Tag Archives: john grant

New: infinity plus singles, 16-20

Just out from infinity plus, the latest batch of infinity plus singles:

Pilots of the Purple Twilight by Kit Reed Pilots of the Purple Twilight
by Kit Reed ($0.99/£0.77)
infinity plus singles #16 [Mar 2012]The wives spent every day by the pool – this was where the men had left them, after all. A moving, incisive story that gets right under your skin from an author whose prose style has been described as “pure dry ice” by The New York Times Book Review.

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Memories of the Flying Ball Bike Shop by Garry Kilworth Memories of the Flying Ball Bike Shop
by Garry Kilworth ($0.99/£0.77)
infinity plus singles #17 [Mar 2012]Understand the one you hate. What did the old Chinese man smoke? He smoked his enemy, and when he had smoked the hated man he would know him. “The best short story writer in any genre” (New Scientist).

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All the Little Gods We Are by John Grant All the Little Gods We Are
by John Grant ($0.99/£0.77)
infinity plus singles #18 [Mar 2012]A moving tale by award-winning author John Grant about a man discovering that somehow the story of his past has been written all wrong. A superbly measured fantasy about loss, and sorrow, and the pain of dealing with past passions.

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Closet Dreams by Lisa Tuttle Closet Dreams
by Lisa Tuttle ($0.99/£0.77)
infinity plus singles #19 [Mar 2012]”Something terrible happened to me when I was a little girl…” So begins this extraordinary, International Horror Guild Award-winning  tale of abduction, survival and escape from the author Stephen Jones has called “a major force in macabre fiction.”

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Fear of Widths by David D Levine Fear of Widths
by David D Levine ($0.99/£0.77)
infinity plus singles #20 [Mar 2012]Home for his parents’ funeral … all the familiar, yet unfamiliar, things. And the horizon. How could he have forgotten the horizon? Mind-bending fiction from a Hugo-winning author.

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Snapshots: John Grant interviewed

What are you working on now?

I’m currently writing a fairly massive encyclopedia of film noir. I’m not yet certain what the title will be – the publisher and I have batted around possibilities like A-Z of Film Noir and Dictionary of Film Noir. My personal favourite at the moment is The People’s Encyclopedia of Film Noir. It’s going to be very different from other books with similar titles in that (a) it’s going to cover far more movies, somewhere in the 2000 to 3000 range, I’m guessing – and (b) its coverage is going to be truly international – not just the usual suspects (geddit?) like the US, UK and France but also the other European countries, Eastern as well as well as Western, plus Australia, HK, Korea, Japan, New Zealand, South Africa, the South American countries, you name it. My eyes are getting sore from reading all those subtitles.

What have you recently finished?

I think the most recent book I’ve finished – aside from some stuff I’ve ghostwritten – is the novella The Lonely Hunter, which is coming out Real Soon Now from PS Publishing. I’m not sure exactly when: the pub date hasn’t been formally announced yet, but the artwork has been done and dusted and I’ve signed all the endpapers and so on.

What’s recently or soon out?

Well, I’ve just answered part two of that question!

As for its part one, last fall saw two of my nonfiction books released. One, from Prometheus, was Denying Science, which has so far been surprisingly well received. I’d been expecting far more of an uproar from the denialists than there’s actually been. One review site went berserk because, so far as the reviewer is concerned, climate change has been proven to be a complete hoax and I was living in a fantasy world if I thought otherwise. Meanwhile, in the real world, the daffodils have been coming up a month early around here the past two springs.

The book earned me, from writer Gregory Frost, an accolade that I’ll treasure ’til the end of my days: “John Grant is the living heir of Martin Gardner.”

The other major nonfiction book of mine to come out last fall was also my very first straight-to-ebook publication, Warm Words and Otherwise: A Blizzard of Book Reviews, collecting most of the reviews over the past fifteen years or so from venues like Infinity Plus and Crescent Blues that I’m still prepared to acknowledge. I was startled to find, when I was putting the book together, that the final text came to something over 150,000 words. If I’d put in the reviews I’m not still prepared to acknowledge, who knows what the total might have been!

This struck me – and my publisher, Keith Brooke of Infinity Plus Ebooks (hey, that’s you!) – as a perfect example of how ebook technology ought to be used. Not many print publishers would look at a collection of book reviews as a viable project, but the extraordinarily low production costs of ebooks made it, I think, worthwhile for author and publisher alike.

There were also ebook publications of three of my short stories in the Infinity Plus Singles range.

Describe your typical writing day.

Get up. Smooch wife, who’s usually up before me. Have pee. Make tea. Ruminate about pointlessness of latter two activities. Spoil various cats. Switch on computer. Stare at screen. Open up Thunderbird and check email. Open up Firefox and check cricinfo.com. Stare at screen a while longer. Open up WordPerfect 5.1 (because I’m a boring old fart and still prefer a DOS program that does everything I want to whatever the latest Microsoft product is). Start writing.

It’s slightly different at the moment, because I’m working on a movie book. As when I was writing the three editions of my Encyclopedia of Walt Disney’s Animated Characters and my book Masters of Animation, not to mention the movie threads of David Pringle’s Ultimate Encyclopedia of Science Fiction and my own and John Clute’s The Encyclopedia of Fantasy, part of the day is likely to involve watching one or more movies. My next phase of work on the film noir book is going to be a couple of months during which I have to watch and write about four, five or on occasion even six movies a day. Friends say I’m a lucky dog to get paid for watching movies. I tell them to try as much as a weekend’s worth of that sort of intensive viewing.

What would you draw attention to from your back-list?

Everything!

You mean you want me to narrow things down a bit? Well, of my novels I’m really proud of The World, The Far-Enough Window, The Dragons of Manhattan and Leaving Fortusa – all four of those do things I think really needed to be done, and in my humble opinion do them well. I’d also stand by my novel The Hundredfold Problem; one of the reviewers said that he read it on the basis that it was fun, and enjoyed it, but that it actually forced him to do some thinking about pretty profound issues. I can’t think of higher praise than that.

As for my nonfiction books? Well, the Disney and Fantasy encyclopedias, obviously. And I think I’m doing something worthwhile in the books I’ve been writing over the past few years on the misunderstanding of scientific issues: Discarded Science, Corrupted Science, Bogus Science and most recently, as noted, Denying Science. I was extraordinarily chuffed a couple of years back when John Marburger, formerly Science Advisor to the White House, congratulated me on these and described them as important.

Which other authors or books do you think deserve a plug?

There are other authors and books?

In fact, I think lots and lots of books and authors deserve plugs. My reading tends to be, by design, pretty scattershot – I cringe when people say things like “I read a book by Melvyn P. Scroit and I loved it so much I read everything else he had written, front to back!” Me, if I really love a book, I start rationing out the other books by that author, to make sure I get the very best out of each of them. I still haven’t read The Quiet Woman by Christopher Priest, even though he’s one of my Top Ten Living Authors and even though it’s been on my shelf for fifteen years and even though I’ve read several of his other, more recent novels since getting that one. He’s good enough that I let myself read a novel of his no more than every year or three, or more. I’m a great fan of Ian Rankin’s Rebus books, too, but I still have plenty of those stashed to read. And so on.

With a writer like Carlos Ruiz Zafon, on the other hand – another great fave – it’s easier, because his books are being released into anglophone markets only slowly.

As for writers you’ve never heard of who deserve a plug? Well, there’s C.S. Thompson, whose City of Strange Dreams is, I think, pretty wonderful. And then there’s a whole slew of little known authors the reviews of whose books you can find in Warm Words and Otherwise, hint, hint.

If you were to offer one snippet of writing advice what would it be?

(a) Write. It sounds like a joke reply, but it isn’t. I’ve lost of count of how many people I’ve met who want to be writers but who seem reluctant to do the stuff of actually, y’know, writing. It was a piece of advice offered to me first by, of all people, Alec Waugh, who I met at some bash or other when I was even callower than I am today.

(b) Finish the first book. Again, it sounds like a joke reply, but isn’t. If you’re like I was, you’ll be about three-quarters of the way through that first novel, or more, when you realize it’s total garbage. Even so, finish it. For ever after you’ll know you’re capable of writing a full-length book. When you sit down to write the next one – the one that’s going to win you the Booker and draw the attention of the Nobel committee – you’ll know it’s not going to be one of those unfinished, unpublished masterpieces.

So… the easy one: what’s the future of publishing?

Pretty morose, I’d say. The POD revolution and then the ebook revolution were supposed to “democratize” publishing, and that seemed to be a good thing. The major corporate publishers had reduced literature to the point that there was more interest in a new book “by” Lindsay Lohan than in something you’d actually want to read. Lots of very good books were not getting published because of this dumbass, short-termist, look-at-the-bottom-line attitude. Quite a few of those were getting picked up by small presses (e.g., Akashic) or medium-sized presses (e.g., the Prometheus imprint Pyr), which suffered the disadvantage that they weren’t able to bribe Barnes & Noble to pile the books up at the front of the store, but were still better than nothing at all. Even so, many good books were just not getting published. Come the POD and ebook revolutions, and this’d be sorted. What has in fact happened is that about a billion novels have been published among which a mere several are worth reading.

A lot of that billion have been published for free download. Given the choice between a free book and one you have to pay for . . . You’re following my line of thought, aren’t you?

So our hypothetical reader downloads to his or her Kindle, for free, dozens of books of the generic form Porno Zombies Hit On Sparkly Vampire High School Cheerleaders and discovers they’re all complete mindrot. Does that reader go back for more, even though this stuff is free? Does s/he go further, and investigate books that actually cost money?

You tell me.

More…

John Grant is author of over sixty books, both fiction and nonfiction, and the recipient of two Hugo Awards, a World Fantasy Award, and several others. He coedited with John Clute The Encyclopedia of Fantasy and wrote The Encyclopedia of Walt Disney’s Animated Characters. Described in Argosy magazine as a “modern Renaissance man,” he has written on subjects as diverse as beer, dreams, science and beyond; most recent (fall 2011) is Denying Science. He is currently writing a major book on film noir.

John wrote the chapter ‘Infinite pasts, infinite futures: the many worlds of time travel’ in Strange Divisions and Alien Territories: the sub-genres of science fiction (edited by Keith Brooke, published by Palgrave Macmillan, February 2012).

Buy stuff:


New infinity plus singles from Lisa Tuttle, John Grant, Eric Brown, Kit Reed and Anna Tambour

Five more infinity plus singles for November:

The Life Business by John Grant The Life Business
by John Grant ($0.99/£0.86)
infinity plus singles #6 [Nov 2011]

With astonishing power, award-winning author John Grant portrays the human facility to falsify history, using as his backdrop the beginnings of the late-20th-century troubles in Northern Ireland, as an unwitting mainland schoolboy finds himself caught up in a violence he barely understands.

BUY NOW: from Amazon USAmazon UKSmashwords

The Bone Flute by Lisa Tuttle The Bone Flute
by Lisa Tuttle ($0.99/£0.86)
infinity plus singles #7 [Nov 2011]

Venn, a fickle and restless young musician, is drawn to the “lost planet” of Habille where, it is said, human nature has changed, and love once experienced can never die. In an afterword written especially for this edition, Lisa Tuttle explains her controversial decision to refuse the Nebula Award for this story.

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The Death of Cassandra Quebec by Eric Brown The Death of Cassandra Quebec
by Eric Brown ($0.99/£0.86)
infinity plus singles #8 [Nov 2011]

Cassandra Quebec: an artist who had shown the world her soul. At the height of her career she was the world’s most celebrated artist; a year later she was dead. And now… her death has become a work of art. Powerful and clever science fiction from the two times winner of the BSFA short story award.

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Playmate by Kit Reed Playmate
by Kit Reed ($0.99/£0.86)
infinity plus singles #9 [Nov 2011]

The little boy next door is just so good. In fact, he’s pretty much perfect. And he has a strangely powerful influence on Danny. A disturbing story from an author whose short fiction has been described by scifi.com as “Brilliant on all levels”.

BUY NOW: from Amazon USAmazon UKSmashwords

Picking Blueberries by Anna Tambour Picking Blueberries
by Anna Tambour ($0.99/£0.86)
infinity plus singles #10 [Nov 2011]

A powerfully evocative portrait of an alternative community in the early 1970s, told with a child’s-eye simplicity by a young resident. Short fiction from an author whose work has been described by World Fantasy Award-winner Jeff VanderMeer as “Rapacious, intelligent and witty”.

BUY NOW: from Amazon USAmazon UKSmashwords


A book of reviews? Really?

That was pretty much my first reaction when John Grant approached me with the idea of putting together a collection of his book reviews. Who on earth would buy such a thing?

Warm Words and OtherwiseBut then I started to think a bit more. Back in the ten years I ran the infinity plus online genre showcase, John was one of my favourite reviewers. (I know that, as with our children, editors shouldn’t really have favourites, but you just know we all do.) He was productive and timely, for a start, which is always helpful. But far more than that, his reviews were eloquent, witty, opinionated and, above all, great reads. While most of our reviews were only a few hundred words long, John’s were often over a thousand words in length, articulate and entertaining essays that were filled with his genuine passion for good writing.

Another thing I liked about John’s contributions was the way he took books at face value. One week he might review Stephen King or Jeanette Winterson, and the next a book effectively self-published by iUniverse. He didn’t care about the names on the cover: it was all about the words. And he uncovered some real gems by taking such an egalitarian stance.

He did also stumble across some some turkeys, from large publishers and small, name writers and newcomers. And these turkeys were dissected, often with thoroughly scathing wit: never harsh or ridiculing, John analysed just what it was that made some books work and some choke, in an object lesson to any aspiring writer who wants to understand their craft, and their industry.

This is starting to sound like a sales pitch. And while I’d be the first to confess that I’m drawing your attention to the book in the hope that you will buy it (over 150,000 words, covering SF, fantasy, horror, crime and more, for a mere $1.99? how could you not?), my primary intention here is to set out my journey from “Really? You must be mad…” to “Aw, go on then,” to thinking that, actually, if enough of the right people read this book it would be a genuine contender for things like the British Science Fiction Award’s non-fiction category.

It’s funny. It’s breathtakingly intelligent and well-informed. It strikes that perfect balance between serious and a great read.

I made that journey from “Really?” to “what a great idea” quite quickly, and I’m sure a lot of other people will too.

John Grant’s Warm Words & Otherwise: A Blizzard of Book Reviewsinfinity plus ebooks’ first venture into non-fiction is now available from the usual suspects:

amazon.com (Kindle format, $1.99)
amazon.co.uk (Kindle format, £1.44)
Smashwords (various formats, including epub, mobi, Sony and PDF, $1.99)

A bumper collection – over 150,000 words! – of book reviews, many of full essay length, by the two-time Hugo winning and World Fantasy Award-winning co-editor of The Encyclopedia of Fantasy and author, among much fiction, of such recent nonfiction works as Corrupted Science and (forthcoming) Denying Science.

Scholarly, iconoclastic, witty, passionate, opinionated, hilarious, scathing and downright irritating by turn, these critical pieces are sure to appeal to anyone who loves fantasy, science fiction, mystery fiction, crime fiction and many points in between … and who also enjoys a rousing argument.


Guest blog by John Grant: Of Spatting Gods, Extraordinarily Heavy Laptops, Flights, Quests, Contests, Archetypes, Stuff Like That

The other day, when I first saw the amazon.com page for my short novel Qinmeartha and the Girl-Child LoChi‘s latest incarnation as an infinity plus ebooks edition, it felt like I Qinmeartha and the Girl-Child LoChiwas greeting an old and valued friend whom I hadn’t seen for far too long. In many ways the book occupies a fairly central role in my fiction, yet far, far more people have read the various offshoots and permutations of the tale that have appeared elsewhere in my work than have ever read the tale itself. Let’s hope the appearance of this new edition will reverse that imbalance.

The story was born in the early 1990s on a train between Exeter and London. My agent at the time, the excellent Jane Judd, had suggested I might enter for the first One-Day Novel Competition, which was being organized by the Groucho Club. I’d been able to borrow a laptop computer from my pal Matt, who’d just bought it second-hand, and he and I had loaded it with Word Perfect 5.1 – about as much as its hard disc would take. (An Amstrad, it weighed about as much as a modern desktop computer; by the end of a weekend of carrying the thing around my arms were measurably longer.) The sf author Dave Hutchinson and his wife Bogna had offered to put me up for the couple of nights I needed to be in London for the competition (despite the contest’s title, the writing was to be done over two days, 12 hours per day). In short, the logistics for my participation had all been successfully put in place.

It was on the train, though, that it occurred to me it might be a good plan if I had, you know, a novel to write – or at least a few ideas to get started with.

Instantly my mind went blank.

I sat there gazing out the train window at the fields and trees rushing backwards past me, and after a while realized I was seeing the reflection of the face of a passenger a couple of seats along at the same time as I was seeing the countryside. This was hardly an original insight but it did give me an image as a point of departure. For some reason I linked the image to the flat my wife and I had occupied in a small edge-of-Dartmoor town around the time my daughter was born. That reminded me of the cumbrous old second-hand wardrobe our spare room had boasted, best known for the fact that in the middle of one joyously drunken night a moderately famous author staying with us had got out of his bed and climbed into it, thinking he was on his way to the bathroom.

There were all sorts of story elements by now jostling for my attention. I took a few notes (little knowing that later, minutes before the start of the contest, we’d be informed that, contrary to the instructions we’d all been sent, we were not allowed to take any notes into the “exam room” with us).

But I didn’t need to make any notes about the two main components of the story that was now with increasing urgency taking shape in my mind – or, really, a single component that was manifesting itself as two different narrative strands. The strand that was foregrounded so far as my main character (by now called Joanna) would perceive things concerned a strange and strangely over-friendly family, the Gilmours, that lived in but was not a part of my Dartmoor town. But really (whatever the word “really” means in this context, because I still to this day do not myself know how literally Joanna’s experiences should be interpreted) the Gilmours were to be just a sort of projection into the mundane world of the figure who’d now moved to the conceptual centre of the evolving tale: Qinmeartha.

I’ve always been interested, ever since stumbling across the ideas of Joseph Campbell and, earlier, Sir James Frazer, in the notion of archetypal figures who can appear and reappear in diverse tales that appear on their face quite distinct from each other. I’m far from the first writer to have followed this lure; perhaps the fantasist most famously to have exploited these notions has been Michael Moorcock with his multiverse concept. In the early 1990s, not fully realizing what Moorcock had been up to along these lines (at the time I’d read neatly the wrong bits of Moorcock, Behold the Man rather than Elric of Melnibone, as it were), I’d explored such notions in my novel The World . . . calling my scheme the multiverse, a term I’d picked up from reading popular science books, until crossly discovering Moorcock had already snaffled the word and having to use “polycosmos” instead.

But the notion dawning on me as my train pounded toward London was of a far more powerful archetype than anything I’d conjured before. Here was not just a character (or pair of characters) who might appear in different guises in a whole slew of tales, but an underlying structure of (fictional) reality that could, as it were, be viewed through many different narrative lenses – a way of perceiving how reality was put together that I could approach in many different ways. The derided creator god Qinmeartha’s ceaseless quest to complete himself with or just to annihilate the fleeing Girl-Child formed the basis for – to cast my innate modesty aside for just a moment – a complete fantasy cosmology.

By the time I got to the Groucho Club I knew all kinds of things that were going to go into the plot of what I provisionally called The Legend of Qinmeartha and the Girl-Child LoChi without actually knowing what the plot itself would be. Finding out that plot was what was going to occupy me for the next two days.

The first day I wrote a little over 20,000 words of it; the second I added a further 11,000 words or so. I even finished with a few hours to spare . . .

What happened to my humble offering during the judging process I do not know. It certainly never made it to the shortlist; c’est la vie. But I myself was completely haunted by the tale. A few days later, back home, recovered from my exhaustion, when I nervously printed out a copy of it and read it pen in hand, I was surprised by how little beyond basic typos and the odd ghastliness I wanted to change. And both the imagery and the underpinning legend/archetype still spoke to me potently.

Of course, there was a major problem with a 31,500-word novel: it was exactly the wrong length to have any chance of publication – too long for a magazine or anthology, far too short to be published as a standalone. (This was years before the emergence of the modern fashion for publishing novellas/short novels as solo items.) So Qinmeartha and the Girl-Child LoChi sat around gathering metaphorical dust in my metaphorical drawer for some years. Every now and then I’d dig it out, read it again, be moved by it again, perhaps rejig it a little, think of turning it into a full-length novel, realize this would be a bad thing to do, and put it to one side. More importantly, Qinmeartha and LoChi and the cosmology they comprised were sneaking into my other fictions, not always in the most obvious of fashions – although they were pretty much to the forefront of my 1994 science fiction novel The Hundredfold Problem (done originally for a Judge Dredd series, whodathunkit).

Qinmeartha and the Girl-Child LoChi finally saw print about a decade after I’d written it thanks to Sean Wallace’s much mourned small press Cosmos. Sean paired it with The Tomb of the Old Ones by my old friend Colin Wilson and in 2002 released the two together in anthology form – the first (and perhaps only) “Cosmos Double”. And now finally, in 2011, it has achieved the standalone publication I’ve always wanted for it.

Well, not quite standalone. One of the received wisdoms of ebook publishing is that it’s a good idea to give the reader some “added value” material as an inducement to buy. I decided the ideal companion to the existing short novel would be my much more recent novella “The Beach of the Drowned”; this first appeared in a 2009 anthology called Under the Rose that was edited by the very same Dave Hutchinson who’d put me up over that One-Day Novel Competition weekend ‘way back when – see how even real life has these repeating patterns, eh?

But that doesn’t seem to me to be the only link between the two tales. They’re both born of the quarter-century or so I lived in Devon; I wouldn’t exactly describe them as regional stories, but it’s in Devon – or a version thereof – that both of them start and finish. And they’re both attempts at mythopoeia; the legend I created for “The Beach of the Drowned” has no archetypal possibility itself, I reckon, but I can see where it has been influenced by the Qinmeartha/LoChi archetype.

It’s been a long and a winding road for this particular child of mine, from that weekend-long sweatshop at the Groucho Club in London in the early 1990s until now, when, with its author living two decades and several thousand miles away from there, the tale is appearing in a format that no one even conceived at the time the piece was written: the hard disc of that ton-weight laptop on which I wrote it probably couldn’t have accommodated the software required for reading ebooks, and anyway internet access was a thing of the future.

That’s all, so far as I’m concerned, perfectly fitting.

For me, the legend of Qinmeartha and the Girl-Child is likewise long and winding as it manifests and re-manifests in my imagination, and it seems to adapt to new and unforeseen circumstances as they arise . . . just like all good archetypal legends should.

Qinmeartha and the Girl-Child LoChi is available from:

amazon.com (Kindle format, $2.99)
amazon.co.uk (Kindle format, £2.14)
Smashwords (various formats, including epub, mobi, Sony and PDF, $2.99)


An infinity plus double

Qinmeartha and the Girl-Child LoChi
by John Grant

Tarburton-on-the-Moor – just another sleepy Dartmoor village.Qinmeartha and the Girl-Child LoChi - fantasy and SF for Kindle Or so it seems to Joanna Gard when she comes to visit her elderly aunt here, until the fabric of the village begins, like her personal life, to unravel. The villagers become less and less substantial as she watches, the local church degenerates into a nexus of terrifying malevolence, siblings of a horrifyingly seductive family pull her inexorably towards them, elementals play with her terrors on the midnight moor … At last Joanna is compelled to realize that a duel of wills between eternal forces is being played out – that nothing, herself included, is what it seems to be.

In this uncomfortably disturbing tale of clashing realities, Hugo- and World Fantasy Award-winning author John Grant skilfully juggles a strange, fantasticated cosmology with images from the darker side of the human soul.

Bonus Novella: “The Beach of the Drowned”

He thought he was booking himself in for a day’s idle sailing and lovemaking, and it would all have been fine except then a storm blew up out of nowhere, his girlfriend suffered a horrible death, and finally he himself was sucked under the waves. But death eluded him. Instead he found himself drawn to the beach where all drowned folk go, a place outside normal existence where the few people who retain their intelligence band together in the hopeless hope of finding their way back to the living world again. After all, legend says it was done once before …

Free fiction samples and purchasing:
amazon.com (Kindle format, $2.99)
amazon.co.uk (Kindle format, £2.14)
Smashwords (various formats, including epub, mobi, Sony and PDF, $2.99)

“Written exceptionally well … grip[s] from beginning to end.”
— Sue Langeinfinity plus, on Qinmeartha and the Girl-Child LoChi

“Involving philosophical exploration.”
— Rich HortonFantasy Magazine, on “The Beach of the Drowned”

“I am struck here not only by the variety of these stories, and the impressive imagination, but by the control of voice. This is a book of first-rate work, by a writer worthy of more of our attention.”
Locus on John Grant’s collection Take No Prisoners

“Vivid imagination and dazzling prose.”
Peter TennantThe Third Alternative on Take No Prisoners

“Do not open this book until you are prepared to dive in and forget the day. The worlds of John Grant are harsh, interconnected, florid, fluent, fun; and, more than all of that, they are generous. His tales are long and full. And his characters live at full stretch, because John Grant gives each of them his own contentious, passionate, loving heart. Read and weep, read and laugh; but don’t begin to read until you’re ready for a long joy.”
John Clute on Take No Prisoners

“John Grant is a master of transcendent literary fantasy, and one of my idols. His work is baroque, rich, often blurring the fine borders between symbol and reality, science and faith, philosophy and dogma, imagination and probability. With effortless skill he pours it all into a spicy cauldron of story, stirs it up with a biting-hot ladle of words, and the delicious result is Take No Prisoners.”
Vera Nazarian


Sneak preview of some covers

Covers of three books due soon from infinity plus ebooks:

Covers by Iain Rowan, Vincent Chong and a certain JMW Turner.


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