative), and that (more importantly), attempts to forecast these improbable events (via modeling) is quite often a fool's errand. And yet, in many of these areas we lionize attempts to create such models, even when they're repeatedly shown to be unable to predict the most consequential events.

In this regard, Taleb is particularly scathing towards a large swath of economists, noting that their predictive models of risk management have failed to forecast any number of disasters (and that those lone voices, howling in the wilderness, who did see those disasters coming weren't using models to draw predictions about how things would unfold). The result is that many people were using "Platonified" (i.e. theoretical) models which didn't match reality, were shocked and horrified when the reality didn't match those models, and then when right back to using them after the crisis had passed.

One of his best examples of this is how we rely too much on the past being a predictor of the future, since while that's often correct, the times when it's not can potentially change everything. He illustrates this by talking about a turkey who is fed everyday for one thousand days by a farmer. The turkey has a great deal of past data to corroborate that tomorrow, the farmer will feed him again, and that this past-predicts-the-future data grows stronger as time passes; by the thousandth day, the turkey feels extremely confident in his predictions.

But what the turkey doesn't know is that tomorrow is Thanksgiving Day, and the farmer is coming out not with a bucket of feed, but with an axe.

Far better, Taleb tells us, to try and come up with robust systems which can withstand unexpected shocks (and is poised to take advantage of them when they're positive events, rather than negative ones).

Needless to say, this is going to make me take a good hard look at my stock portfolio, since I don't want to become the economic equivalent of a turkey.
 
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Finished Adrian Tchaikovsky’s Children of Time series. He does a good job of describing what a possible future could look like if the Earth leaned heavily into ark ships to spread throughout our corner of the galaxy. The way he imagined the uplifted species, in particular the corvids in book 3, was really plausible and interesting. I think I liked the second book best, and the third book the least. These are not my favorite books ever, and there are quite a few authors I would seek out before him; but if a book by him was the only palatable thing in the airport bookstore, I’d definitely be glad to read it on a flight.
 

These are not my favorite books ever, and there are quite a few authors I would seek out before him; but if a book by him was the only palatable thing in the airport bookstore, I’d definitely be glad to read it on a flight.
I find Tchaikovsky is a very variable author. Some of his books bore me rigid, others are extremely emotive and fascinating, many are in-between.

But based on the Shards of Earth trilogy, I'd put him as comfortably the best space opera (specifically) writer who is writing at the moment, and it's not even close. That series has made it actually hard to read other space opera or space opera-adjacent novels, because they're all so clunky, lack memorable characters, and are light on ideas by comparison. I honestly wish he'd focus on space opera for a while because of that, but he seems to always be all over the place genre-wise.

Some of his other books are almost randomly unreasonably good - Dogs of War, for example (and I feel like that's cyberpunk and thus very much modern space opera-adjacent).

So I find I'm very much more willing to "roll the dice" on a Tchaikovsky book than I am to accept the near-certain "6.5/10"-ness of most popular modern SF authors. Maybe it'll be like, 4.5/10 but also maybe it'll be like a 10/10 banger.

When are SF writers going to learn to write actual characters? I mean, such writers have existed - Iain M. Banks for one, and some still do exist (Tamsyn Muir for example), but most SF writers split into either "can only write cardboard cut-outs of characters" (Andy Weir, for example) or "writes somewhat plausible characters who are utterly milquetoast and forgettable" (I will avoid starting fights by naming names on this latter!). I mean, some cardboard cut-outs can work - Peter F. Hamilton rarely exceeds that level but can tell good and exciting stories nonetheless, but man, why not give them an actual personality? It's really not that hard (Tchaikovsky is an interesting case here because he makes heavy use of trope-y characters who border on the cut-out level, but usually gives them some spark which takes them beyond that). I'd rather have an somewhat over-the-top and memorable character than yet another utterly forgettable one.

I should probably read more of Ann Leckie's books - I liked the first one.
 

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