“The smog in Mushtallah tasted of tar and ashes; it tasted like the war.”
So begins Kameron Hurley’s Infidel, sequel to God’s War, in which we met Nyx, state-sponsored assassin (or bel dame) in an Islamic-inflected future world that has been at war for longer than anyone can remember, over a cause that is all but forgotten. In this second novel, Nyx is no longer a bel dame, and is instead playing bodyguard to the spoiled child of an ambassador when her city, the aforementioned Mushtallah, is targeted in a devastating terrorist attack. She’s then summoned by her Queen to hunt down the rogue bel dames who featured in the events of God’s War, who the Queen believes were responsible for the attack.
None of which conveys the chief pleasure of this series, which is Hurley’s punchy, laconic prose, conjuring as it does the vast desert landscapes her characters inhabit – which in their turn reflect the violent bleakness of those characters’ lives. The improperly terraformed planet of Umayma is barely hospitable to life, and as such is a brilliant metaphor for a society endlessly at war: what joy is to be found there is contingent and brief.
Hurley’s work has often been praised for its diversity: her novels feature unapologetically queer women and people who defy gender stereotypes (one of the reasons for the brutality of the Bel Dame series is undoubtedly to counter notions of women as essentially nurturing, caregiving types – Nyx in particular is anything but that), and of course it’s fairly rare – and was rarer still when Infidel was published back in 2011 – to see speculative futures in fiction that aren’t essentially Western. It does have to be said, however, that both God’s War and Infidel play into enduring and harmful stereotypes that cast Islam as a warlike religion, with the pointlessness and endlessness of the war they depict. It’s not, I think, that Hurley is actively suggesting that this world is constantly at war because it is Islamic; but nor do I think it’s wholly a coincidence that she chose an Islamic milieu for her examination of the effects of unceasing war, even if the reasons for that choice were subconscious. (It’s worth noting that Hurley is a white American who is not, as far as I can discover, Muslim.)
Later on in her career, in 2019’s The Light Brigade, Hurley brings her exploration of total war home to the Americas, combining it with a discussion of the corroding effects of late capitalism. The Light Brigade is technically and thematically the better and more interesting book. But God’s War was one of the first queer SFF books I ever read, and the series’ wide desert spaces, and its protagonist’s uncompromising lack of femininity, still retain a hold on my imagination. I’m looking forward to picking up the third and last book in the trilogy, Rapture.
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