Clark's inDjinnious worldbuilding

With his first novel, Master of Djinn, P. Djèlí Clark returns to the alternate magical Egypt that he previously explored in works such as his Hugo-finalist novella The Haunting of Tram Car 015.

The UK edition of Master of Djinn sports
a cover that is as epic as the contents. 
The designer Matthew Burne deserves kudos.
(Image via Little Brown Book Group)

Set decades after magic was returned to the world by 19th-Century wizard al-Jahiz, these stories follow detectives who are tasked with solving supernatural mysteries.

This time, protagonist Fatma el-Sha’arawi is tasked with solving the murder of an important foreign dignitary, Lord Worthington, and the possible return of al-Jahiz himself.

What elevates the work is Clark’s use of the premise for confident explorations of colonialism, racism, and sexism. One member of our book club flippantly described Master of Djinn as being “from an alternate history where The Dresden Files bothers to say something interesting.”

Alternate history often doesn’t have a deep enough toolbox with which to examine and challenge historical power structures. Colonialism, patriarchy, and structural racism are so ingrained in the cause-and-effect patterns of real-world history that it’s difficult to find plausible allohistorical points of divergence in which these forces are subverted. In short, it would take magic of the sort that enriches Master of Djinn to tackle these entrenched forces and their myriad complexities.

The fantastical elements of Clark’s Egypt are imbued with a deep sense of history. While this book isn’t precisely an alternate history (as many purists of that genre will argue that any story that involves magic cannot be alternate history), Master of Djinn’s worldbuilding is complex enough for the reader to feel that there is a real past and a real future to this society.

In fact, this living, breathing history might be the most engaging character in the book. It’s a world full of sky trams, clockwork angels, and jazz clubs. Clark has skillfully woven worldbuilding details into the narrative that made it seem effortless and natural. It helped, of course, to have a character smitten with history and dedicated to sharing that knowledge.

An interesting parallel could be drawn between Master of Djinn and Rockne S. O’Bannon’s Hugo-shortlisted dramatic presentation Alien Nation. These are stories that deal with police investigating mysteries in a society that is adapting to the arrival of alien beings. In both cases, there are strong elements of social criticism and the use of non-humans as a metaphor for cultural barriers.

P. Djèlí Clark — also known as Dr. Dexter Gabriel
— holds a PhD in history and teaches at the University
of Connecticut. This education is evident in the 
richly layered history that he crafts in Master of Djinn.
(Photo by Peter Morenus via UConn Magazine)

While the central mystery of the book, and most of the characters, are mostly enjoyable they are also largely unremarkable. For some readers, the relentless description of the flawlessness, stylishness, and incredible competence of the protagonist became tiresome. Likewise, Fatma’s much-trumpeted skill as a detective is undermined by how selectively observant she was, and how much of the plot depended on her missing obvious clues. Those who are seeking an engaging mystery may be disappointed, for the reasons above and also because this is not a page-turner typical of that genre.

It did seem odd that the novel was peppered with so many references to the previous stories set in the same world. Those who had not read the preceding works were left feeling that there was something missing.

But for many in the book club, these quibbles are overshadowed by the engaging motivations of those who committed the crime, the well-thought out tensions in the world’s international politics, and the skillful interrogation of power dynamics. Digressions into a possible alliance between the Kaiser and Ottoman Empire, and speculation about what Lord Worthington may have been up to before his demise are all quite interesting.

A Master of Djinn is a strong Hugo finalist that may be near the top of some of our ballots.

New Books In Science Fiction

The podcast New Books In Science Fiction, hosted by Rob Wolf, is possibly ineligible for a Hugo Award

Podcaster Rob Wolf interviews
authors about their new books.
(Image supplied)

for best fancast. And that’s a shame because it is one of the podcasts that consistently guide listeners to find deeper understanding and appreciation of genre works.

Every two or three weeks, Wolf sits down with an author who has a new novel (either upcoming or released in the past six months) and has an in-depth one-on-one chat with them about the book and their influences, about their career, and about the intellectual effort that went into the book.

Often, the result is revelatory.

An expert interviewer, Wolf approaches each author with an earnest enthusiasm that is frankly endearing. He asks thoughtful, succinct questions that drive at the heart of the matter, and gives his guests the time to respond fully and completely.

In the seven years he’s been hosting the podcast, Wolf has interviewed an all-star roster of science fiction authors such as Andy Weir, Tochi Onyebuchi, Rebecca Roanhorse, Kameron Hurley, Ken Liu, Megan O'Keefe, Malka Older, and many, many more. Many of his earlier episodes from 2014–2015 may seem a little choppier, but what amazes us is how much enduring value older episodes in the series have. And, to be fair, most podcasts were choppier five years ago.

By any measure, 2020 was an extraordinary year for New Books in Science Fiction. With Stealing Worlds author Karl Schroeder, Wolf interrogates the book’s politics. In an episode about Ring Shout, P. Djèlí Clark provides insights about historicity and the creation of authentic, believable historical fantasy. At the beginning of the pandemic, Beneath The Rising author Premee Mohamed’s episode examined the difficulty of launching a book during lockdown. There was not a bad episode this year.

All of the novels listed above were ones that we enjoyed. But Wolf’s strength is that his podcast is worth listening to even when you either haven’t read — or didn’t enjoy — the book he’s featuring. He brings intellectual grist and empathy to everything he works on.

For us, the real highlight of 2020 was an interview with Kim Stanley Robinson, who was speaking about his recent novel The Ministry For The Future. Wolf’s interview provided insight and context that helped members of our book club to appreciate the artfulness of a book that they had previously found pedantic and boring. A librarian in the book club says this makes him an honorary readers’ advisory librarian.

Although Wolf himself produces the podcast entirely on a volunteer basis, it is part of a larger “New Books Network” that has exactly one full-time professional employee who deals with a few technical matters such as hosting. This does raise questions about the Hugo eligibility of this podcast, despite the fact that everything that makes New Books In Science Fiction great is fannish, and fan-run.

Whether or not New Books In Science Fiction is Hugo-eligible, Rob Wolf’s work deserves to be celebrated. It’s a fancast that will be on our Hugo nominating ballots, just in case it makes a difference.