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Showing posts with label Nnedi Okorafor. Show all posts
Showing posts with label Nnedi Okorafor. Show all posts

Wednesday, July 21, 2021

"The Winds of Harmattan" by Nnedi Okorafor

First appeared in Nalo Hopkinson's Mojo: Conjure Stories. Reprinted by David Farland.

Nalo Hopkinson's anthology was about personal magic, using it to alter fate, which she described as "tricky, powerful, and often dangerous." Nnedi Okorafor's offering repays careful reading. It's trickier than its simple appearance.

Asuquo, the protagonist, is an alluring young woman, but she has the undesirable "seven glistening locks of dada hair" which made her a child of Mami Wata, the water deity who would come to collect and thought to be barren. Worse, she can fly. Her husband ties her down to keep her from flying away. She will become a legend, but even that will be rewritten.

What's wonderful here is the challenge it presents. It seems a typical feminist tale, but there are things that it accepts, rejects, or doesn't question, that should leave everyone uncomfortable, no matter what the perspective, which is exactly what Asuquo represents within her village--something that cannot be tamed or forced into a box. Any particular reading will have to ignore some details in order to make a case for forwarding a particular agenda. It has all sorts of barbs that makes it "tricky, powerful, and often dangerous."

Wednesday, January 15, 2020

Binti by Nnedi Okorafor



This first appeared at Tor.com. It won the Nebula, NOMMO and Hugo awards and was up for the Locus and was reprinted by Paula Guran, Julie E. Czerneda. It will be produced by Hulu as a series.

Note: I commented on her use and others' uses of “force field” here, which has more to do with science than the quality of the work.

            Summary

See the source imageBinti has received a scholarship to go to the prestigious Oomza University, off-planet. Her family and friends try to discourage her as this is not the way of the Himba people. She is expected to carry on her father’s business, but instead a strong desire to learn pulses through Binti, which is why she applied in secret.

Shortly after she befriends her future colleagues headed to school with her on the spaceship, the ship is attacked and only Binti holds the key that help create peace between two long warring peoples. Her life and the lives of the fellow humans and Meduse—translucent and tentacled aliens.

            Commentary with Spoilers

The story is speculatively and culturally rich. The Himba with their isolated and mystical-scientific ways, the Meduse, the astrolabe, treeing, the edan. It doesn’t over- or undersaturate the story (although a few readers new to SF might be put off if they aren’t willing to stick with the estrangement). There’s nothing simple about these as some speculations grow to have more significance or unforeseen uses.

Binti is a sufficiently characterized and sympathetic. We care about her struggles with her family and the Medusae as well as the newness of the experience of going to university.

The best scenes are surprisingly, intensely and virtuosically held in a small room as Binti negotiates with aliens who have just wiped out the ship (as far as she knows), as she navigates her edan which becomes no longer an ancient tool, and as she consumes the last of her food.

Plot questions linger. For instance, if the Medusae are such a threat, why aren’t they anticipated? Why don’t Khoush see their enemies coming? Why isn’t there more grief over the loss of so many? Does the University not care? Why isn’t there at least a little more resistance to peace due to this? Binti is supposed to be a harmonizer, but it isn’t clear what she has done personally to facilitate this peace.

The telling is spare, which is smooth and largely pleasurable, but at times too spare. Sometimes she notices things (like food when the Medusae are their most threatening), and sometimes she doesn’t when she should. Being stuck in her room for a long period should cause her to study environs a little more closely. The Himba may not be good observers, but with her intelligence and the newness of her world, she should probably be engaging a little more with what she interacts with. This doesn’t mean tedious or pointless details but simply more.

The prose style has a curious threading where it comes around to the same thing and treats it again and again--for instance, the death of her classmates and her interactions with family and friends prior to leaving. The retreading of the same events would make sense in the case PTSD, yet the importance of her new friends’ deaths seems to disappear, so she seems to have recovered quickly, which might make sense depending on her personality, culture, and perhaps more tentative or superficial relationships with her new friends. It may be that these humans have less concern about lives lost in the past (vs. lives that could be lost), even if relatively recent.

Some of these plot questions and stylistic choices may be answered if this were cut from what was always intended as a novel. The opening and ending suggest as much since they don’t contribute to furthering the core of the novella but may unpack within the novel. The narrative is compelling enough to read further: to deepen our understanding of Binti, her people, the Khoush, the Medusae, treeing, and the edan (not to mention whatever the university has to teach).

Friday, January 3, 2020

Parsing What a Force Field Might Be


I haven’t rhapsodized on science in literature in a while, so it’s time.

While reading Nnedi Okorafor’s Binti, I paused to mull over the use of “force field” on the second page. She wasn’t using in the accepted sense, which is usually a nonsensical energy defense shield against attacks. At least at the moment, these force fields seem improbable. The word “force,” in this case, probably refers to some military sense, as in the Air Force.

See the source imageIt probably does not refer to force in the scientific sense of something that place a force upon a mass to cause it to accelerate. It usually absorbs energy and somehow sustains damage as a physical object might although who knows why it should do so if there’s nothing physical to damage. Perhaps the excess energy in fed into some device that can only absorb so much energy. But usually there’s a percentage loss or gain. “Shields are at 47%, Captain!” Whatever that means. I suppose we know that 60% is a barely passing grade in school, so we feel safe until it drops to the dreaded 59%.  “We can only sustain one more hit!” is a little more clear if a little less scientific seeming.

Here’s Okorafor’s usage:

“Once on, the transporter worked better when I didn’t touch it.... When nothing moved, I chanced giving the two large suitcases sitting atop the force field a shove. They moved smoothly and I breathed a sigh of relief.”

This is a “transporter” that apparently moves things via a force field, which is clearly not a defensive energy structure but perhaps a more scientific (or scientific seeming) than the military one used in SF. What is it?

We have magnetic fields, which we visualized in grade school by dumping iron filings on a sheet of paper which had a magnet underneath it—all of those semi-circles converging at the poles. The earth has its own magnetic field which we can see in a few ways: 1) a compass points to the poles by aligning with the fields in more the same way an iron filing does on a sheet of paper. 2) The aurora borealis or the northern lights is a light show you get when the earth is bombarded by a lot of sun radiation and it all gets funneled into the poles where it interacts with the atmosphere. “That’s a force field!” someone might cry enthusiastically. Yeah, it sort of is. Except there are no atmospheres surrounding space ships and force fields explode physical objects and lasers.

But clearly this is something that transports. You might think of gravity as a field with just one pole, where the closer it get to the gravitational object, the greater the gravity. The closest I could imagine would be an object works the opposite of a gravitational field. Imagine a planet that didn’t hold you down but shoved you away. To transport, it would need to first overcome gravity (to get off the ground) and then match it so it can hover. Cool concept. Since we’re dealing with acceleration, I doubt it could come off smoothly.

But then in order to move the luggage, you have to move the force field which is the tricky part. How do you do that? It is a field, which means it acts the same in all directions. As you approach it, it pushes you away. Luckily, you have the earth and friction on your side, but unwary children might get knocked down. You might have to lean toward it—at least initially—to get it moving.

But how do you turn and stop it? With great difficulty. With it on, it’d be a little like trying to guide a ball rolling downhill in that you aren’t maintaining the ball’s movement but guiding or herding. You might just turn it off and let friction stop it, and then on again once you change directions.

But how does it generate a field? Magnetism does so via the movement of electrons, or aligning unpaired electrons. Gravity works by the proximity of masses. But this does the opposite of gravity. There used to be the staple of SF of having “anti-gravity” devices in your equipment—whatever that was. Perhaps they made a things have a negative mass. If so, how do you neutralize the effect since it is usually not behaving as if it were acted on by a force? I have no answer for that.

Crazier still, the luggage is sitting on top of the transporter, so could it actually be a part of the transporter’s “system”—a term meant to include the luggage as part of what acts outward, of what pushes things away? Yet the luggage is on the outside and should be one of the things pushed away. Could it be levitated, just as the transporter levitates? Possibly, but what then would be the point since the expenditure of energy would likely be wasted? Why not use a cart? And levitation would be in a precarious situation should the transporter change directions... unless the force field were bowl-shaped to help keep objects centered on top.

Maybe someone else has a better idea how this force field works. Interesting to speculate on, nonetheless.

Friday, December 13, 2013

Interviews

Nnedi Okorafor -- lots of commentary on her works in the tagged link below


Christine Schutt did a cool novel called Florida which did as much between scenes as in them.

Gareth L Powell -- crazy imaginary monkey comes to life!

Matt Mason -- very colloquial and poignant poet with a touch of wit and humor

Lou Anders -- in his editorial capacity (shortly in an authorial capacity, no doubt)

Joe Lansdale -- author of gritty works

Wednesday, May 15, 2013

"The Chaos Magician's Mega Chemistry Set" by Nnedi Okorafor

First appeared in Space and Time magazine
Reprinted in Apex magazine

Ulu's father bought her a chemistry set, so she could be like her father.  He buys the set from an odd man who has a dog with six legs.  She wants to clean the rivers, but her experiment creates the smell of farts.  Mushrooms sprout from the floor.  Yams walk around.  Dogs shrink.  Ants talk and explode.  Ulu has to stop the craziness, but the houseplants, like octopi, attack.

A delightful YA tale of comic zaniness.

Tuesday, May 14, 2013

"The Palm Tree Bandit" by Nnedi Okorafor

First appeared in Strange Horizons

In many of Okorafor's stories is the importance of the oral nature or at least of storytelling.  This is not just a story existing by itself, but a communication between loved ones, passed down through the generations.  Here especially the story is passed from woman to girl, about the nature of females fighting for their freedoms.

Women weren't allowed to climb palm trees in this Nigerian village, so Yaya, the great grandmother of the listener, does so under the dark of night to carve the symbol of the female, the moon, into the trunk.  This throws the village into chaos.  Next, she drains the tree for wine.

After a while, Yaya doesn't have to climb the tree anymore.  The jug of wine mysteriously appears by her bed.  The legend has taken on a literal life of its own.

Friday, May 10, 2013

Revised: "African Sunrise" by Nnedi Okorafor

First appeared in Subterranean Press

Like "The Book of Phoenix", this is "excerpted from The Great Book", which--if/when it becomes real--may be a pretty nifty book, indeed.

There are seven towers, and Phoenix lives on Tower 7, a skyscraper where she was born on the 13th floor of thirty-nine, two years ago, although through aged acceleration she looks and behaves as though she's forty.  Saeed, eater of glass or dirt or rotten rice, is dead--her only friend in the tower.  Phoenix struggles to maintain her temperature.

In the aftermath of the Phoenix's destruction of Tower 7, Phoenix takes the tree's seed--which she realizes is alien--and takes it to Africa to grow.  Next, she meets a man, Kofi, whom she loves briefly, and later reunites with beings like herself--beings thought dead.  She plans destruction of this government facility.

The first part reads like a more deeply imagined version of the earlier Clarkesworld tale, but it continues beyond the first.  One might skip the Clarkesworld version.  Probably it is here to give the background to part 2.  A reader might, otherwise, feel he's missed out.

The new additions expand on Phoenix's super-human abilities as well as possible inklings of the researchers' military designs.  As with excerpts, many unanswered questions await.  For example, why does the government attack conventionally when it knows the result?  How were they planning on deploying her?  Why does she run?  Can anything stop her?

Thursday, May 9, 2013

"The Book of Phoenix Excerpted from The Great Book" by Nnedi Okorafor

First appeared in Clarkesworld

Like "African Sunrise," this is "excerpted from The Great Book," which--if/when it becomes real--may be a pretty nifty book, indeed.

Phoenix is a created being, kept or trapped on Tower 7.  Her body overheats and she gets shot at, but her body heals itself.  She has a friend, Mmuo, who can walk through walls and cannot be held in the building, but he sticks around, anyway.  Mmuo has a trick of direct communication as well.

Why she's created and what she is, you may surmise; it's a cool premise, nonetheless.  Some description isn't stellar (the conceit here is that this is orally told, explaining the description), but it's a fun read.

Wednesday, May 8, 2013

"Hello, Moto" by Nnedi Okorafor


First appeared in Tor.com

This is the story of three rich, beautiful, powerful women whose power derives in part from the technological wigs they wear.  The narrator has had a change of heart.  She sees the poverty of the women around and wants to bring down her former friends through a virus.  Her friends, however, don't plan on giving up their power easily.

While a moving and dynamic tale, the technology is semi-vague, the conclusion (intentionally) inconclusive, which does not bar enjoyment, but it does make you wonder if this were part of something larger.  If so, this could be tip of a very cool iceberg.

Saturday, May 4, 2013

The Go-Slow by Nnedi Okorafor

First appeared in The Way of the Wizard, edited by John Joseph Adams
Also in Tor.com

After an ongoing spt with his spouse, his unlikely and somewhat unlikable hero--for some readers--comes across women in the form of emus.  He hits one giant bird and stuffs it into his trunk to give the meat to his mother until it starts pounding on the trunk.  He lets her out and, lo, it is not bird, but a woman.  They help the protagonist with his political and marriage situations.

Thursday, May 2, 2013

Free ebook, fund a humorous anthology, on short stories: Alex Shvartsman, Elizabeth Hand, Timothy Zahn, Ellen Datlow, Stephen Leigh, Kevin J. Anderson, Emezie Okorafor

Kickstarter for Anthology of humorous SF (1 hour to go and just shy of funding)

Alex Shvartsman, the above anthologist, on writing humor

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Elizabeth Hand, Timothy Zahn and Ellen Datlow on speculative short stories:


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Stephen Leigh (you can see his personality in this video):

Buy Stephen Leigh's 3-for-1 book

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FREE EBOOK:

Road Kill: A Dan Shamble Adventure (Dan Shamble, Zombie PI) [Kindle Edition] Kevin J. Anderson

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Nnedi Okorafor's brother, Emezie Okorafor has an animated short

"From the Lost Diary of TreeFrog7" by Nnedi Okorafor

First appeared in Clarkesworld
audio version

TreeFrog7 and her husband, Morituri36, are writing a field guide, but nature does not appear to be TreeFrog7's friend.  Insect and shrieking animals  But then she is pregnant as she catalogs the area searches for CPU plants to download.  They are, however, being stalked by a dangerous species of moth and may not live to tell about it... although they may tell about it anyway.

Interesting speculation on legacy, possibly casting a shade of nontraditional dubiousness upon it or possibly saying that the end justifies the means.

Wednesday, May 1, 2013

"Spider the Artist" by Nnedi Okorafor

First appeared in Seeds of Change.
Reprinted in Lightspeed
This was a finalist for the WSFA Small Press Award.

A fresh take on the zombie trope.  These zombies are actually robots that protect the Nigerian oil pipeline.  They attack anyone who gets too close, but even so, our narrator, after being abused by her husband, takes her guitar out and strums.  There she befriends a zombie, Udide.  Later, after the zombie revolt, it protects her--perhaps a better husband than she'd had.