This is the latest in a recurring series! For more about the series, please read the original post on Marta Randall, or subsequent posts on Dorothy Heydt, Barbara Hambly, Jane Yolen, Suzy McKee Charnas, Sherwood Smith, Nisi Shawl, and Pamela Dean.
The more I do of this series of posts, the more I discover that one of the commonalities of writers I want to feature here is that they write with great variety–both on a range of topics and for a range of audiences.
The first Gwyneth Jones books I fell in love with were the series that starts with Bold As Love–all rock, all political, all relationships, all the time. Focused on the near future, the environment, and how people handle it as people–at basically every scale. Healthy dollop of weird science fiction mysticism.
But then I ran around trying to find as many others of her books as I could–a harder feat than it should be in the US, alas–there were very different things. Weird alien SF! Creepy kids’ books! Riffs on classics with heart and humanity! There are authors of whom you can say, “Well, it’s a one of those again, if you want that,” and…Gwyneth Jones doesn’t do that. Even the last book of the Bold As Love cycle departs strongly from the patterns and concerns of the rest of it. (The Grasshopper’s Child, and I love that one too.) There’s a lot of her back catalog for me to pore through bookstores to find, and I’m eager for it.