rod espinosa

A Darkhorse anuncia as aventuras de uma princesa pouco convencional, que se destaca no monte de princesas indefesas e tolinhas das histórias tradicionais:

Once upon a time, a greedy dragon kidnapped a beloved princess . . . But if you think she just waited around for some charming prince to rescue her, then you’re in for a surprise. Princess Mabelrose has enough brains and bravery to fend for herself!

Elysium

E aqui está algo que pode ser muito bom ou muito mau: uma história contada por um computador num mundo apocalíptico, mas os dados estarão corrompidos, pelo que a história não será contada de forma muito linear:

A computer program etched into the atmosphere has a story to tell, the story of two people, of a city lost to chaos, of survival and love. The program’s data, however, has been corrupted. As the novel’s characters struggle to survive apocalypse, they are sustained and challenged by the demands of love in a shattered world both haunted and dangerous.

E aqui fica também uma crítica concisa:

“Brissett’s punch of a debut is bewildering at first, but never so confusing as to frustrate the reader, and repeating elements and symbols help tie everything together–not neatly, for so much of the world is broken, but enough. Brissett deftly handles the challenge of a multitude of characters all being the same people in a multitude of places that are the same place, while exploring complicated questions about identity.”
–Publishers Weekly

imaginarium 2014

Para desenjoar da ficção especulativa americana, porque não ficção canadiana? Este Imaginarium 2014 pretende reunir o melhor do ano neste volume. Uma completa lista de conteúdos pode ser encontrado no site da editora. Deixo a sinopse:

Imaginarium 2014: The Best Canadian Speculative Writing is a reprint anthology collecting speculative short fiction and poetry (science fiction, fantasy, horror, magic realism, etc.) that represents the best work published by Canadian writers in the 2013 calendar year.

for a few souls more

Nesta trilogia fantástico-apocalíptica todos os títulos remetem aos clássicos Westerns: The Good, The Bad and The Infernal e Once Upon a Time in Hell. O interesse foi despertado não só pela capa e conceito, como pelo resumo do primeiro volume (abaixo). Os dois primeiros da trilogia já se encontram publicados, e o terceiro tem data marcada para este mês.

Every one hundred years a town appears. From a small village in the peaks of Tibet to a gathering of mud huts in the jungles of South American, it can take many forms. It exists for twenty-four hours then vanishes once more, but for that single day it contains the greatest miracle a man could imagine: a doorway to Heaven.

It is due to appear on the 21st September 1889 as a ghost town in the American Midwest. When it does there are many who hope to be there: traveling preacher Obeisance Hicks and his simple messiah, a brain-damaged Civil War veteran; Henry and Harmonium Jones and their freak show pack of outlaws; the Brothers of Ruth and their sponsor Lord Forset (inventor of the Forset Thunderpack and other incendiary modes of personal transport); finally, an aging gunslinger who lost his wings at the very beginning of creation and wants nothing more than to settle old scores.

A weird western, a gun-toting, cigarrillo-chewing fantasy built from hangman’s rope and spent bullets. The West has never been wilder.

Top of the volcano

The Top of the Volcano é uma colectânea que pretende reunir o melhor de Harlan Ellison, um autor cujas histórias já venceram todos (ou quase) os prémios do género. Uma lista completa das histórias pode ser encontrada no site da Subterranean Press.

The Top of the Volcano is the collection we hoped would come along eventually, twenty-three of Harlan’s very best stories, award-winners every one, brought together in a single volume at last. There’s the unforgettable power of “’Repent, Harlequin!’ Said the Ticktockman,” “The Whimper of Whipped Dogs” and “Mefisto in Onyx,” the heart-rending pathos of “Jeffty Is Five” and “Paladin of the Lost Hour”, the chilling terror of “I Have No Mouth, and I Must Scream,” the ingenuity and startling intimacy of “Adrift Just Off the Islets of Langerhans…”