Nina was beautiful, wild, and adored by her younger sister, Ellie. But, one day, Nina disappeared. Two years later, everyone has given up home that Nina will return, but Ellie knows her sister is out there. If only Ellie had a clue where to look. Then she gets one, in the form of a mysterious drawing. Determined to find Nina, Ellie takes off on a crazy, sexy, cross-country road trip with the only person who believes she’s got a chance—her hot, adventurous new crush. Along the way, Ellie finds a few things she wasn’t planning on. Like love. Lies. And the most shocking thing of all: the truth.

And the lucky winners are:

Congratulations to the winners! Now, you know the drill. Send us an email (contact AT thebooksmugglers DOT com) with your snail mail address, and we will get your winnings out to you as soon as possible!

Thank you to all that entered!

As the first part of our official Steampunk Week comes to a close, we return to our regularly scheduled programming…but fret not! If you want more dirigible-inspired goodness, we’ve got our second installment of Steampunk Week coming at you next month…

Ch-ch-ch-ch-changes:

Well, not much today other than – we got a makeover!!!!! Which you’ve probably noticed. If you look above, we’ve installed a brand spankin’ new navigation bar, for your reading pleasure. One of the most frequent comments we got from you good folks in our recent customer satisfaction survey was the need for easier navigation of the site. And we’ve listened! Want to read all about Ana and Thea? Want to search for a specific review? Want to shoot us an email, or peruse our review policy? All is listed and linked above.

We’ve also widened our post area and lightened the background for our sidebars to help readers with different browsers access our material more easily.

We hope you like the changes! And, as always, please let us know if you’re having any technical issues with the site – we’ll try our best to iron things out.

This Week on The Book Smugglers:

On Monday, Ana reviews coming of age YA novel, The Unwritten Rule by Elizabeth Scott.

Tuesday, Thea *FINALLY* gets to read and review The Dead-Tossed Waves by Carrie Ryan – sequel to the Stoker-nominated sensational debut novel The Forest of Hands and Teeth (one of Thea’s Top 10 Books of 2009) by Carrie Ryan! Later in the day, we’ll have Carrie over for a Top 10 List, and to answer five questions about the themes in her harrowing YA novels.

Wednesday, Thea reviews another of her most highly anticipated books of 2010 with the newest installment in Kim Harrison’s ongoing sweet-ass Urban Fantasy series, The Hollows: Black Magic Sanction.

On Thursday, Ana reviews one of her most highly anticipated novels of the year with Maureen Johnson’s Scarlett Fever, sequel to Suite Scarlett.

And finally, we close out the week with a joint review of Seanan McGuire’s second October Daye novel, A Local Habitation!

It’s another busy week, and we hope you enjoy…

And just because this is fun:

Author: Cherie Priest

Genre: Steampunk/SF/Horror

Publisher: Tor Books
Publication Date: September 2009
Paperback: 416 pages

Stand alone or series: Book 1 in the Clockwork Century series

In the early days of the Civil War, rumors of gold in the frozen Klondike brought hordes of newcomers to the Pacific Northwest. Anxious to compete, Russian prospectors commissioned inventor Leviticus Blue to create a great machine that could mine through Alaska’s ice. Thus was Dr. Blue’s Incredible Bone-Shaking Drill Engine born.

But on its first test run the Boneshaker went terribly awry, destroying several blocks of downtown Seattle and unearthing a subterranean vein of blight gas that turned anyone who breathed it into the living dead.

Now it is sixteen years later, and a wall has been built to enclose the devastated and toxic city. Just beyond it lives Blue’s widow, Briar Wilkes. Life is hard with a ruined reputation and a teenaged boy to support, but she and Ezekiel are managing. Until Ezekiel undertakes a secret crusade to rewrite history.

His quest will take him under the wall and into a city teeming with ravenous undead, air pirates, criminal overlords, and heavily armed refugees. And only Briar can bring him out alive.

How did we get this book: We bought our copies

Why did we read this book: It’s Steampunk week and Boneshaker has been praised to the skies by Steampunkers, reviewers and recently even made into Library Journal’s list of “Core” Steampunk titles.

REVIEW:

First Impressions:

Ana: Boneshaker is another book I had been looking forward to reading for a long time and holding off to until we had our Steampunk Week. Given the amount of praise it received, the fact that very recently it made into Library Journal’s list of core Steampunk titles and the fact that Cherie Priest seems to really know what she is talking about, I had great expectations about the book. And they were sort of met, as overall the book proved to be a solid read. I liked most specially its sympathetic duo of mother-son protagonists, the lovely writing, and the setting (an alternate 19th century Seattle). Plus, Zombies and Pirates = fun! However, upon reflection, the very premise of the book did not hold to close scrutiny and ironically, that includes the very Steampunk nature of the story.

Thea: I have to agree wholeheartedly with Ana on this one. I was ecstatic with Boneshaker’s unique premise – Civil War Era Steampunk Zombies! Hiyo! Sign me up!

And…well, Boneshaker is a bit of a mixed bag. The premise is wonderfully imaginative, but, as Ana says, kind of implodes on itself when subjected to any level of scrutiny. This history is a mess as is the actual source of the zombification of Seattle’s inhabitants – and I’m not exactly sure I’d label this as a true work of Steampunk. That said, I enjoyed the overall story and the horror aspects of the book, and certainly read it eagerly enough, which counts for a lot.

On the Plot:

Ana: It’s the 1880s, and the United States is still plagued by the legacy of the Civil War. In Seattle it has been 16 years since the eccentric scientist Leviticus Blue built his Boneshaker, a tunnelling machine built to drill through the ice fields of Alaska. The machine went berserk in the middle of the town basically destroying it all and in the process hitting the underground reserves of a mysterious gas – the Blight – which, if inhaled, turns people into Zombies. The inhabitants of the town fled, authorities built a huge wall which has been keeping the gas and the zombies (or “rotters”) in.

Briar Wilkes and her son Zeke leave just outside the walls and try to make do with her meagre salary as a worker at the water treatment plant (filtering the effects of the Plight) . Their lives are not easy since Briar is the widow of the infamous Leviticus Blue and no one will let her forget that, including her son. In an attempt to prove that his father was in fact not the criminal that everybody thinks he is, Zeke sneaks into the walled City in search for clues sand a desperate Briar goes after him when his only viable way out collapses after an earthquake and in the process discovers that are people still living inside. She must find him and quick, before the rotters – or someone worse – find them first.

As plots go, Boneshaker’s start off with a lot of potential. The impetus for the story – a mother who admitted not being the most perfect and open of mothers, in search of her son and to try and mend their relationship spoke to me like only a character-driven story can speak. It is also undeniable that Cherie Priest’s prose is lovely and enticing. I have nothing to say against pacing (it is rocketing good fun!) or against the overall plotting: mother searches son in parallel stories, both run from zombies, run into pirates, danger abound, there is a villain who might or might not Leviticus Blue himself. It is all actually pretty good.

It is just when you think about the details that things start to fall through.

For example: there is a lack of real science. It puzzled me for example, that it had been 16 years since the accident happened and yet there were no scientists studying the phenomenon – where did it come from? What was it? How to reverse it? Well, that does not sound Steampunk ish at all. I would expect at least one mad scientist somewhere making a dash to understand it. Furthermore, can a wall really stop the spreading of a gas? For 16 years? Without any leaks? Without it rising above it? Leaking through pipes? Really? Sometimes, I wondered if the gas was not a mere excuse for the use of Goggles and masks – making it a choice for Steampunk Aesthetics than for Steampunk Science – especially when there is barely an appearance of the very Boneshaker of the title.

Another thing that made me wonder (and wonder and wonder): Briar discovers that there were people still living in the inside. Citizens of Seattle, basically living like scavengers , forever having to wear masks and living in fear of the zombies and I asked myself over and again: why? Why would anyone stay if they didn’t have to? Surely there were alternative – better ones, than to live in a place where you can’t go outside where you can’t breathe, where you can’t get any real food because of a mortal Gas that can turn you into a zombie? Surely.

Yes, Steampunk can be fun but Scott Westerfelf has proved with his Leviathan that you can have a Steampunk novel that is both fun and yet rich with Steampunk elements that actually matter.

Having said that: I sustain that I did have a great time reading the novel, despite these misgivings. I find this series has a great potential. Who knows, perhaps the sequels will be more Steampunk heavy?

Thea: What Ana said. When reading Boneshaker, two things immediately jumped out at me:

1. There’s a huge “buyability” problem with the story.

As Ana mentions, the solution to deal with Seattle was to wall it off – literally, with a big wall. And this would protect the rest of the world from zombies, and from the mysterious “Blight.” Which is a gas. I repeat – a gas. How exactly does a stone wall contain a gas? This seems a little silly. THen, given the fact that Seattle is the rainiest city in the continental United States, how in heck can the Blight gas be so prevalent as to completely ensheath the city, impervious to the months and months of rain that should clear the air? Furthermore, how is the Blight still leaking out after 16 years? This must be quite a reservoir indeed – and if the rain isn’t washing it away, and an accumulation of 16 years’ worth of a thick gas is spreading through Seattle, wouldn’t it have been enough to spread a little further (as opposed to being contained by the walls)? And Ana makes a good point – why wouldn’t the government, or some enterprising scientist or company for that matter, be interested in finding out what exactly the Blight is? After 16 years, no one is interested in discovering why the gas turns people into zombies? No one wants to know where the gas came from, what it is, and if it exists anywhere else in the country? Heck, even allowing that US government is so shattered and preoccupied by the legacy of the Civil War (which requires a huge effort to suspend disbelief in and of itself), wouldn’t anyone be interested in weaponizing this gas? I was kind of surprised and disappointed that Ms. Priest didn’t go there, it seems so obvious – the Blight as a biochemical weapon to be harnessed for the American Civil War and perhaps for the inevitable World War?! – but perhaps that’s fodder for a future book.

Beyond the haziness of the Blight (lame pun intended), there’s also a problem in terms of believability of era, and technology. Which brings me to my second point:

2. The technology and science aspects are so vague as to suggest that Boneshaker is much more of an aesthetic work.

And this is totally fine – just like with genres like Science Fiction, you can get the hard Stephen Baxter stuff, or the softer, Gene Roddenberry stuff. But my problem with Boneshakeris that the time period and the steampunk aesthetic are irrelevant to the storyline (yes, the bone-shaking drill unleashed the gas that caused the zombies and the premise of the novel, but this could have been any drill. You don’t even see the drill until the end of the book, and the cataclysmic effect is completely off-stage). This might have been the distant future or present day or even on another earth-like planet. For example, the characters speak in the modern vernacular, so it’s easy to forget the time period altogether. And if you can take away the technology, and if you can take away the time period and are essentially left with the same story, these elements are superfluous.

I should also note that Ms. Priest has an afterward to the book in which she claims that all of the historical inconsistencies (so far as the size, importance, development and specifics of Seattle) are intentional – which explains why certain buildings and landmarks are completed and/or in different areas than they are in real life. But my points still remain – I imagine that Cherie Priest is very connected to Seattle and thus chose to write Boneshaker in this locale, but it seems like too much of a stretch to truly work. If this had been in New York, or Philadelphia for example, I think it would have worked to the book’s credit. Or set it in a totally new city altogether, bypassing all of these other historical/structural/environmental critiques.

In any case, despite all of my reservations, I really did enjoy Boneshaker in its capacity as an SF horror novel and a page-turner. A mother set on finding her son in a zombie infested city? How could I not love this?! The pacing is excellent and although a little too contemporary to work in the time period, Ms. Priest has undeniably strong narrative technique and a gift for storytelling. This alone is more than enough to recommend the novel, even if it’s a little skimpy on the details.

On The Characters:

Ana: I think of the greatest strengths of the novel are its engaging and sympathetic characters. I absolutely loved Briar and Zere both as separate entities and their relationship. Especially because they were so freaking flawed and sometimes even annoying. Zeke behaved like a quintessential teenager – prone to do stupid things, but with the heart in the right place. Same thing goes for Briar – I really liked how she reflected upon her reasons for keeping secrets from her son and the moment she decided to change it all. She is fierce Plus, there is one revelation in the end, which even though I saw coming from a mile away, I still thought was awesome and made all the difference in the world adding an extra layer of complexity of the novel – and every single mention of a certain character from the start.

There are also a plethora of secondary characters that although not really that well-developed, were actually pretty entertaining in their own way. I was quite fond of the air pirates (especially Cly) and the underground refugees Lucy the one-armed barmaid and Jeremiah.

Thea: I have to agree with Ana in that the characters are a great asset to Boneshaker. I loved Briar, in particular, as the flawed mother that loves her son, no matter what. There’s a pivotal scene at the end of the book, a confession, that is so heart-wrenchingly honest and moving, it truly makes the book. Ezekiel, or Zeke, as Briar’s son felt a little less developed as a character to me, however. Yes, he was very much a teenager, and very believable in his quest to exonerate his grandfather’s legacy, and even his father (the creator of the titled Boneshaker) – but other than this desire, he lacks the well-rounded finish that his mother has in abundance.

Other secondary characters pop in and out and are enjoyable additions – in particular I loved Lucy, the one-armed barkeep and, a Native American Princess (who is nothing like the princess you have in mind, I guarantee it), and the gruff, lovable Jeremiah Swakhammer. Of course, there’s also the shadowy, nefarious Dr. Minnericht that runs Seattle’s underground ruins with an iron fist…

Altogether, an enjoyable and connecting cast.

BUT IS IT STEAMPUNK?

Ana: Weeeeell. There are undeniably, elements generally related to Steampunk in this novel. Alternate history. CHECK. Goggles, Dirigibles, some Steam technology, CHECK. A mad scientist. CHECK. However, I think those elements are only skin deep – remove them and they wouldn’t really make a difference to that world (although obviously they do to this story) . Those elements seem too confined to be really Steampunk-ish. But then again, the Steampunk seal has been signed, sealed and delivered by Steampunk luminaries from all over the place so what the hell do I know?

Thea: I’m sorta of the same mind as Ana here. Yes, there are steampunk elements up the wazoo (what with the bone-shaking drill, goggles, a couple of airships, and other strange inventions sprinkled throughout)…but is it really steampunk? I guess it really depends on your definition. For me, the aesthetic elements were strong but somewhat irrelevant, and it’s not the best example of a steampunk novel in my personal opinion. There’s no radical social critique, nor is there a dazzlingly central technological element. But, as Ana says, what the hell do I know? I can understand why this is labeled as steampunk, but I also understand why some folks might not see it as such.

Notable Quotes/Parts: From the prologue:

From Unlikely Episodes in Western History

Chapter 7, “Seattle’s Walled and Peculiar State.”
Work in progress, by Hale Quarter.
1880

Unpaved, uneven trails pretended to be roads; they tied the nation’s coasts together like laces holding a boot, binding it with crossed strings and crossed fingers. And over the great river, across the plains, between the mountain passes the settlers pushed from east to west. They trickled over the Rockies in dribs and drabs, in wagons and coaches.

Or this is how it began.

In California there were nuggets the size of walnuts lying on the ground—or so it was said, and truth travels slowly when rumors have wings of gold. The trickle of humanity became a magnificent flow. The glittering western shores swarmed with prospectors, pushing their luck and pushing their pans into the gravelly streams, praying for fortunes.

In time, the earth grew crowded, and claims became more tenuous. Gold came out of the ground in dust so fine that the men who mined it could’ve inhaled it.

In 1850 another rumor, winged and sparkling, came swiftly from the north.

The Klondike, it said. Come and cut your way through the ice you find there. A fortune in gold awaits a determined enough man.

The tide shifted, and looked to the northern latitudes. This meant very, very good things for the last frontier stop before the Canadian border—a backwater mill town on Puget Sound called Seattle after the native chief of the local tribes. The muddy village became a tiny empire nearly overnight as explorers and prospectors paused to trade and stock up on supplies.

While American legislators argued over whether or not to buy the Alaska territory, Russia hedged its bets and considered its asking price. If the land really was pocked with gold deposits, the game would absolutely change; but even if a steady supply of gold could be located, could it be retrieved? A potential vein, spotted intermittently but mostly buried beneath a hundred feet of permanent ice, would make for an ideal testing ground.

In 1860, the Russians announced a contest, offering a 100,000 ruble prize to the inventor who could produce or propose a machine that could mine through ice in search of gold. And in this way, a scientific arms race began despite a budding civil war.

Across the Pacific Northwest big machines and small machines were tinkered into existence. They were tricky affairs designed to withstand bitter cold and tear through turf that was frozen diamond-hard. They were powered by steam and coal, and lubricated with special solutions that protected their mechanisms from the elements. These machines were made for men to drive like stagecoaches, or designed to dig on their own, controlled by clockwork and ingenious guiding devices.

But none of them were rugged enough to tackle the buried vein, and the Russians were on the verge of selling the land to America for a relative pittance… when a Seattle inventor approached them with plans for an amazing machine. It would be the greatest mining vehicle ever constructed: fifty feet long and fully mechanized, powered by compressed steam. It would boast three primary drilling and cutting heads, positioned at the front of the craft; and a system of spiral shoveling devices mounted along the back and sides would scoop the bored-through ice, rocks, or earth back out of the drilling path. Carefully weighted and meticulously reinforced, this machine could drill in an almost perfect vertical or horizontal path, depending on the whims of the man in the driver’s seat. Its precision would be unprecedented, and its power would set the standard for all such devices to come.

But it had not yet been built.

You can read the full excerpt online HERE.

Additional Thoughts: It is also worth mentioning that Boneshaker comes in a beautiful package. Not only is the cover gorgeous (although irrelevant and misleading), but the book itself is printed on thick paper in this lovely rust brown print, lending even more to the steampunk aesthetic.

Rating:

Ana: 7 – Very Good

Thea: 7 – Very Good (Though it was a close call, bordering a 6)

Reading Next: A Local Habitation by Seanan McGuire

Please folks, give it up for Kenda!!!

Steampunk: It’s in the Details

Steampunk Song by Aubrace

Thanks to The Book Smugglers, we’ve been treated this week to all sorts of varied opinions on what steampunk is thought to be, as well as a great introduction to the fictional side of things. What’s become clear is that those opinions are as widely varied as any other genre discussed on various blogs, forums and communities. Fictionally speaking, we’re set. Go forth with confidence now as you seek out your own fictional steampunk adventures. Spread your mechanically enhanced wings, dudes. Go – shoo!

When you think you’ve had enough of that, and it’s time to rest your reading wings, what’s next on the whole list of steampunk immersion musts? What about the culture of steampunk that is very much alive in the form of art? Art that extends from the traditional – sculpture, painting, photography – to fashion and other means, all of which are celebrated today at shows and conventions dedicated to steampunk. The fictional realms of steampunk are once again catching up to the new demand for the genre, but art has been able to take advantage of wonders of steampunk for a while now, doing an immense job of creating excitement for it.

Before we go any further, I might need to list out some general qualifications. While I by no means consider myself an art expert, I do have an art background and a graphic design degree, though the traditional has sadly fallen by the wayside due to the Need to Make Money (which I went the digital route with). The best art scenarios actually combine both traditional and digital, in my opinion, though one or the other can certainly do well on its own.

Steampunk Octopus by Alex Broeckel

I’m also not the type of artist to get hung up on the messages in art. Yes, I see the messages, but what I’m usually after is the pure aesthetic of a piece. I want to feel so amazed by what I’m looking at that I could gaze at it for hours and never get bored. I want it to punch me in the gut, make me breathless and push the rest of the world into my periphery – like the artwork above by Alex Broeckel, whose website, by the way, has many more fantastically jaw-dropping works to appreciate.

Once I’ve had my soul-drenching steam bath of OMG, this is amazingly beautiful, I usually can appreciate any imbedded messages better. Plus, it’s always been cool to read the history behind a piece of art, to learn what the intentions were and so forth. There isn’t anything quite like a cleverly hidden message in a piece of art.

What’s been great about discovering steampunk art is, it’s been a great companion to visualizing what authors are trying to do in fiction. Steampunk is so new to a lot of readers that I imagine it’s not necessarily easy to visualize an author’s descriptions, no matter how beautifully they render their words.

Leviathan Approaches and Clankers by Keith Thompson

Illustrator Keith Thompson, of Leviathan (Scott Westerfeld) sketching fame, has perhaps the best opportunity to enable readers to truly understand what the author has written. His sketches throughout the book brought Westerfeld’s words to crystal clear life. I know it made my experience reading the book doubly fun, discovering that much more easily what steampunk is in this particular case. Enormous metal Clanker machines and fantastical Darwinist animal/machine hybrids – Thompson’s and Westerfeld’s combined imaginations produced a phenomenal playground for the reader to discover steampunk with. And that’s what I loved about it – it was fun.

Myke Amend Airship

Artist Myke Amend, illustrator for Cherie Priest’s next Clockwork Century novel, Clementine, boasts some seriously amazing airships, a staple visual in the steampunk handbag of must-have. (Jon Foster did the cover for Bonseshaker, in case anyone’s wondering) Click here to see the full wrap-around art for Clementine, still pending final approval, and then feast your eyes on his work here and at his site. While the general opinion seems to be that a single airship doesn’t necessarily make a steampunk novel steampunk, they certainly can be breathtaking.

Steampunk, like any other kind of art, covers just about any medium a person can think of. The only limitations are what are found within the artist and their particular needs for any given project. From sculpture to oil painting to 100% Photoshop manipulation or original creation, steampunk is a well-represented art form.

Steampunk Fairytale by AkaiSoul

To show just how fun it can be, how about a steampunk variation on some classic children’s stories? Little Red Riding Hood and the Big Bad Wolf take on an intricate new twist, and Thumbelina and her faithful avian rescuer get a brave new façade. Or how about the Headless Horseman revamped steampunk style?

Mechanical Spider by Charlotte Rings Steampunk

Who doesn’t love a mechanical spider sculpture? These little metal critters are a common and curious art form in steampunk.

Steampunk Villain by BonnySaintANdrew

I love this steampunk villain, both quirky and strangely intoxicating with his mismatched parts and deadly intent. Considering how I strongly believe in fleshed out fictional villains, this one gets my seal of approval.

Steampunk Ship: Brassheart by Industrial-Forest

This steampunk ship cuts a fine figure in port, putting me in mind at first of Captain Nemo’s ship. Look carefully at the finer details. Are you as enthralled by the architecture both close up and in the distance and warm glow from within the ship as I am? Thought so!

Steampunk Train by Tarrzan

And what steampunk commentary would be complete without mentioning the steam-powered train, another staple in the genre. The image above takes it a step further, though, stretching the imagination with clockwork additives and a crisp, almost more science fiction aesthetic.

Steampunk pilot by yuffiebunny, outfit by Berit New York

Steampunk Watch by Aranwen

Costume creation and the photographing of it is an exquisite opportunity to feature the fashionable aspect of steampunk. While steampunk adapts the time period it’s using and expands on it with metal, gears, goggles and other detail, history buffs are still going to enjoy seeing what is strictly Victorian, etc., used correctly too. At least a little bit – the whole point really is to mix it up and use steampunk detail combined with historically accurate clothing to create something new. It’s a perfect balance of history meets alternate reality, showing how steampunk affects the way people live day to day. See another gorgeous example that I just fell in love with here.

Steampunk Overlord Mechanical by SteampunkOverlord

Styles can be wildly varied and they tend to flout the more staid and stale aspects of traditional historical limitations in favor of a fresher approach to society where men and women are on a more equal footing, both extremely confident in their approach and carriage. How else can one be when they have what might look like bizarre additions to their dress otherwise. With a devilish gleam in the eyes, chins held aloft, wearers of steampunk fashion make a bold, promising statement for steampunk art.

Click here, by the way, to see pictures from the 2009 Steampunk Asylum, a yearly three-day event in the UK.

If anything, one should gather that steampunk art is as widely varied and unique as any other kind of art today. Simply from this article alone, we know that individual style adds another rich layer to the mix, creating limitless possibilities. It is as much a feast for the eyes as it is for the mind.

Are you a fan of steampunk art? Feel free to share with us your favorite steampunk style inventors and artists.

Many thanks to all the artists who generously gave use of their images for this article. I hope you’ll take the time to visit their sites (by clicking on the images) and explore their work further.

Author: Robert C. Rodgers, illustrated by Todd Wills

Genre: Steampunk, Fantasy, Adventure, Comedy, Young Adult

Publisher: Steam-Powered Press
Publication Date: October 2009
Paperback: 288 pages

In an era of bygone anachronisms and steam-powered ambulatory engines, a sharp-witted street-thief with a heart of semi-precious metal finds herself locked in a battle of wits against a secret plot to bring the city she loves to its knees. Arcadia will need to enlist the help of a reformed mad scientist, a stern suffragette, and a persnickety pigeon to unravel the mysterious past of the Steamwork Consortium – and stop the cabal of sinister mathematicians who would use that past to destroy all of Aberwick. Arcadia Snips and the Steamwork Consortium is both a cautionary tale against reckless mathematics and an accurate historical account all rolled up into one. In fact, the story is so accurate that you might consider it more of a history lecture than an illustrated novel.

Stand alone or series: Stand alone novel

How did I get this book: Review Copy from the author

Why did I read this book: Though we mostly review books from larger publishers, we also like to share the love with independent/self/small-presses too – provided the book sounds like something we want to read. When we received a review query from the author of the book last year, I read the synopsis and first chapter online and was instantly hooked – and what better a time to review this novel than during Steampunk Week?

Review:

“Dear Madame,” the letter read. “Although we remain appreciative of your continued attempts to bring a feminine touch to the world of aeronautics, the Royal Society of Aviation regrets to inform you that your design shall fly only once swine have taken to the skies.”

The letter was framed and mounted on the dining room wall.

So begins Arcadia Snips and the Steamwork Consortium (henceforth Arcadia Snips), described quite aptly in its tagline as “Being A Wholly Accurate Historical Account Concerning Matters Of Steam, Skullduggery, And The Irresponsible Application Of Reckless Mathematics In The 19th Century.” Of all the books I’ve read this week (so far), Arcadia Snips is by far the most traditionally Steampunkish (Steampunky?). Taking place in the late nineteenth century, the novel includes no shortage of creative machines, flying contraptions, and other steam-powered miscellanea. There’s even political intrigue, a dash of romance, and Great Peril – all of this in spades. Alternating storylines between “the past” (twenty years in the past), in which an unlikely partnership forms between three far-sighted individuals, and the present, in which a thief named Arcadia finds herself in the employ of a powerful Count, as his consultant in the Watts and Sons Detective Agency’s investigation of the murder of Basil Copper.

Arcadia Snips, the titled protagonist, is a delightfully quirky heroine in this delightfully quirky book. Just look at our initial introduction to her:

Beneath Arcadia Sinps’ derby hat and short black curls was the face of a silver-fanged cherub — a mocha-toned antel with enough charm to sell a pack of matches to a man doused in lamp oil. But whenever she grinned, the very tip of that silver fang would tuck over the edge of her bottom tooth. It gave her a savage, frightful look.

It is also worth mentioning that we first meet Arcadia as she is shackled in prison (having escaped from jail twice, and about to accomplish this wriggling, lock-defying feat for the third time in a row). She’s a thief, a wise-cracker, and, again, altogether delightful with her wit and verve. And while Arcadia on her own as a protagonist would be enough personality for this book teeming with silly cleverness, she also has a male counterpart in young William Daffodil, the son of two “mad scientists” (that greatly endangered the city of Aberwick in the past storyline) and a young man that is much more interested in the safety of mathematics than the perils of mad science. This pair…well, they just work.

Beyond these protagonists, there are the “past” characters that are wonderful in and of themselves – Abigail Parsley, for example, has one of the best opening sequences in the book. We also get into the minds of villains, a most unique perspective.

What I loved the most about Arcadia Snips, beyond the characters, was the pure delight of reading the book entails. It’s silly, to be sure, but so witty and absurdly fun, it’s all the better for it. Dialogue between characters verges on the persnickety and crazed at times, but the authenticity and eminent readability of this novel make it all worth it. For every misstep, there’s a gem like this:

The city of Aberwick was a topographical nightmare wrested from the laudanum-fueled fever dreams of half-mad cartographers. It was cradled in a yawning canyon of volcanic rock, with communities swelling up into massive heaps of brick and timber; the trains flowed aside, above, and even through these mounds.

As I said, truly wonderful stuff.

I also should mention that Arcadia Snips is an illustrated novel, with the visual stylings of artist Todd Wills. While I’m not a huge fan of the cover (a bit cartoony and a strange color scheme – does the cover version of Arcadia look like Calamity Jack to anyone else?), I do love the black and white illustrations within as they capture the book’s mood perfectly.

I’m always a little bit scared of taking on independently or self-published books – but books like Arcadia Snips remind me of why I agree to do so in the first place. Every now and then a true undiscovered gem comes along, and I’m happy to say that this book is one of them.

Whole-heartedly recommended to all looking for a farcical, somewhat deranged (in a good way!) steampunk read. Arcadia Snips and the Steamwork Consortium is a delight.

BUT IS IT STEAMPUNK? Oh, hell yes. It’s the most traditionally steampunk novel I’ve read this week!

Notable Quotes/Parts: From the introduction:

ACT 1

“In yet another example of tragically misapplied genius, the mysterious anarchist who calls himself Professor Hemlock has done it again—several of the Eastern Aberwick Bank’s calculation engines have been crippled through the irresponsible application of reckless mathematics. The rogue chaotician claimed responsibility for the financial disaster in a letter delivered to the Isle Gazette (see page 9a), citing the company’s cutthroat business tactics, support of imperialism, and rude bank tellers as justification. Authorities continue to investigate the anarchist’s activities while urging all citizens to behave no differently during this time of fiscal duress. Meanwhile, one question lingers upon the lips of every man, woman, and child: Who is Professor Hemlock?”
—Front page of the Isle Gazette, ‘PROFESSOR HEMLOCK STRIKES AGAIN’

Additional Thoughts: The coolest part about Arcadia Snips and the Steamwork Consortium? It’s available in its totality for FREE online!

You can check out the book’s website HERE and the illustrator’s website HERE. To download a free PDF copy of the book, go HERE. You won’t regret it.

Rating: 7 – Very Good

Reading Next: Boneshaker by Cherie Priest

Author: William Gibson and Bruce Sterling

Genre: Science Fiction / Steampunk

Publisher: Spectra (US) / Gollancz (UK)
Publication Date: 1992 / 1996 (First published: 1990)
Paperback: 448 pages / 384 pages

The computer age has arrived a century ahead of time with Charles Babbage’s perfection of his Analytical Engine. The Industrial Revolution, supercharged by the development of steam-driven cybernetic Engines, is in full and drastic swing. Great Britain, with her calculating-cannons, steam dreamnoughts, machine-guns and information technology, prepares to better the world’s lot . . .

Stand alone or series: Stand alone

Why did I read the book: It appears in every single Steampunk Essentials lists and one of the best examples of Steampunk. I just had to read it.

How did I get the book: Bought

Review:

The Difference Engine seems to be universally praised as one of the core Steampunk titles and it makes pretty much every single list I came across whilst reading about the genre in preparation for this week. Since this is hailed as required reading for anyone interested in Steampunk, I obediently added it to my reading list.

Thus, here I stand after reading a seminal work of Steampunk, completely conflicted about the novel.

The novel is set in 1855 but an alternate 1855 where British inventor Charles Babbage actually succeeded with his idea of a Difference Engine – an early computer. This alternate world is mostly a consequence of this invention with all of its political, economical and sociological implications and the authors use real life figures as well as literary characters to inhabit their world and to live their story. Thus, Britain is a much more powerful potency who is at peace with France (and Manhattan is a communist island led by Karl Marx) ; Lord Byron (perhaps the alternate bit that was harder for me to believe in) is the Prime Minister of an England led by the Radical Party (or Rads) , with computers being mass-produced and there are even hackers or “clankers” in this world.

But this is only the setting and it is obliquely referred to in the course of the novel. There is hardly any info dump about what happened before 1855 and how things came to be – the reader must catch up as the story proceeds. And no, the book is not about the Difference Engine per se – at all.

Centre stage is a story divided in three parts with three main characters: Sybil Gerard, a prostitute and daughter of an infamous Lud leader ; Edward Mallory, a “savant” , a palaeontologist; and Laurence Oliphant, travel writer to cover his work as spy – the three of them are linked by a set of computer Punch Cards which change hands throughout the book and almost makes it a mystery novel – what are they? What are they for? Who do they really belong to?

Almost because, it is clear that the punch cards are not the point of the novel – just like the Difference Engine.

Rather, the novel it is a tour de force about the possible consequences of engine’s creation and as such it is an interesting, even fascinating read. However, this is mostly done subtly in the background, submerged in threads, in the recounting of the day-to-day life as the characters walk around sometimes talking to themselves as the narrator describes their surroundings. Mallory, for example who often muses about how the dinosaurs were extinct , but also about his role in dealing with political problems in America and his economical situation. He is caught in the middle of the overarching plot that brings together everything in the book, including the Great Stink and the last of Luddites rebels resurfacing in London but perhaps not as tightly as many would certainly prefer.

My conflict about the novel stems from two points. One, the fact that if one goes into the book blind, ie without any knowledge about its setting or any historical knowledge about England and France circa 19th century chances are, one will be inevitably lost or reaching for Wikipedia every two pages or so (as was my case).

The second point is that even though, intellectually I can certainly appreciate the genius of the idea and the premise, as well as the mind-blowing effort of bringing together that many characters and events together in an interesting and certainly fascinating manner, I will just be honest and admit that I was bored out of my mind for most part of novel and I had zero emotional connection with any of the characters. The most interesting ones were Sybil and Oliphant and their chapters were the best ones, however they were also, the shortest part of the novel and the Mallory chapters dragged and dragged and dragged. I never read anything else by either author but I am almost sure that one wrote the Sybil/Oliphant parts and the other wrote the Mallory one – I just can’t pinpoint which.

To conclude, I am happy to have read the novel, I think it was a worthwhile experience which I hope never to experience again. Even if the ending was superb : a one letter word. One word and I was like, OMFG, genius. But then I remembered the Mallory parts.

BUT IS IT STEAMPUNK? Oh yes. It is the most quintessential Steampunk I read this week. It is the perfect balance of all its classic elements, but is not an easy ride.

Notable Quotes/ Parts: The moment it really hit home to me, that this was indeed an alternate history more than anything else in the book:

Up Knightsbridge and past Hyde Park Corner to the Napoleon Arch, a gift from Louis Napoleon to commemorate the Anglo-French Entente.

The fact that there the famous Wellington Arch is NOT there because Wellington was considered a tyrant in this England made me jump out of my pants.

Additional Thoughts: It is impossible to read this book without checking some facts online – at least it was for me. The most fascinating of those to me: the computer punch cards that were mentioned several times.

According to Wikipedia, punched cards

is a piece of stiff paper that contains digital information represented by the presence or absence of holes in predefined positions. Now almost an obsolete recording medium, punched cards were widely used throughout the 19th century for controlling textile looms and in the late 19th and early 20th century for operating fairground organs and related instruments. They were used through the 20th century in unit record machines for input, processing, and data storage. Early digital computers used punched cards as the primary medium for input of both computer programs and data, with offline data entry on key punch machines

But that is not what makes it fascinating to me. It is the process of discovery.

For example: Joseph Marie Jacquard invented the Jacquard Loom. This loom is controlled by those punched cards with punched holes , each row corresponding to a row in the design – this simplifies the process of manufacturing textiles.

Now, here is the deal:

The Jacquard loom was the first machine to use punch cards to control a sequence of operations. Although it did no computation based on them, it is considered an important step in the history of computing hardware. The ability to change the pattern of the loom’s weave by simply changing cards was an important conceptual precursor to the development of computer programming. Specifically, Charles Babbage planned to use cards to store programs in his Analytical engine.

How amazing. Don’t you just love science?

Verdict: This epitome of Steampunk is a difficult read with some very rewarding parts if you stick to it – I recommend it – with reservations – for fans of the genre.

Rating: /strong> This is a most difficult question. I will have to be conflicted about this as well.

8 – Excellent : For its undeniable contribution to the genre and the sheer genius of the Big Idea behind it. The plotting and the amount of history that goes into this is mind-blowing.

6 – Good : Because in spite of all the above, the book can drag and only a couple of the characters are really minimally interesting and moving (although one can argue that this is not a book about characters – to which I will reply, ergo why I didn’t really care for it) .

Reading next: Boneshaker by Cherie Priest

Graphic Novel (Vol. 1) by Alan Moore (writer) and Kevin O’Neill (illustrator) . Published in 1999.

TV Movie directed by Stephen Norrington; Starring Sean Connery, Naseeruddin Shah, Peta Wilson, Tony Curran, Stuart Townsend, Shane West, Jason Flemyng and Richard Roxburgh. Released in 2003.

The League of Extraordinary Gentlemen is set in an alternate version of Victorian Britain where technology is very advanced, the supernatural coexists with the natural and characters from famous literary works are real people.

Miss Mina Murray has been recruited by the British Secret Service to bring together a group of individuals to work for a mysterious Mr M. With the help of an already recruited Captain Nemo (who had faked his death years ago and now is in search of new adventures ), her first stop is Egypt, where in an opium den, they find former intrepid hero Allan Quartermain now a hopeless, sick addict. Without much of a choice (especially when Mina is nearly raped and they have to fight to fight their way out) Allan is dragged to the Nautilus ship where so rehab is in order before they go to Paris to meet the next in their list. There, they must capture a man-beast who have been terrorizing prostitutes and who turn out to be Dr. Jekyll/Mr. Hyde – once captured and turned over to their boss, the League moves in to the next target and visit a girl’s school whose pupils have been rumoured to have being impregnated by the “Holy Spirit” – in reality, The Invisible Man, who had been raping the girls.

They arrest the felon and return to London where they are informed of the purpose of bringing such a group together: Britain has been secretly planning a trip to the Moon using a key component called Cavorite which has been stolen – possibly by Britain’s enemies – and their mission is to recover the Cavorite, but for that they must learn to work together first under the leadership of gasp, a woman. In their path, they have to learn to trust each other, to let go of their pasts (is that even possible?) while dealing with plots twists and double crossings.

The League of Extraordinary Gentlemen is a ingenious work of fiction – Alan Moore doesn’t merely appropriate himself of known characters of fiction, he gives them new lives, playing the sensibilities of the time period whilst at the same time adding new flavourings – it is Steampunk after all, so the alternate universe serve the story by allowing for example a woman to be leader of the group, or the technological advances to be used by the characters in their pursuit of the villains.

I have to admit though at being completely surprised with some of the reviews I read which compare this League with say, the League of Justice and call this bunch of folks super-heroes.I think this is an utterly inapt description. There is nothing super about any of these folks (except perhaps Dr. Jekyll/Mr. Hyde, but that is hardly a superpower to talk about) and hardly anything heroic about most of them, considering that we have at least a rapist and a murderer in their midst. A much more apt comparison in fact, would be with Alan Moore’s own Watchmen , that group of flawed vigilantes who in the end, can do something good. But still having some bad apples in the group (an easy comparison is between The Invisible Man and The Comedian or between Night Owl and Quatermain) .

They get together for pure lack of choice not heroics. Mina is now a ruined woman, after the scandalous incidents with that Dracula chap, incidents that are only alluded to in the course of the story, but which have resulted in her divorce from Jonathan Harker and to always wearing a scarf around the neck and that ruination is thoroughly exploited by M. As is Quartermain’s opium addiction and former glory for example. Similarly The Invisible Man and Dr Jekyll are in it because they are criminals and they need to be pardoned.

In the end, something might have changed for some of them and to follow each character arc is what it is all about – and THEN, they might become Extraordinary. Plus, you know, the fun of it all – the trying to see if you can get all the literary references (OMG the Invisible Man is raping POLLYANA when they get to the school) and to get to the bottom of the mystery. Who is this M? Who is the real villain of the piece?

As for the art, I don’t find it especially spectacular but it is certainly effective in conveying the gloominess and darkness of both characters and setting. It is also very graphic – torture, attempted rape, murders are all explicitly detailed.

Now, for the movie.

It is safe to say that whereas The League of Extraordinary Gentlemen the graphic novel, is a great work of fiction that I really enjoyed and can highly recommend, The League of the Extraordinary Gentlemen, the movie, is a veritable Masterpiece.

Of suckage.

Oh, the wrongness of it all. Let me count the ways.

For starters: Allan Quatermain is the one chosen to their leader. Of course, GOD FORBID , the ladyfolk be allowed to lead anything especially not this league of extraordinary gentlemen. The ladyfolk is there to be hot, speak with a raw, sultry voice and kiss the hot dude.

Speaking of Mina – there is nothing more unrefined than to have this scene right in the beginning? Yes, let’s make the character a blood-sucking fiend and forget all about the trauma and horror and the fact that it is never even revealed to the reader what happened to her in the book.

Since we are on the subject of subtlety , could this movie be any more obvious and crass? Starting with the addition of two new characters which do not exist in the comics: Dorian Gray and Tom Sawyer. Let me just say something before I go any further.

I can’t stand Stuart Townsend’s acting and any character he plays I will hate on principle

Thank you. Back to the matter at the hand – it is so obvious that these two characters have been added in an attempt to add “young” blood to the cast is not even funny – since most of the of original literary figures are former heroes in their later years, I guess Hollywood needed more commercial faces and I understand that, I do. But I also missed the great bickering and chemistry between Quatermain and Mina.

Moving on, moving on. Where was I? The godawful lines and dialogue: a mixture of overt clichés and dumb lines. Like for example, when they see Nautilus for the first time. In a scene that could have been good – because the visual effects here were rather cool, I like Nautilus, but the dialogue ruined it for me.

Tom Sawyer: Oh.

Nemo: Behold Nautilus, the sword of the ocean

Yeah, mind numbing.

Beyond that, the fact that the writers sucked all the fun and good things out of the original and made a complete mess of it all. None of the complicate issues exist any longer, Quatermain has no Opium issues, Mina is a bad-ass vampire, Invisible Man is just comic relief and so and so forth. I understand that adaptations do not have to follow the originals word by word but if you are not going to get the GOOD things out of it, then WHAT IS THE POINT???

In the end, an extraordinary disappointment. It is a horrible adaptation which does not stand on its own two feet. Not even the awesomeness of Sean Connery can save this one.

BUT IS IT STEAMPUNK? YES! Alternate history with advanced techonology which shapes and influences the world causing tension between nations, for example. Plus, cool gadgets!

Verdict :

Book: 8 Excellent. Recommended to fans of Steampunk, and of comics in general especially of the more darkish variety. If you liked Moore’s Watchmen you will probably like this one although it is nowhere near as good.

Movie: 1 One of the worst movie adaptations I have ever seen. and that’s about all I have to say on the subject.

Author: Kenneth Oppel

Genre: Young Adult, Steampunk, Fantasy

Publisher: Harper Collins
Publication Date: May 2005
Paperback: 544 pages

Sailing toward dawn, and I was perched atop the crow’s nest, being the ship’s eyes. We were two nights out of Sydney, and there’d been no weather to speak of so far. I was keeping watch on a dark stack of nimbus clouds off to the northwest, but we were leaving it far behind, and it looked to be smooth going all the way back to Lionsgate City. Like riding a cloud. . . .

Matt Cruse is a cabin boy on the Aurora, a huge airship that sails hundreds of feet above the ocean, ferrying wealthy passengers from city to city. It is the life Matt’s always wanted; convinced he’s lighter than air, he imagines himself as buoyant as the hydrium gas that powers his ship. One night he meets a dying balloonist who speaks of beautiful creatures drifting through the skies. It is only after Matt meets the balloonist’s granddaughter that he realizes that the man’s ravings may, in fact, have been true, and that the creatures are completely real and utterly mysterious.

In a swashbuckling adventure reminiscent of Jules Verne and Robert Louis Stevenson, Kenneth Oppel, author of the best-selling Silverwing trilogy, creates an imagined world in which the air is populated by transcontinental voyagers, pirates, and beings never before dreamed of by the humans who sail the skies.

Stand alone or series: Book 1 in the Matt Cruse trilogy

How did I get this book: Bought

Why did I read this book: I’ve heard nothing but praise for the works of Kenneth Oppel, and when looking for a new YA novel to read for Steampunk Week, Airborn was the clear choice.

Review:

Matt Cruse was born in the sky.

The son of a dedicated airman, Matt has always longed to fly like his father. And, after his father’s death, Matt finally gets to live out his wish, serving on his father’s old ship, the Aurora, as a cabin boy. Two years in service, the luxury airship comes across a marooned balloon in their path – and young Matt helps to bring the balloon’s sole inhabitant on board to safety. This old adventurer asks Matt if he had seen “them” – beautiful, flying creatures in the sky – just before he dies. One year later, Matt is still hard at work on the Aurora as a cabin boy, having lost out on his opportunity to advance to a junior sailmaker position (to a well-connected, rich young man). Though his hopes are temporarily dashed, Matt is always happiest in the air, and relishes his time aboard the magnificent ship. Then, he meets a girl named Kate de Vries – sassy, intelligent, and adventurous…as well as rich, pretty, and spoiled. As it turns out, Kate is the granddaughter of the man Matt rescued a year prior, and she is travelling on the Aurora with a very specific mission to discover exactly what her grandfather saw. Matt and Kate, despite their difference in class, become fast friends and work together to find answers, and elusive proof of Kate’s grandfather’s magnificent, winged creatures. Of course, things are never so easily accomplished and a number obstacles present themselves – namely pirates, a shipwreck, more pirates, and wild, unfettered danger.

Airborn is a rollicking adventure novel, blending aeronautics with compelling characters, stunning images, and a swashbuckling plot. It’s kind of like Titanic the The Swiss Family Robinson meets Up meets Treasure Island meets Die Hard in the sky. Sounds like an unlikely, unappetizing mix? Let me assure you, gentle readers, I mean this multi-genre/film/book mishmash comparison in the best possible way. I LOVE ALL OF THESE THINGS.

Ergo, I love Airborn.

At 500 pages, Airborn is a swift, unputdownable read. Narrated by Matt Cruse in a clear, level-headed, youthfully honest voice, this book managers to tread familiar waters – or rather, fly familiar skies, a more apropos metaphor – with pirates, young love across class differences, shipwrecks, and mythical bird creatures, and yet still feel fresh and exhilarating. This is the kind of adventure story I want to pass on to younger, reluctant readers, to get them excited about books, about the escapist, fun experience reading can be.

And fun Airborn truly is. Matt Cruse’s world is familiar in its Victorian-type era and aesthetic (impressive, dominant airships, strong class-dividing lines, era-specific wardrobes, etiquette and mannerisms), but Mr. Oppel manages to put a new, steampunk worthy spin on his technology, inventing an entirely new element called “hydrium,” lighter than hydrogen (enabling massive airships to fly to great altitudes without the need for gas or steam power) that smells, strangely, of mangoes. Throughout the book, it is little touches like this that make the setting seem completely natural, and the world plausible (for example, as Matt guides Kate on a tour of the Aurora he points out the many “Depressionist” paintings on display in the cigar room).

In addition to the swashbucking, altogether wondrous plot and worldbuilding, the characters are what make Airborn soar. Kate, as the headstrong and adventurous (dare I say young Amelia Peabody-esque – minus the parasol and ample…well, you know) young heroine is feisty and winsome, more so because she is not without her flaws. In addition to having the usual YA fantasy heroine traits (smart, driven, restless with the constraints of her class and family expectations), she also is uppity, spoiled, and careless – and it’s cool to see that. She’s not perfect, but that’s ok – she’s all the more real and endearing for it. But the true showstealer in Airborn is young Matt Cruse – Cabin Boy, narrator, and heart-wrenchingly honest young man. Matt’s voice is pure and resonant; he shares his fears and emotions without reserve, allowing readers to truly get a feel for this remarkable young protagonist. He’s (obviously) smitten with Kate, but infuriated by her manner at times too, and the interactions between these two characters is alternately tender and hilarious. They make quite the duo on their adventures together, and I cannot wait for more.

If you couldn’t tell, I truly loved Airborn. It’s a feast for the Young Adult, but also for the older, more world-weary reader, looking for pirate-story adventures to sweep them away on a current of mango scented Hydrium.

Plus, Airborn ends with the best closing line ever.

BUT IS IT STEAMPUNK? Hell freakin’ yeah it is. Ok, it’s light on the “punk” component. It doesn’t really challenge or critique society in any way – but the imaginative (yet still relatively simple) technology is central to the story, and it is set in a very Steampunk appropriate world. The book basically takes place on an airship, which isn’t just for show – we readers learn how it works, how the world looks, and what dangers accompany this strange technology. There’s also an almost a “Darwin goes to Galapagos” feel to the book so far as Kate and Matt’s excursions to discover the mysterious Cloud Cats and – very era and sub-genre appropriate.

Notable Quotes/Parts: From the official excerpt:

“Sir, there’s a ship headed towards us!”

The airship was small, and I could now see why I’d not picked her out earlier. Her skin was painted black, and she carried no running beacons anywhere. No light emanated from the Control Car either. Her side bore no markings, no name or number. It was only her dark sheen from the moon’s light that made her visible at all.

“She’s at ten o’clock and sailing straight for us, half a mile.”

“Bear away,” I heard the first office tell his rudder-man. “Elevator up six degrees. Summon the captain.”

That meant we were going into a climb. The Aurora was as responsive as a falcon. Stars streamed to my left as the ship began her turn, angling heavenward. High in the crowsnest, I swivelled in my chair so I could watch the smaller vessel. As we turned and climbed, she turned and climbed with us, keeping herself on a collision course. This was no mistake. She was chasing us. She was smaller and faster than the Aurora, and I could feel the vibration of our engines at full capacity. We would not be able to outrun her.

“Where is she, Mr. Cruse?”
“She’s changed course, but still coming right at us. Closing, at eight o’clock.”
“Raise her on the radio!” I heard the first officer shouting out to the wireless officer.
“She’s not responding.”

A collision seemed sure now, but for what purpose?

“Distance, Cruse!”
“Some two hundred yards, sir.”
“Send out a distress call,” I heard Mr. Rideau instruct the wireless operator.
“We’re too far out, sir,” Mr. Bayard’s voice replied.

It was clear there was no shaking her, this sleek black raptor shadowing us through the night sky.

“She’s angling up, sir,” I said into the speaking tube, “as though she means to overshoot us.”

“Take us down, Mr. Riddihoff, take us down five degrees, with haste!”

I felt the Aurora pivot and her bow dip. My ears popped and heaviness rose through me. I swirled in my seat, peering up and almost over the ship’s stern as the airship pulled closer, altering course as seamlessly as if she’d anticipated our moves.
“Fifty yards off our stern!” I shouted into the speaking tube. “Forty, thirty . . . she’s pulling up over our tail.”

And so she was, this predatory airship, skimming over our tail fins and gradually overtaking us, only a few dozen feet overhead.

“She’s directly overhead, sir, matching us.”

We were levelling out now and so was the other airship. Less than half our size, she was like some agile black shark hounding a whale.

“Hard about, please.”

Through the speaking tube it was the captain’s voice I heard now, and I felt a surge of confidence to know he was on the bridge. He would see us through this. Again the Aurora swivelled, trying to throw off her predator, but once more the smaller ship matched our movements, slinking over us like a shadow. A spotlight flared from its underside, and I saw ropes springing from open bay doors and unfurling towards the Aurora.

“She’s dropping lines on us!” I shouted into the speaking tube.

Pirates! That was all they could be.

“They’re trying to board,” the captain said. “Dive and roll to starboard, please.”

The lines were weighted, for they hit the ship and didn’t slide off. I saw six men already dropping down towards me. But then the Aurora banked sharply, dipped, and the lines slewed off the Aurora’s back, leaving the men dangling in mid-air.

“Ha! You’ll not have us!” I shouted, shaking my fist.

But the pirate airship was already adjusting its course, keeping pace, and as it forced us closer to the waves, we would have less space to manoeuvre. There was a great flash from the pirate ship’s underbelly and a thunderous volley of cannon fire scorched the night sky across our bow.

A voice carried by bullhorn shuddered the air.
“Put your nose to the wind and cut speed.”

There was no need for me to repeat this into the speaking tube for I knew they had heard it in the Control Car. There was a moment of silence, and I could imagine them all down there, standing very straight and still, the elevator men and rudder-men watching the captain, awaiting his command. He had no choice. That cannon could sink us in an instant.

“Level off and put her into the wind, please,” said Captain Walken. “Throttle back the engines to one-quarter. Thank you.”

You can read the full excerpt online HERE.

Additional Thoughts: Airborn is actually the first book in a trilogy following the adventures of Matt and Kate – the next two books are Skybreaker and Starclimber:

Former cabin boy Matt Cruse, now a student at the prestigious Airship Academy, is first to identify the Hyperion, the private airship of a reclusive and fabulously wealthy inventor that disappeared forty years ago with its owner. Armed with the Hyperion’s coordinates, which only he possesses, Matt, heiress Kate de Vries, and a mysterious young gypsy board the Sagarmatha, an airship fitted with the new skybreaker engines that will allow them to reach the Hyperion, 20,000 feet above the earth’s surface. Pursued by others who want the Hyperion and will stop at nothing to get it, and surrounded by dangerous high-altitude life forms, Matt and his companions are soon fighting not only for the Hyperion but for their very lives.

In this thrilling sequel to Airborn, a Michael L. Printz Honor Book, Kenneth Oppel evokes the classic storytelling of Robert Louis Stevenson and Jules Verne, creating a world in which a new discovery can have unimagined consequences — on earth and miles above it.

“Mr. Cruse, how high would you like to fly?”

A smile soared across my face.

“As high as I possibly can.”

Pilot-in-training Matt Cruse and Kate de Vries, expert on high-altitude life-forms, are invited aboard the Starclimber, a vessel that literally climbs its way into the cosmos. Before they even set foot aboard the ship, catastrophe strikes:

Kate announces she is engaged – and not to Matt.

Despite this bombshell, Matt and Kate embark on their journey into space, but soon the ship is surrounded by strange and unsettling life-forms, and the crew is forced to combat devastating mechanical failure. For Matt, Kate, and the entire crew of the Starclimber, what began as an exciting race to the stars has now turned into a battle to save their lives.

Award-winning and bestselling author Kenneth Oppel brings us back to a rich world of flight and fantasy in this breathtaking new sequel to Airborn and Skybreaker.

The series has an awesome interactive website, chock full of great extras. I highly recommend you go forth and check it out.

Rating: 8 – Excellent, and I cannot wait to pick up the next two books in the series!

Reading Next: Arcadia Snips and the Steamwork Consortium by Robert C. Rodgers

Author: Paolo Bacigalupi

Genre: Science Fiction, Dystopia

Publisher: Night Shade Books
Publication Date: September 2009
Hardcover: 300 pages

What Happens when bio-terrorism becomes a tool for corporate profits? And what happens when said bio-terrorism forces humanity to the cusp of post-human evolution? In The Windup Girl, award-winning author Paolo Bacigalupi returns to the world of “The Calorie Man”( Theodore Sturgeon Memorial Award-winner, Hugo Award nominee, 2006) and “Yellow Card Man” (Hugo Award nominee, 2007) in order to address these questions.

Stand alone or series: Can be read as a stand alone novel, although it is set in the world of two of Bacigalupi’s short stories – “The Calorie Man” (Theodore Sturgeon Memorial Award-winner, Hugo Award nominee, 2006) and “Yellow Card Man” (Hugo Award nominee, 2007).

How did I get this book: Bought

Why did I read this book: Ever since I heard of The Windup Girl and saw it on numerous Best of 2009 lists, I have been dying to read this book.

Review:

First things first – I had seen this book praised to the high heavens after its late 2009 release, and have been looking forward to reading it ever since. Then, when I started to see it pop up on “Steampunk Essential Reading” lists, I was even more excited, and I set a firm date to read and review this highly anticipated release for Steampunk Week.

Well folks, I’m a little chagrined to report: The Windup Girl really is not Steampunk.

At least, it doesn’t fit in with my conceptualization of steampunk. That’s not to say that it isn’t a good book – because it is. But as a feature for this week, it falls a little short. But more on that later.

The Windup Girl is a futuristic dystopia, set in a shocking incarnation of Thailand. The world as we know it has changed drastically – genetically engineered crops have fallen to strengthened, bio-engineered pests; food is controlled by corporations; fossil fuels are all but exhausted; sea levels have risen and reclaimed incredible surface areas…Bacigalupi’s is a dying world. In this version of Thailand, tensions tear the nation from without and within – the government corrupt, the locals resentful of “yellow card” refugees and the encroaching farang (or foreigners), their factories, and their attempts to steal . And, embroiled in this volatile world are four important characters: Anderson Lake – a “Calorie Man” farang intent on discovering gene-ripping secrets for The Company. Hock Seng – a “Yellow Card” Chinese-Malay refugee, foreman of Anderson’s factory, and with a business agenda of his own. Jaidee – a vigilante-type local “hero,” set on sticking it to those in command and fighting corruption with his own glory-seeking style of mayhem. And finally, there’s Emiko – a “New Person,” a “herky-jerky” Japanese genetically engineered woman made to be a sexual companion and personal secretary, left behind by her keeper, left to a world of degradation and abuse each night at a Thai flophouse.

Nuanced and darkly grim, The Windup Girl is an original, memorable debut novel from the undeniably talented Paolo Bacigalupi. In many ways, this novel is an environmentally-conscious, precautionary tale and all the more terrifying because of its plausibility; we very well could engineer our own food and environmental demise intentionally (i.e. biological terrorism) or unintentionally (resistant, super strains of pests and diseases). The Windup Girl’s worldbuilding as well is solid. As a Southeast Asian from the Philippines and Indonesia, I can definitely see that Mr. Bacigalupi has done his homework, down to the fruit of the region (for example, rambutan, which translates from Indonesian as “hair fruit”) and the tensions between natives and their hatred for Chinese immigrants.

But it is thematically that The Windup Girl is at its finest. The overwhelming, unifying theme of the book is that of greed: corporate greed that caused the world’s death, human greed that dominates the Thai government, personal greed that motivates any number of characters in the book. The ugliness of humanity is prevalent throughout, painting a grimy, unflinching picture of the world.

So far as characters go, however, Mr. Bacigalupi left me feeling a little cold. While an equal amount of time is spent on each main character, they all felt a little bare-boned. Interestingly, the only character I felt any sort of connection with was the NON-”human” character Emiko, the titled Windup Girl. Her struggles, her alienation and sustained abuse is horrifying stuff, and her determination to live despite it all is a bright spot in a a decidedly grim novel. The reaction of humans towards “New People” is discrimination on an epic scale, and the kicker is, with the world so disintegrated, only the New People may survive as the next step in human evolution.

While I enjoyed The Windup Girl, I did find that it faltered in a few vital categories. As a novel of science fiction, the actual science element of The Windup Girl isn’t very strong – the concept of biologically engineered New People, made so that their motions are “herky-jerky” but also simultaneously lightning quick, and the genetic breeding of character traits like “obedience” rings as a little bit silly. Furthermore, the idea of using springs to store and generate energy is also not very believable – surely there were other power options available to this world (wind, solar, hydro, biodiesel, nuclear, etc)? Also, I found myself asking, is this story actually effective? The answer is both yes and no. There was a LOT of repetition in this book where there needn’t have been – there’s little advancement of any truly engaging plot. The actual point of the story, its atmospheric strengths and green-conscious warning for the future are made easily within the first 50 pages or so. Ultimately, I found it abundantly clear that Mr. Bacigalupi is a short fiction writer, as The Windup Girl felt like an unnecessarily protracted novella.

These failings in mind, however, I still ended up enjoying The Windup Girl, and look forward to seeing what else Paolo Bacigalupi has up his sleeve in the future.

BUT IS IT STEAMPUNK? Nope. The Windup Girl is not by any stretch of the imagination Steampunk. Using my own bizarre criteria of what constitutes Steampunk, The Windup Girl just doesn’t quite cut it. Other than a single scene involving dirigibles, there is absolutely no steam-technology in this book. None. Zilch. Nada. Though there is a significant amount of radical social and political critique in this book, there is basically nothing on the steam-technological or aesthetic end of the spectrum – and a couple of dirigibles does not a steampunk make. Sorry folks that have this on their Steampunk Essentials list – The WIndup GIrl doesn’t make it on mine. (Though it is a good example of a green-conscious dystopian novel!)

Notable Quotes/Parts: From the first chapter:

“No! I don’t want the mangosteen.” Anderson Lake leans forward, pointing. “I want that one, there. Kaw pollamai nee khap. The one with the red skin and the green hairs.”

The peasant woman smiles, showing teeth blackened from chewing betel nut, and points to a pyramid of fruits stacked beside her. “Un nee chai mai kha?”

“Right. Those. Khap.” Anderson nods and makes himself smile. “What are they called?”

“Ngaw.” She pronounces the word carefully for his foreign ear, and hands across a sample.

Anderson takes the fruit, frowning. “It’s new?”

“Kha.” She nods an affirmative.

Anderson turns the fruit in his hand, studying it. It’s more like a gaudy sea anemone or a furry puffer fish than a fruit. Coarse green tendrils protrude from all sides, tickling his palm. The skin has the rust-red tinge of blister rust, but when he sniffs he doesn’t get any stink of decay. It seems perfectly healthy, despite its appearance.

“Ngaw,” the peasant woman says again, and then, as if reading his mind. “New. No blister rust.”

Anderson nods absently. Around him, the market soi bustles with Bangkok’s morning shoppers. Mounds of durians fill the alley in reeking piles and water tubs splash with snakehead fish and red-fin plaa. Overhead, palm-oil polymer tarps sag under the blast furnace heat of the tropic sun, shading the market with hand-painted images of clipper ship trading companies and the face of the revered Child Queen. A man jostles past, holding vermilion-combed chickens high as they flap and squawk outrage on their way to slaughter, and women in brightly colored pha sin bargain and smile with the vendors, driving down the price of pirated U-Tex rice and new-variant tomatoes.

None of it touches Anderson.

“Ngaw,” the woman says again, seeking connection.

The fruit’s long hairs tickle his palm, challenging him to recognize its origin. Another Thai genehacking success, just like the tomatoes and eggplants and chiles that abound in the neighboring stalls. It’s as if the Grahamite Bible’s prophecies are coming to pass. As if Saint Francis himself stirs in his grave, restless, preparing to stride forth onto the land, bearing with him the bounty of history’s lost calories.

“And he shall come with trumpets, and Eden shall return. . .”

Anderson turns the strange hairy fruit in his hand. It carries no stink of cibiscosis. No scab of blister rust. No graffiti of genehack weevil engraves its skin. The world’s flowers and vegetables and trees and fruits make up the geography of Anderson Lake’s mind, and yet nowhere does he find a helpful signpost that leads him to identification.

Ngaw. A mystery.

You can read the full chapter, along with other sample chapters, online HERE.

Additional Thoughts: As I mentioned above, The Windup Girl is a full length novel set in the world of two of Paolo Bacigalupi’s prior, award winning short stories (the “Windup Stories”). Even cooler is, these stories are available for free download via the book’s page on Night Shade Books. You can check out the PDF version HERE.

Also, you may or may not have heard that Paolo Bacigalupi is making his first foray into the world of Young Adult novels this year! Check out his forthcoming title, Ship Breaker.

Set initially in a future shanty town in America’s Gulf Coast region, where grounded oil tankers are being dissembled for parts by a rag tag group of workers, we meet Nailer, a teenage boy working the light crew, searching for copper wiring to make quota and live another day. The harsh realities of this life, from his abusive father, to his hand to mouth existence, echo the worst poverty in the present day third world. When an accident leads Nailer to discover an exquisite clipper ship beached during a recent hurricane, and the lone survivor, a beautiful and wealthy girl, Nailer finds himself at a crossroads. Should he strip the ship and live a life of relative wealth, or rescue the girl, Nita, at great risk to himself and hope she’ll lead him to a better life. This is a novel that illuminates a world where oil has been replaced by necessity, and where the gap between the haves and have-nots is now an abyss. Yet amidst the shadows of degradation, hope lies ahead.

Verdict: A thoughtful, well-written and provocative examination of a dystopian future – the world run aground thanks to collective greed. Though it feels somewhat like a protracted short story and it certainly isn’t Steampunk, it’s an unquestionably strong debut, and I look forward to more from Mr. Bacigalupi in the near future.

Rating: 7 – Very Good

Reading Next: Airborn by Kenneth Oppel

What in the world, is Steampunk after all?

For the past few weeks, we have done nothing but to prepare for this week. We have researched blogs, read article after article, several books (some of which turned out NOT to be Steampunk at all) and we reached a conclusion: there is no definite, conclusive definition of Steampunk. Books that are mentioned in some essential Steampunk lists are very firmly excluded from others, and we’ve seen some argument as to the limits and parameters of what indeed constitutes or not “Steampunk.

Yes, there are some basics with which most people agree: usually steam-power is still used, and is set mostly in a Victorian-like world. This is definitely the “Steam” part. The “Punk” part or the other parts that makes it gravitate towards one genre or the other (is it fantasy? SciFi? Both? All of the above?) seem to be up for grabs and completely open to each person’s reception or expectations.

But we have been able to form our own, basic idea of what Steampunk is, and we asked some of our blogging friends what they think Steampunk is. And wouldn’t you know – none of the answers are quite the same :

Ana:

I will be honest with you. This question? It has plagued me for weeks now. I didn’t even tell Thea the extent of my obsession (although I suppose the cat is out of the bag now) but I have been dreaming in Steampunk for days now.

I am usually not that strict in trying to define or form a coherent idea about a genre – I am usually pretty laid back about reading and very open about expanding my horizons, but I find that I haven’t been able to do the same when it comes to Steampunk. I know that trying to too hard may even suck the fun out of things but what can I say, I am one of those that need to have a more defined definition of THIS. And what’s more, I have come to learn in the past few weeks that I am a Steampunk purist, if you can put it like that.

I see ideas flying all over the place and I see enthusiasm for the genre and at first I think it is great. I see goggles and corsets and dirigibles and….then there is ALL I see as though those form a coherent picture or frame for what is Steampunk when it’s not. When I pick up a book labeled as Steampunk, I expect the setting to matter, the technology to be essential to the world if not to the story – if that society can function without those Steampunk “elements” then…well, it’s not Steampunk. If it is aesthetic more than functional, if it is more magical than scientific, then in my mind, it is not Steampunk. It is not enough to be set in the 19th century, in an alternate reality, to have time travel – all of those are usual fares of regular Fantasy and SciFi. Magic in Victorian times is very cool but more Gaslight Fantasy than really Steampunk.

As you can see, I am pretty confident I can recognize when something is NOT Steampunk.

It seems I am a stickler when it comes to Steampunk. Maybe even too much. You bet I see the irony in being so ruthless about something that has Punk in its name. After all didn’t the Punk movement embrace rebellion and free thought?

I know, what a party pooper.

Thea:

Ok, Ana, dude you’ve never formally “confessed” your Steampunkish obsession to me formally, but from the emails and conversations we’ve been having (all of which have been initiated by Ana, I might add), I was able to put two and two together!

As you have probably surmised, dear readers, Ana is more of the “purist” of the duo. I, on the other hand, have a bit looser of a definition. Let’s start with the etymology of the term “Steampunk” – we’ve got the “Steam-” part, and the “Punk” part. Where the “Steam-” is concerned, I strongly feel that the book must ecompass at least some aesthetic or some basic inclusion of steam technology. That’s not to say I think there should be some kind of locomotive or the physical presence of steam in every expression of the genre – rather, the aesthetic and the technology needs to be (or needs to have evolved from) the Victorian Era. I don’t believe that the technology must be central to the plot – but it DOES need to be more than just pretty filler. For example, in my opinion, Gail Carriger’s Soulless, with its pretty dirigibles in the background and Victorian setting is NOT enough to classify it as Steampunk.

Then, there’s the part where the “Punk” comes in.

To me, the “punk” part is far more important than the “steam” part. The punk, as Ana alludes to above, involves the societal aspect of the book. Does the novel radically challenge the established social order? Does it involve a social, economic, political or religious critique/revolution of the world it is set in? This is what I yearn for, more so than the centrality of technology to a book in order to qualify it as Steampunk. I think you’ve gotta have one or the other (or both, if you’re lucky) – we want either a “steam” (evolved from Victorian Era) technology that is central and essential to the plot, or a story that has steam elements (Victorian/Steam aesthetic) but radically challenges the social and/or political setting of the world. In this second option, the technology is less important. This is why I consider The Golden Compass (and by extension the His Dark Materials series) by Philip Pullman to be “Steampunk” – because even though it does not have the central steam technology, it does push the political/religious/fundamental envelope and contains steam-ish elements (Victorianesque setting and society, dirigibles/air balloons, alitheometers instead of computers, strange Verne-worthy projection devices, etc).

There is some argument as to whether or not magic or fantasy elements can coexist in a “Steampunk novel” – and to this I say, of course they can. Why the heck not? Steampunk is a marriage of different genres – fantasy, science fiction, historical fiction, romance, etc. I think the presence of magic is more than welcome in the mix, provided that at least ONE of the criteria above is met (either central steam-technology or steam technology elements plus a socio/politico centered and challenged plot).

And so without reaching a conclusion amongst ourselves, we reached to our fellow Bloggers and asked:

Here is what they had to say:

Katiebabs from Babbling About Books and More:

The Steampunk genre is still a very new on for me. I know the basics, where it’s a combination of science fiction and speculative fiction, set in an alternate later 19th century setting, mainly in Victorian England. Steampunk is set in a world where steam is power, but it is so much more from the fashion, to the dialogue and most importantly the technology.

Steampunk allows the reader’s imagination to run wild. It’s a world of endless possibilities and so very new and exciting.

Doug Knipe from Scifi Guy:

To me steampunk represents a reality where science took a fork in the road. Instead of scientific development proceeding to the electronic age it instead advanced through industrial/mechanical principles and better chemistry. I think of Jules Verne’s Nautilus and the mysterious Captain Nemo in 20,000 Leagues Under the Sea and H.G. Wells The Time Machine. There also is a degree of mysticism and forbidden knowledge attached to it as well. Steampunk fiction explores and reflects the implications and changes in society wrought from this diverging path. Modern examples of steampunk that I favour include many of the works of James Blaylock, K.W. Jeter’s Morlock Night and Infernal Devices, The Difference Engine by Gibson & Sterling, Clockwork Heart by Dru Pagliassotti and the most recent Boneshaker by Cherie Priest. Each embodies the spirit of Steampunk.

Mark de Jager from My Favourite Books:

It’s a concept that hearkens back to a vision of Victoriana, caught on the cusp of the industrial revolution- a more romantic, civilised time, when technology was still new, and exciting, where the world was still a big place and innovations knew no bounds; how far you could go with something wasn’t constrained by popular knowledge as it is today. It evokes a grand era of mad scientists, steam or clockwork driven contraptions, glass helmeted space explorers…. it’s the spawning ground of timeless figures like Captain Nemo, Alan Quartermain, Dr Frankenstein and their ilk. It’s an era where ideas have outpaced technology but not craftsmanship, and where cold science has taken a backseat to adventure.

Heather Massey from The Galaxy Express

Steampunk is like salt: it enhances the flavor of everything it touches.

To many people, it’s a literary subgenre. One way of defining steampunk is Victorian era science fiction that features steam-powered inventions—many of which are ahead of their time and have significant socio-political consequences. The glory of steampunk is that it pairs spectacularly well with a variety of other genres such as fantasy, romance, horror, and mystery.

But steampunk extends well beyond the written word. It’s an aesthetic echoed by art, costumes, accessories, and DIY gadgets. It is films, TV shows, and videogames.

It’s archaic. It’s modern. It’s brassy. It’s gritty.

It’s a state of mind.

Recommended reading:

STEAMPUNK, edited by Jeff and Ann VanderMeer
WHITECHAPEL GODS by S.M. Peters
MAINSPRING by Jay Lake
THE NARROWS by Alexander Irvine
THE LEAGUE OF EXTRAORDINARY GENTLEMEN by Alan Moore
CLOCKWORK HEART by Dru Pagliassotti
PERDIDO STREET STATION by China Miéville
MORTAL ENGINES by Philip Reeve

Recommended viewing:

STEAMBOY
THE TIME MACHINE
THE CITY OF LOST CHILDREN
THE PRESTIGE
WILD WILD WEST (endure see it for the steampunk elements only!)

Recommended playing:

BIOSHOCK
EDGE OF TWILIGHT
RESONANCE OF FATE
FINAL FANTASY VI (FF III in America)

Maili from @McVane (she is on Twitter only at the moment):

It’s basically set during the Industrial Revolution (and the Enlightenment) when ideas existed at the time that theoretically could work, but there wasn’t enough during its time to make it happen, such as limited technological knowledge, attitudes, inflexibility within the society, class prejudice, etc. Charles Babbage, for instance, came up with an idea that we came to know as ‘difference engine’, and in his time, it was considered outlandish. Impractical. Useless. He still tried, but a successful attempt was never made.

However, some time during the 1990s, a team of researchers and historians gathered to construct a machine from Babbage’s detailed plans of the difference machine, using 19th-century technology but with 21st-century knowledge and attitude, and the machine works. With this, Babbage’s idea was proven do-able.

What if Babbage could make it work in his time? What if it became part of the everyday life? Instead of imagining what the future and its technology would be, we imagine what the past would be if its technology was part of that reality. That’s one half of the core premise of Steampunk.

The other half — what if the technology of that reality becomes so controlling that people of its time couldn’t move with freedom? How about the automata becomes an army and storms Victorian London? This is where the ‘punk’ of ’steampunk’ comes in: Hero or Heroine is usually part or a leader of a rebellion against that. It doesn’t have to be about technology. They could rebel against dictatorship, ‘Big Brother’-style government, secret conspiracy, or an underground society that meddles with people’s lives. It’s about control, power and freedom. During this struggle, technology can be our friend or foe, or both.

There have been quite a few novels labelled as ’steampunk’ when they weren’t. I have been asked what was the real difference between a Gaslight Fantasy and a Steampunk. In my opinion, it’s the setting that defines the difference. If a story *can* live without its steampunk element, e.g. the steampunk element is there for appearance’s sake, then it’s a Gaslight Fantasy. If it can’t live without it, then it’s a
Steampunk.

Steampunk doesn’t have to restrict itself to Victorian-era England. It could take place anywhere in the world and in any time period — as long as technological ideas of its time are reasonably plausible and utterly faithful to its appearance.

Let’s take Leonardo da Vinci – an amazing innovator – and his ‘flying machine’ idea (Codex on the Flight of Birds) as an example. While living in 16th-century Italy and France, he couldn’t make his flying machine work even once during his lifetime, but in a story, it works. He could make it fly. What if his flying machine became part of a reality during his time? The idea of people going about in their everyday lives while the sky above them is filled with these winged machines flying? It’d be such an amazing sight. I think Steampunk is possibly the greatest tribute to innovators and engineers of our global past. I really love the idea we’re making their visions and dreams a reality through these Steampunk stories.

John Ottinger III from Grasping for the Wind:

To me, steampunk is a subgenre of alternate history in which technological progress diverged and developed along mechanized lines rather than digital. In steampunk, computers are vast machines capable of many of the same feats, but silicon chips were never invented and so they consist of cogs and wheels, more like a typewriter than our modern conception. Airships exist, but rather than planes, blimps rule the skies. In many cases, steampunk tales take place in a Victorian setting or uses that era as its point of divergence from true history, but any story with a focus on a mechanized society that also lives by a rigid social code like that of the Victorians could potentially be steampunk. Even a secondary world fantasy, so long as it takes as its model the Victorian Age – such as The Golden Compass by Philip Pullman, The Affinity Bridge by George Mann, or The Court of the Air by Stephen Hunt – fits into this category.

Steampunk tales have the tone and structure of a Conan Doyle story, often being mysteries or adventure tales similar to those popularized during the Industrial Revolution. For a tale to be steampunk it needs to be married to the idea that technology is solely mechanical, unable to progress without winches, gears, nuts and bolts. There is no computer age, at least as we know it, in the worlds of steampunk.

Steampunk also believes in the inherent domination of the earth by humankind, driven by our will and ability to make tools. Sometimes this takes the story into dark places, places where Jack the Ripper dwelt. At other times, it celebrates human achievement, a World’s Fair of literature. Always, there is a focus on the mechanical, the visible and concrete, that thrills the reader or viewer with a sense of adventure, of the wild unknown, and is filled with the both the capability and the desire to go Around The World in 80 Days.

Kenda from Lurv a La Mode

Steampunk to me is a fantasy or science fiction story set in an alternate reality (one that would be recognizable to us yet with some details obviously changed, hence creating said alternate reality) that has steampunk elements: machinery/technology that runs on steam and looks like something along the lines of the time machine in H.G. Wells’s book/movie, The Time Machine; clockwork/machinery gears and lots of things made from metal such as iron; old fashioned aviator or industrial safety goggles; animals that have been fashioned into pseudo machines, yet retain animal attributes (see Scott Westerfeld’s Leviathan); a dirty, grimy smudge over everything – industry is prominant, such as the atmosphere in the Industrial Revolution; has a Victorian, England background, though is in no way strictly limited to this time period; old fashioned clothing that has been subtly altered with steampunk elements, such as the goggles, or strange glasses made from gears and patch worked metals…I imagine there are a lot more such details that could be cited, but we’ll leave off with those for the moment.

I think it’s important to give adequate detail for the above elements. It’s not necessarily steampunk enough if a dirigible is cited in the background – after all, we have them today a well in our own everyday reality. Maybe not with tentacles jutting from them, but you get what I mean. Steampunk is fantasy or scifi – it needs adequate attention given to worldbuilding details. The technology is fictional, it needs to be fleshed out and well-realized by the author. A story needs its own brand of fantastical to be deemed steampunk, just as any other kind of fantasy or science fiction would.

Erika from Jawas Read Too

I like thinking of Steampunk as being rooted to its namesake, not in any one particular country like the Victorian England we all associate with the Industrial Revolution. It’s very much the Industrial Revolution meets Science Fiction where the mechanics, fuel, and aesthetic of an age powered by steam meet the futuristic elements we’ve become familiar with in the Computer Age. Steampunk is machine- and gear-heavy; pistons, oil, and steam churn the cogs of technology much like we think of electronics doing for us today. There are gadgets and innovations boosted by steam-power; dirigibles, wooden limbs, everything you can think of related to the era suddenly has the chance to be enhanced with steam (and why not take advantage?). Then it gets interesting when you consider the magical possibilities that blur the lines between Science Fiction and Fantasy: the mysterious aether emanating between oil-greased machinery or delicate brass tick-tock devices that’s inexplicable but eerily similar, in its way, to the electronic signals of cyberspace.

Technology isn’t stunted so much as it’s deviated from its actual course of history; the advancements made are steam-based rather than electronic-based. This is why we can have marvelous books like Scott Westerfeld’s Leviathan. Alternate history is what Steampunk is all about! If we imagine a world built around steam, we can imagine WWII exactly as Westerfeld projected: different enough from what actually happened to make it a curious, exotic mixture of something similar and something archaic and foreign.

And then, one of the best parts: the lifestyle. I don’t mean lifestyle like fans dressing up to go to conventions (although, that’s one interpretation of the subgenre!). I mean the inspiration derived from the time period (whether that’s war-torn Europe, pirate-infested Caribbean waters, the American frontier, or Victorian England) that goes to creating practical (if whimsical) articulations of individual expression: clothing, furniture, housing, the way our steam-powered devices look.

Steampunk is an atmosphere, an aesthetic, an alternate history, and let’s face it: it’s really cool.

It’s a subgenre that moves across subgenres–Paranormal Romances like Gail Carriger’s Parasol Protectorate books can have Steampunk elements while the thumping and grotesque weirdness of China Miéville’s Perdido Street Stationcan explode with enough odd devices that fit the definition despite not even taking place on Earth.

There are so many things to consider with Steampunk, but it is, more than anything, inclusive and varied in the ways it reaches to us across literature.

TDF Pamela from The Discriminating Fangirl

Steampunk has become a buzzword in the publishing industry, and honestly, it seems like the most visible books that get the steampunk label really aren’t steampunk at all. So, what is steampunk? Maybe it’ll be better to first say what steampunk is not.

Steampunk is not any old book set in the Victorian era with a couple of brass gears and some goggles slapped on. If you’ve got a generic romance and you toss in an airship, that doesn’t make your book steampunk. Steampunk sells, and as long as readers are interested in it, publishers will push everything vaguely Victorian in the hope that people who want to get into the genre will buy it.

So… again, what is steampunk? It’s a glorious mishmash of Victoriana and science fiction and romance and steam-powered technology. Steampunk is what would have happened if nineteenth century scientists had been able to create all of the crazy things they had dreamed of. Steampunk is an aesthetic that toes the line between Victorian and Goth. Some of my favorite costumes at conventions are the elaborate steampunk getups: corsets and high-necked dresses; bustles and brass goggles; waistcoats, top hats, and strange contraptions.

I keep thinking that I need to read more steampunk, but being a poor graduate student, I’m stuck combing used bookstores, and unfortunately for me, steampunk doesn’t show up all that often. I have a few steampunk books sitting on my shelf, waiting for me to have time to read them. I’ve been dying to read The Difference Engine by William Gibson and Bruce Sterling, a book that is often credited with bringing steampunk more firmly into the public eye.

I’m excited to see more steampunk fiction being published, but what I really want to see is real steampunk, not just attempts to cash in on the popularity of the genre. I’ll have to keep up my usual discriminating reader habits, I suppose, and separate the wheat from the chaff.

Stacy B from The Discriminating Fangirl; Steampunk: Blossoming Historical Subculture

I was a fan before I knew it had a definition. I thought it was olde-fashioned with a technological twist. I thought it was a revitalization of something that already existed. These are both true, but when I try to explain it to someone, the first thing I say is “have you ever read 20,000 Leagues Under The Sea”? Jules Verne was steampunk before steampunk existed – he put technology and Victorian values together and made them mix like they were born for it. Verne in general wrote fiction upon fiction detailing technologies that didn’t exist yet – the true science fiction without changing the human component and taking it out of an environment it was comfortable in. It was this blend that I think was largely responsible for making steampunk possible over a century later.

Today, steampunk takes Verne one step further – we’ve added our modern ideas of femininity (women no longer have to be silent, we can be loud and boisterous…so long as we observe our manners at tea) and a touch of the supernatural. The late 19th century fascination with the supernatural (spirits, mediums, creatures of the night) fit perfectly into modern steampunk, and it’s become a genre of books, music, culture, and costume that absorbs more than it excludes. Steampunk can be strictly historical, it can have elements of the supernatural (both modern and historical), and it can play on the both modern ideas of gothic and the Victorian fascination with the macabre that birthed Gothic literature.

As a rule, the technological element is one that developed on an entirely different track than one we are historically familiar with. Instead of Edison, steampunk generally prays at the altars of Nikolai Tesla and Philo Farnsworth; to me, the differences are visible in style, but if you want the particulars, you’re going to have to speak to an engineer who can draw you circuit and current diagrams. Think cathode and vacuum tubes (I’m told the precursor to LCD is called the nixie tube, but again, you’d have to talk to someone who knows this better) a la Warehouse 13’s technology. While philosophical thought is more forward-oriented, costuming, like the technology, clings to older themes. Corsets, cravats, short pants and skirts are the norm, but occasionally there is a humdinger thrown in – women in pants are treated with mild shock, but not completely ostracized as they would have been in the reigns of Victoria & Edward. Manners are imperative, tea is necessary, and both fashion and good breeding are ranked highly in social circles.

Steampunk exists in reenactments, but is also prevalent in literature; spawned by the imagination, literature is, arguably, primarily responsible for the rise of steampunk – putting it on the road to subculture status. Two of my favorite steampunk series also straddle other genres (just like the entire phenomenon) – Gail Carriger’s “Parasol Protectorate” series (which begins with Soulless), is supernatural and Victorian with a touch of technology and more modern cultural acceptance of the odd with werewolves and vampires living alongside the aristocrats (werewolves are beastly men and occasionally vampires are lushes). On the opposite side, straddling technology and the supernatural on a flip-flop basis is Ilona Andrews’ “Magic” series starring Kate Daniels (beginning with Magic Bites) – where atmospheric damage prohibits technology from working all the time and when magic is “up”, everyone abandons cars and hops up on their horses and lights their gas lamps.

As an inclusive phenom instead of an exclusive one, there are plenty of aspects of steampunk I haven’t discussed, but visit wikipedia, read some books, listen to a few bands (recently, I’ve become a fan of the G-String Orchestra out of New Orleans), read some history and then pick up a good book and dive in. There are so many rights, it’s hard to go wrong when you’re learning to get into the groove.

Harry Markov from Temple Library Reviews

I have been posed one of the most difficult questions as far as genres go: What is steampunk? Ana and Thea have been loving the genre, but they want to gain better understanding of what it actually is. I am honestly not the leading authority in steampunk, but from the small amount of books in the genre I have read and the reviews I have scanned through, I have built my own humble opinion, which I am going to share with you.

Steampunk’s elusive nature stems from the fact that it has just recently stormed the scene and become mainstream and sought after in the SFF circles. Because it is a newborn in a pantheon of already established genres, steampunk explores all possibilities and has yet to settle on an identity, which will be synonymous to its name.

But let’s cut straight to the chase. People claim steampunk to be a subgenre with firm roots in science fiction, due to the central role the steam technology in the setting. However, I think that steampunk can also be a cross-genre between fantasy and science fiction, because I have encountered a few series, which incorporate fantastical elements. Prime example is Stephen Hunt, who combines the importance of technology for the world and characters as well as the epic momentum the story takes and powers beyond the grasp of science like telepathy.

Steampunk can garner many elements. It can border on horror as with Boneshaker. It can be an alternative history to what happens on Earth as with Leviathan. It can swell with a grand scale adventure as with Hunt’s novels. However, at its core steampunk has a few parameters that must be acknowledged in order for it to be true to itself. Apart from the technology that is mandatory for the series, steampunk is imbued with certain positivity, hopefulness and even a purity of heart, which contrasts to the grittiness that many genres have embraced today. By placing the stories in the Victorian era [more or less] the authors try to capture humanity in a phase, where promises and vows were unbreakable, feelings weren’t publically announced, but were intense, vibrant and not jaded, expired or wasted.

Steampunk may carry different and contradicting elements, which muddle or complicate the exact definition of the genre, but its integrity is in the spirit that comes from the world and the characters.

So there you have it folks – a variety of opinions, interpretations, and definitions of Steampunk.

What about you? What do YOU think Steampunk is?