GRIEF EATER, female rage, childhood betrayal, homophobic idiocy revenged upon

GRIEF EATER
EMMA OSBORNE
Interstellar Flight Press (non-affiliate Bookshop.org link)
$9.99 ebook, available now

Rating: 4.9* of five

The Publisher Says: Visceral, gritty, and unforgiving, GRIEF EATER is a zombie story like you’ve never read before.

When Kristina rises from her violent death, she’s not the same fragile woman her family once abandoned. She’s rageful, powerful, and hungry—for the blood of the ones who were supposed to love her. With a newfound craving to see vengeance and grief served, she launches into a once-in-an-undead-lifetime journey across blood-slicked highways to the scorched Australian bush and her hometown. As her body fails and her mind fractures, she’s left with one final question: Is she here to forgive, or to feed?

A transgressive, gory examination of queer identity and found family, GRIEF EATER sinks its teeth into trauma and what it means to be devoured by grief.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: I don't read many zombie stories, so I can't say "this is really different from all the others in the genre" with any confidence or authority. I can say I don't think anyone I've run across discusses the way the zombies are resonating with their readers on the level of emotional impact, of exploring how grief is a deadly contagion.

Katrina is one of the interesting-to-me abuse archetypes: someone who was offhandedly neglected, occasionally brutalized by unkindness from, it seems, earliest life; someone who is benumbed by her absence of caring for her as a person as well as damaged by the indifference to her actual fleshly person's caretaking. It is not uncommon for queer, odd, Othered kids to suffer this fate.

Ask me how I know. (Not a serious invitation...don't, please.)

So Kristina's brutalization by those with a duty of care towards her is resonant with me, and with many millions of us around the world. I don't...can't bear to...say "billions" though I suspect it's the literal truth. Katrina awakens to her afterlife as a zombie because her life as a human ended gorily and as a result of abandonment. It's weirdly liberating, this alteration. It's permission to drop her human life's expectations for the raw, vicious reality of revenge...of bringing into meatspace the consuming hatred of those who ignored and dismissed Katrina when she most needed their care: "I know now why we look so mindless, so insatiable to the living. There is beauty in letting your body glut itself with rich fat and small bones."

As a novella, this horror story is finely judged to the point where it felt to me, as I came to its end, there was not lingering sense that this or that was in need of more room to develop. The SFnal background was deftly handled in that it is left as a background. It isn't the point of the storytelling, so let it be the story's matrix. I often wish horror/near-future SF would choose this deliberate backgrounding in place of half-hearted worldbuilding that is more or less an infodump. Better in my mind, for my reading taste, to offer fewer details but place them with care and forethought in place of a wodge of stodge that's plopped before you and assumed to be part of your mental furniture henceforth. My example of this technique at its most irritating is how Asimov treated us in Foundation. My example of how my preferred method of establish and reinforce lightly but effectively is Orwell's clock striking thirteen in the very first line of 1984.

It's a rare feat to tell me a story about a subject I'm not interested in...zombies in this case...and come away with my admiring compliment: this is a close-to-perfect example of its format and its subject matter.

IGNORE ALL PREVIOUS INSTRUCTIONS, a chilling title that blooms as you read its story

IGNORE ALL PREVIOUS INSTRUCTIONS
ADA HOFFMANN
Tachyon Publications (non-affiliate Bookshop.org link)
$18.95 paperback

Rating: 4.25* of five

The Publisher Says: A script supervisor for an AI media conglomerate is caught between her intense need for an orderly life and her deeper, darker queer desires. From the creator of the Outside trilogy, a heartfelt interplanetary epic of identity, longing, and a space pirate who smuggles inappropriate stories.

Kelli Reynolds loves creating stories more than anything in the world. But on Callisto, a generative AI company called Inspiration owns everything, including all the media, and only Inspiration determines which stories can be told.

Kelli has a rare and coveted job in which her autism is to her advantage: She precisely edits AI output into “appropriate” stories for Inspiration’s massive TV audience. Her proudest creation is the pirate Orlando—a dashing do-gooder based on stories she used to tell friends.

Reenter Kelli’s ex-boyfriend Rowan, the person Kelli based Orlando on. Back when they were teenagers, their relationship was a secret. Kelli had thought that Rowan, a trans man, was her schoolmate Em, a girl.

Rowan is tangled up in the black market after he needed to get money for gender reassignment surgery. He needs Kelli’s help with something . . . illegal. So, now Kelli has to decide: Will she risk the safe, tidy story of her life now for the world she once wished for? What would Orlando do?

Passionate, dangerous, and tender, Ignore All Previous Instructions is a sweeping, poignant novel about censorship, forbidden love, and growing up.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: When one entity controls the entirety of a resource, controls all access to that resource, and the resource in question is valued highly by enough people, you have the makings of a great story. Food...oil...microchips...stories, doesn't much matter what it is, if there's a control of access you're looking at an inevitable reckoning for the controllers. They will do literally any- and every-thing to keep you, the dupe, hooked on whatever it is; they will cause hideous suffering and death just to keep their power and privilege.

Is this ringing any bells? Anything at all coming to mind?

That's the story Author Hoffmann is telling us. If that story is not to your liking, this is not the read for you.

The execution of the basic story is good. It offers the Resistance becoming an outright rebellion; it uses the characters' genuine, relatable emotional realities to deepen our readerly investment in the events. I was deeply invested in Rowan's multiple axes of rebellion, personal and moral; I found Kelli's deeply personal path through coming to awareness of the wrongs being done to her and to everyone else very convincingly limned by a very talented wordcraftworker.

Why I don't offer a perfect five is Rowan's direct PoV being limited to flashbacks. I found that jarring, when we have Kelli as the direct PoV in past and present. I looked for a structural reason that needed to be the way we were getting the story, but couldn't find one. Kelli's job as a script supervisor, with high-masking autism-spectrum disorder, is very very well used to set stakes believably. Her borning realization of the evil she participates in is *chef's kiss*.

Highly recommended for culture warriors most of all!

THE SHUTOUTS, keeping apocalyptic tales oddly fresh

THE SHUTOUTS
GABRIELLE KORN
St. Martin's Press (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4.25* of five

The Publisher Says: A brilliant queer dystopian novel from the author of Yours for the Taking, following a cast of characters on the margins of a strange and exclusive new society.

The year is 2041, and it's a dangerous time to be a woman driving across the United States alone. Deadly storms and uncontrollable wildfires are pummeling the country while political tensions are rising. But Kelly's on the road anyway; she desperately needs to get back to her daughter, who she left seven years ago for a cause that she's no longer sure she believes in.

Almost 40 years later, another mother, Ava, and her daughter Brook are on the run as well, from the climate change relief program known as The Inside Project, where they've spent the past 22 years being treated as lab rats. When they encounter a woman from Ava’s past on the side of the highway, the three continue on in a journey that will take them into the depths of what remains of humanity out in the wilderness.

At the same time, way up North, weather conditions continue to worsen and a settlement departs in search of greener pastures, leaving behind only two members, drawn together by a circumstance and a mystery they are destined to unravel together.

Set in the world of Gabrielle Korn's Yours for the Taking, The Shutouts tells the captivating story of those who have been shut out from Inside, their fight to survive, and an interconnectedness larger than all of them.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: A woman who's a teenager right now is writing letters to Orchid, her young daughter in 2041, a daughter she has not seen in some time. It is heart-wrenching because Kelly's letters are written as a mother who did the best she knew how to do tries to cross a ravaged US in a planet-scale climate apocalypse. She is not having an easy time of the trip. It is a terrible world and a terrible personal situation in that world—no one ever *wants* to leave their child behind. Switching to 2078, we have the second strand of the story, not epistolary but Orchid's third-person cinematic PoV, very close to the character.

This is the main way Author Korn creates investment in her not-very-active story. I have not read the first book, and I didn't feel the lack of the background mostly because I was always inside the field of vision of the narrator of each section. There might be apocalypse unfolding around them, but I'm...insulated...in their bubble of awareness and attention. It *should* feel slow, cut off from the world, instead I'm deeply enmeshed in the characters' feeling world, connected to their emotional responses to the situation. It works a lot better than I thought it would.

In large part, I think, because by using this technique, Author Korn is able to bring the reader through almost sixty years of immense upheaval without making that upheaval the matter of the book. I've sort of reached a saturation with The Climate Apocalypse as the story. Author Korn doesn't make me do the day-by-day; she lets me see the horrors through the eyes of a survivor of the horrors. In 2078, I'm in the world the apocalypse left, and as I'm in the limited viewpoint I'm seeing and responding to the parts that are in Orchid, the narrator's, attention. The centrality of Ava and her daughter Brook pull the mother/daughter bond along with us as we experience with Orchid the toughness needed to survive in this world.

It's an intense experience, and it's all queer all the time. It's that piece that warmed me the most. The world's collapsed and we're still here, we're in the survivors and doing great things with the space we take up. The intense personal commitment to mitigating the horrors, to ameliorating the suffering of all while incurring intense personal suffering from sacrifices made...well...it's quite a step from the usual queer fare I see everywhere. As the world fractures and fragments it's so lovely to see these queer folk making their very best efforts to extend survival and the opportunity to thrive so generously.

I'd give it all five stars if I hadn't felt rather pulled around to little enough purpose by some of the parts where Kelly's narrating her efforts to reach Orchid...I get it, it's really demanding, let's focus on how it makes you feel not what it's exacting from you. Likewise there are moments where Orchid's in motion for, well, for the sake of it it seemed to me.

I cavil; I would not say these issues were terrible, only niggling. It's a read that stands alone, yet makes me wish I'd already read its predecessor. Fine work indeed.