rocky41_7: (overwatch)
This is the third book in the Wayward Children series. The book description is:

When Rini lands with a literal splash in the pond behind Eleanor West's Home for Wayward Children, the last thing she expects to find is that her mother, Sumi, died years before Rini was even conceived. But Rini can't let Reality get in the way of her quest - not when she has an entire world to save (Much more common than one would suppose.)

Full review below )


rocky41_7: (overwatch)
This was the second read of the Women In Translation rec list. It's called Idol, Burning by Japanese author Rin Usami, translated into English by Asa Yoneda. The book description is:

Akari is a high school junior obsessed with “oshi” Masaki Ueno, a member of the popular J-Pop group Maza Maza. She writes a blog devoted to him, and spends hours addictively scrolling for information about him and his life. Desperate to analyze and understand him, Akari hopes to eventually see the world through his eyes. It is a devotion that borders on the religious: Masaki is her savior, her backbone, someone she believes she cannot survive without—even though she’s never actually met him.

When rumors surface that her idol assaulted a female fan, social media explodes. Akari immediately begins sifting through everything she can find about the scandal, and shares every detail to her blog—including Masaki’s denials and pleas to his fans—drawing numerous readers eager for her updates.

But the organized, knowledgeable persona Akari presents online is totally different from the socially awkward, unfocused teenager she is in real life. As Masaki's situation spirals, his troubles threaten to tear apart her life too. Instead of finding a way to break free to save herself, Akari becomes even more fanatical about Masaki, still believing her idol is the only person who understands her.


Final verdict: Thumbs up
Read more... )


rocky41_7: (overwatch)
The week before last Libby showed me a list of books my library recommended, all books translated into English in whole or in part by female translators. I made the sore mistake of going through the whole list and added about thirty new books to my TBR. This was the first of them that I've finished! It's called On a Woman's Madness by Surinamese author Astrid Roemer, translated from Dutch by Lucy Scott. The book description is:

When Noenka's husband refuses her request for divorce, she flees her small hometown for the city, where life is simultaneously free and unfree: an open book; a closed door. 

Final verdict: Thumbs up

Read more... )




rocky41_7: (overwatch)
This is the second book in the Wayward Children series (first book: Every Heart A Doorway). This book focuses on Jack and Jill from Every Heart, and what happened to them before they came to Miss West's school.

Spoilers below!


Unfortunately I have to admit I did not like this one as much as the first book. It drops the alluring conceit of isekai children returned to the real world, which I had really enjoyed. The book is quite short, even shorter than "Every Heart a Doorway," and told in a sort of fairytale style, which means that much of the story is summarized (quite poetically!) rather than played out beat-by-beat. On the whole it feels less like a stand-alone novel and more like Jack and Jill's backstory episode, and they didn't intrigue me enough in "Every Heart" for this to be a deeply compelling premise. 
 
The high-level style means we don't actually learn a lot about what happened to them. The Moors are not developed that much—there's minimal worldbuilding—and we still know almost nothing about the Master and Dr. Bleak, nor about how Jill became so drawn in by the Master she was willing to kill for him. The latter was a significant weak point to me—it's naturally understandable how Jack became close to Dr. Bleak: he was her mentor, he cared for her, he was doing what she believed was good work, but it's far less understandable how Jill ended up in the mindset she has in "Every Heart" and it would have benefited from more explanation.

Shout-out to sapphic Jack though, love that for her. I did find myself a bit bewildered by her rhapsodizing about how Alexis taught her how to love given how little time Alexis actually had in the novel, but again I think that's a consequence of how short the book is.
 
McGuire's prose still hits, and the picture she paints of the Wolcotts' lives prior to Jack and Jill's disappearance is so realistically grim. Chester and Sorina are such deeply selfish, careless people, but in a way that can come off harmless on the surface. The moment when Chester is so disgusted by the sight of his wife giving birth that he vows never to touch her again was so real in the sort of understated yet violent depersonalization of someone who is supposed to be his life partner. 
 
The way Jack and Jill grow further apart with age, consumed with jealousy as each child wants what the other one has is also painfully real in the sort of house they were raised in. The book describes how they were robbed of the joys of twinhood by their parents and it's so tragic because you can see how unnatural it is. They started out close, they want to love each other—even at her worst, Jill still wants to be close to Jack—and yet they were put into circumstances that denied it.​
 
This backstory does have the impact of making Jack look willfully ignorant in "Every Heart"--if she knew that Jill had already killed for the Master, her suspicion should have been up immediately when kids started dying at school.
 
The premise of the next book--"Beneath the Sugar Sky"--sounds more promising, so I will be pressing on with that one. 


rocky41_7: (overwatch)
The reviews continue! Although this may be the last one for a while; I recently added about thirty new books to my TBR thanks to a library rec list, so I'll have to dig through some of those. However, I will say that so far, this has been my favorite of my ace/aro book list.

Previous review: The Bruising of Qilwa

The description of this book is:

Children have always disappeared under the right conditions; slipping through the shadows under a bed or at the back of a wardrobe, tumbling down rabbit holes and into old wells, and emerging somewhere... else.

But magical lands have little need for used-up miracle children.

Nancy tumbled once, but now she’s back. The things she’s experienced... they change a person. The children under Miss West’s care understand all too well. And each of them is seeking a way back to their own fantasy world.

But Nancy’s arrival marks a change at the Home. There’s a darkness just around each corner, and when tragedy strikes, it’s up to Nancy and her new-found schoolmates to get to the heart of the matter.

No matter the cost.


The character: Nancy Whitman, asexual
Verdict: Thumbs up!

Read more... )


rocky41_7: (overwatch)
Review #3! We're on a roll, and breaking into my favorite genre: fantasy. The book description for this one is:
 
Firuz-e Jafari is fortunate enough to have immigrated to the Free Democratic City-State of Qilwa, fleeing the slaughter of other traditional Sassanian blood magic practitioners in their homeland. Despite the status of refugees in their new home, Firuz has a good job at a free healing clinic in Qilwa, working with Kofi, a kindly new employer, and mentoring Afsoneh, a troubled orphan refugee with powerful magic.

But Firuz and Kofi have discovered a terrible new disease which leaves mysterious bruises on its victims. The illness is spreading quickly through Qilwa, and there are dangerous accusations of ineptly performed blood magic. In order to survive, Firuz must break a deadly cycle of prejudice, untangle sociopolitical constraints, and find a fresh start for their both their blood and found family.

The character:
Firuz-e Jafari, aro/ace

Final verdict:
Thumbs up
Read more... )
rocky41_7: (overwatch)

This is not technically the first installment of this, but it is the first time I'm making it A Thing. A+ Library is my new segment where I review books with asexual and/or aromantic characters.

The book description for Loveless is:

Georgia has never been in love, never kissed anyone, never even had a crush - but as a fanfic-obsessed romantic she's sure she'll find her person one day. As she starts university with her best friends, Pip and Jason, in a whole new town far from home, Georgia's ready to find romance, and with her outgoing roommate on her side and a place in the Shakespeare Society, her 'teenage dream' is in sight. But when her romance plan wreaks havoc amongst her friends, Georgia ends up in her own comedy of errors, and she starts to question why love seems so easy for other people but not for her.

The character: Georgia Warr, aro/ace

So let's get to it.

TL;DR: Thumbs up from me

Since Loveless centers entirely around the aroace experience, I will not be breaking the review into sections like last time.

Loveless is a coming-of-age story about Georgia's first year at college. It begins with her graduation party out of high school and ends with her establishing plans for her second year of college. It's very slice-of-life, with a focus pretty much exclusively on Georgia's interpersonal relationships and her personal growth.

Oof. Okay. Loveless was at times hard for me to read, and not because it's bad, but because it hit so close to so many of my own experiences at Georgia's age. There were so many times I felt myself going "Oh yeah, I remember that. Yep, there's that phase. Yep, I told myself that story too. Yep, yep, yep."

Just like Georgia, I considered myself someone with "high standards" who would inevitably break the romance and sex barrier when I got to college. This book hit on so many of my own insecurities from that phase, some of which I still struggle with at times, but I will try to be objective about this review nonetheless.

Loveless does a wonderful job of unfurling Georgia's journey, from the start where she considers herself "just like everyone else" but a bit slow on the romance front, to realizing she's Different, through the difficult process of starting to accept that difference as part of her.

Unlike my last review, Loveless earns its found family by showing how Georgia and her friends grow together and apart and back together--with additions. Everyone in Loveless is on their own journey--and at different stages of it. From Pip who's been out as lesbian since she was fifteen and eager for a first girlfriend, to Rooney who's long suspected she's not really straight, to Georgia who's only just grasping the words to describe her experience.

And sometimes they hurt each other! One of the complaints I had about One Last Stop was how all the relationships (protag's mom aside) are entirely fluffy feel-good. Loveless eschews that by showing how friends can hurt each other even when they don't mean to, and how people have competing needs, and how past struggles can impact your present. But in spite of that, it's clear how much all of the main cast grow to care for each other over the course of the book, such that the ending is truly heartwarming.

The prose suits Georgia's voice, which is to say it sounds like an 18/19 year old girl is speaking. That means it's not very eloquent, and it can be blunt and cringy, but in a very believable, realistic way to me.

Georgia's coming of age isn't limited to just her orientation. At the start of the book, she is painfully alien to herself. Georgia doesn't seem to know anything about herself, as if she's spent all her adolescence wrapped in a thick blanket glued to fanfic and refusing to interrogate any of her own feelings--which is probably what happened. It means that she has a very rough time when she enters college. Unlike many such stories, Georgia is not jumping at the bit to be on her own--in the moment when her parents dust off their hands and prepare to leave her with her boxes of stuff in her new dorm, Georgia contemplates begging them not to leave her.

Loveless really captures a sentiment I experienced with asexuality, which was the sense of being left behind by your peers, of feeling childish and immature. Desperate to shake the feeling, Georgia makes an admirable effort at "putting herself out there," doing all kinds of things she doesn't really think she'll like, but wants to give a try, just in case. In some cases, she bombs--but in others, like the Shakespeare Society, she really blossoms. I thought the book makes an excellent picture of a lost young person beginning their adult life with no real idea of who they are, and trying to solve that problem.

Perhaps most painful of all, Loveless captures Georgia's fear of not knowing what her future will look like now that whirlwind love affair-->marriage-->2.5 kids is off the table. It's particularly difficult for her because Georgia so desperately wants that romance--except that for her it's something of a mirage: as soon as it gets close--like when a boy tries to kiss her--all her interest is gone in a flash. Georgia wants to want romance and sex...but she doesn't, really. Even when she's accepted her orientation, she really struggles with what this means for the rest of her life, which also felt very relatable. Partnering up is seen as virtually inevitable, and as the book points out: life is scary! It's way less scary when you have a Person! Therefore, part of Georgia's insecurity and uncertainty focuses a lot on what her future is going to be, and it's not a question she's solved by the end of the book. But it is one she's becoming less afraid of.

There were a few things that struck me as odd, like Pip's claim she had never "fully connected" with friends who aren't Latina, a sentiment echoed by Sonil's refusal to accept his asexuality until he met other Indian people who also used the label...obviously there are certain things that friends who don't share your racial or cultural background may not fully understand, but the idea that you can't connect with anyone who doesn't share your same racial make-up is...uncomfortable, I think. But these remarks pass quickly.

Additionally, the way Rooney and Georgia berate themselves for "experimenting" comes off unnecessarily harsh to me...part of dating is learning whether you're compatible with that person. And yeah--sometimes that means figuring out if you are or are not attracted to them, or their gender more broadly. There's nothing inherently wrong with starting to date someone you're not sure you're into, and then realizing you aren't.

The book also beats Georgia's fanfic reading to death a little, in my view. It gets mentioned way more than it needs to, and citing specific ships and tropes a) is going to date the book like hell; and b) is irritatingly obtuse to anyone who doesn't know what "Stucky" or "flower shop AU" is.

If you're deep into the ace/aro online community, this book may come off as retreading a lot of well-trod ground for you. There's nothing especially ground-breaking in it. But if you're not so connected, or you're new to the aro/ace community, or you just want a book that still-coming-out you needed, I think this is a great pick.

Next review: The Bruising of Qilwa (TBP)

rocky41_7: (overwatch)
My general experience with media that sells itself on representation is that it often falls flat, like the creator was so excited about putting the representation they wanted to see into the world they forgot that they needed to also tell a story, or assumed that anyone engaging with their story would be so hungry for that representation that they would be remarkably forgiving of slapdash plots and flat characters. I think these are usually put out with good faith, they're just often very mediocre entertainment.
 
 
Nevertheless, (although I had a lot of fun) going to Pride last month reminded me uncomfortably of how lonely being asexual can be, even amidst other queer people, so I sought out some books that centered asexual and/or aromantic characters, and the first of these I've set down to read was this one:
 
The Circus Infinite by Khan Wong
 
For this reason, I'm breaking this review into two parts: the representation of asexuality, and the rest.
 

rocky41_7: (overwatch)
The cover bills it as a "vampire revenge story." The premise of The Lost Girls by Sonia Hartl is thus:

16-year-old Holly Liddell, in 1987, allowed the undead Elton to turn her into a vampire because he promised her an eternity together. Thirty years later he dumped her at a Quick Stop in Tulsa, Oklahoma and peeled out. Because Holly was turned at 16, she'll always be 16. While she's busy wallowing in this post-Elton, she's approached by two other girls with a similar story: Elton seduced them with promises of forever love, turned them into vampires, then dumped them when he got bored. And worse: he has his sights on a fourth girl. Reluctantly, Holly agrees to help Rose and Ida kill Elton--but developing feelings for Elton's new target wasn't part of the plan.


Honestly, I did not expect this book to be good, and it wasn't. It was entertaining enough. It will keep you busy if you have nothing else going on. Prose is mediocre, hamfisted where it tries to be poetic, and overexplains things to the reader. The plot moves so fast you rarely have time to take in where the characters are at before they're off to the next thing, and the characters themselves are very flat. Rose and Ida are basically interchangeable and I kept getting them mixed up because they really have no personality outside "the nice one" and "the bitchy one." Elton is comically awful with no redeeming or "human" side to him whatsoever, as are most of the protagonist's victims.

The novel feels very grounded in its publication year, down to a jarring and somewhat incorrect use of the term "gaslighting" by a teenager from 1987. I also cringed at the scene where the three main characters all explain their sexualities to each other. It felt very much like the author desperately grabbing for more representation points by saying "Look! Rose is bi too! Ida is asexual!" even though these things literally never matter within the story except for this one awkward scene.

There are some enjoyable things about it. I still like the idea of the plot even if it was poorly executed. The relationships formed within it and the focus on letting go of your past mistakes and forgiving yourself so you can move forward are nice. I did enjoy the subplot about Holly learning to let go of her anger at her neglectful mother, and the one where she confronts Mr. Stockard--who in her day, was an enthusiastic young high school teacher, but has become a burned out middle-aged man by the present time who's given up on his students.

The novel poses some interesting ideas about being perpetually trapped in adolescence and what it means when everyone else around them can move on, for better or worse, but these girls are frozen in the moment where they became vampires, but it doesn't dig deeply enough into that to get really engaging.

Additionally, the novel pays lip service to the morality of its main characters all murdering several people a week to sustain themselves, but otherwise does not really address it in any meaningful way. Neither does it consider how, with seven vampires in town committing a minimum of fourteen murders a week in a relatively small town, no one ever gets suspicious, particularly when their victims are not especially low-profile. This creates such a massive logistical hole for me it's confusing why Hartl didn't just remove the element where each victim necessarily dies. It feels like the only reason this was done was to leave room for Holly's stunted moral code of "always allowing them the chance to run" (they never take it).

In the same way, the novel can't commit to either embracing the horror of what these girls are or finding a way for them to work around it. Holly targets people she views as "acceptable" victims--which are in every instance, a man who hits on her. In this way, it feels like Hartl is trying to justify Holly murdering these people, which doesn't really ring true. Personally I've never had so many people hit on me, let alone get that pushy when I refuse, so it seems unrealistic as a hunting tactic for me. The rest of the vampires are unrepentant killers, and Holly doesn't seem to have any moral qualms with Rose chloroforming people in her room to play with them, or Stacey keeping half a dozen teens locked up in her basement for feeding on. These things are so jarringly grotesque that the way the novel brushes them off--while keeping Holly insistent about her "one rule"--feels incredibly inconsistent, like Hartl was afraid of truly committing to how awful these characters are.

Holly's romance with Parker is sweet, and touching in the way of two deeply lonely people coming together and finding someone who values them, but it also comes off less powerful than it should because both characters are so flat. It's hard to care about their relationship when Parker's only personality trait is "insecure." The push and pull of Holly trying to convince Parker that Elton is dangerous without coming off like a jealous, bitter ex is also an interesting dynamic. 

The book never explains how Parker does what she does at the end, which makes it feel very deus ex-machina to me: it happened because the author needed to happen, not because it was actually possible within the structure the author had created for this world.

(As a side note, to the handful of reviews unhappy about the age gap, I would gently posit that if age gaps really bother you, perhaps vampire romance stories are not for you.)

Ultimately, if you want a book which does not require any thinking or you just want something to keep you busy for a few hours this will suffice.

rocky41_7: (overwatch)
Mexican Gothic is a 300-page novel by Silvia Moreno-Garcia. This book made a bit of a fuss perhaps a year or two back, but I have no faith in the NPR or NYT book recommendations after the heaps of uncritical praise piled on Madeline Miller's Circe. Nevertheless, Mexican Gothic remained in my head as something to check out when I had the chance, and in a rare W for my neighborhood free book library, I triumphantly snatched a slightly waterlogged copy of it a few weeks back.

First, Moreno-Garcia is clearly a fan of the gothic genre in general, and that shows in the book. You can tell while reading this is someone who loves this genre and is eager to work within that space. Few things are more disappointing than an allegedly "groundbreaking" genre novel written by someone with no respect or care for the genre itself. Moreno-Garcia's prose so lovingly paints those elements we adore about this genre: the unsettling isolation, the muddling fog, the strangers with sinister motives, the weight of a family legacy hanging over one's head. I absolutely loved picking this up at the end of the day to sink into the atmosphere.

Second, I just loved the protagonist, Noemi. Novel protagonists often trend towards introverted, bookish, slightly standoffish types (sometimes writers DO write what they know...) so Noemi in that sense feels like a breath of fresh air as an unapologetically extroverted socialite, who, in her own words "wished for eternal youth and endless merriment." A spoiled debutante Noemi may be, but she is also quick-witted, determined, and courageous. And her honed ability to read the room and manipulate social situations to her benefit becomes another weapon in her arsenal when she faces up against the Doyle family. 

I was also delighted with Francis Doyle. Can a piece of gothic lit be complete without a sickly waif preyed upon by the forces of evil? This role unfailingly falls to a woman, who is often love interest-adjacent, if not an outright love interest, and her delicate, ill beauty inspires feelings of protectiveness in the protagonist which help spur him to escaping the dark forces at play. I love genderbending stock characters, so to see Francis fulfilling this role in a masculine way tickled me. Apparently the book has taken some flak for the relationship between Francis and Noemi, but I thought it was delightful.

Moreno-Garcia also shows us how well traditional gothic lit themes work intertwined with commentary about colonialism, classism, and racism. The House in this gothic lit story belongs to a family of wealthy English immigrants in Mexico, and the horror of it stems not only from the supernatural forces at play, but the cruelty and abuse of the Doyle family, their family silver mines a veritable graveyard of local impoverished Mexican workers used up and cast off to fuel their extravagant lifestyle.

The one real criticism I could cite is that the book is quite predictable if you're familiar with gothic lit or film. There are no huge surprises here, and the plot twists are likely to all be familiar to you. However, as someone who usually detests predictability in my stories, even I'll say that Moreno-Garcia's story was engaging enough that I was still keen to read on and find out just how these things came about, if I wasn't surprised by the plot points themselves. And I found all the concluding elements quite satisfying.

My final thought is that I will definitely be hanging onto this one! I think Mexican Gothic deserved the praise it got and I hope the appreciation of it continues.

rocky41_7: (overwatch)
EDITUpdated review 10/10/24

Last night I finished a behemoth of a high fantasy novel: Samantha Shannon's The Priory of the Orange Tree. Clocking in at 804 pages, I have to say the book did not feel like a slog at all. It actually flew by for the most part, and there was no part of the plot which I thought dragged, which is pretty impressive with this length. The description from Story Graph is:

The House of Berethnet has ruled Inys for a thousand years. Still unwed, Queen Sabran the Ninth must conceive a daughter to protect her realm from destruction--but assassins are getting closer to her door.

Ead Duryan is an outsider at court. Though she has risen to the position of lady-in-waiting, she is loyal to a hidden society of mages. Ead keeps a watchful eye on Sabran, secretly protecting her with forbidden magic.

Across the dark sea, Tané has trained all her life to be a dragonrider, but is forced to make a choice that could see her life unravel.

Meanwhile, the divided East and West refuse to parley, and forces of chaos are rising from their sle
ep.
 
I thought Shannon did a neat thing in working in the mythology of both European and Asian dragons, but having them play wildly different roles in her world accordingly. The various countries and cultures in the novel all feel "real" and the different ways in which they interact (or do not interact) with the magic in their world is interesting.

Also fascinating is the mythology which underlays the world itself. The "present" state of Shannon's world is heavily influenced by quasi-mythical characters who lived and died long before our protagonists, and uncovering the truth of their lives and their deeds is a part of the current protagonists' story. It makes Shannon's world feel very rich, and it appropriately deals with the difficulty over time of separating fact and history from myth and legend.

The characters themselves were layered and nuanced, and while I don't want to give any spoilers, one character has a growth arc I particularly loved because she consciously puts effort into setting aside things she's been told her entire life when she understands they may not click with reality. All of the characters have their good and bad moments, and it makes them so real that I couldn't help but love all of them.

For a quick summary:

Recommend if you:
  • Want female-focused fantasy
  • Enjoy a romantic subplot but don't want it to take over the action
  • Want queer characters in your fantasy
  • Enjoy multi-POV stories that take time to roll out
  • Like the tension of "duty vs. love"
  • Want an epic dragon-on-dragon fight
Do not recommend if you:
  • Want to have more action than build-up
  • Prefer low-stakes conflict
  • Want romance at the center of the story
  • Do not like violence
Some more details )

Crossposted from [community profile] books 
rocky41_7: (overwatch)
I will probably edit this more later. Today I finished the third book of the core Dune trilogy, Children of Dune, and since I will not be reading the next two books, this seems like a good time to review. The Dune series was written by Frank Herbert in the 1960s and concerns the noble house Atreides and their intergalactic struggle for power far, far into the future of humanity.

Spoiler-ladden review under the cut.

Read more... )

Conclusion: To me, the effort to read the Dune trilogy is not worth the rewards. Yes, Herbert created a massive fantasy world with intriguing politics and interesting commentary on colonialism but the books degrade in quality over time, the characters are not enjoyable, and Herbert’s prose itself drags. I’m going to stick with the movie, which so far scrapes the best parts from the novel and leaves the bogged-down prose behind.



rocky41_7: (overwatch)
She Who Became the Sun is a historical fantasy novel by Shelley Parker-Chan. It is the first in a duology and the description is:

She Who Became the Sun reimagines the rise to power of the Ming Dynasty’s founding emperor.
 
This one I grabbed on impulse at the bookstore back in January because I vaguely remembered hearing about it somewhere. As with my last review, I'm going to keep this short because I simply do not have the energy for more. I liked this book and I do plan to read the next one. There were moments I wasn't sure about it, but I'm glad I stuck with it and I think Parker-Chan crafts some very interesting characters here.

The main protagonist Zhu is fascinatingly driven and unrepentantly ambitious. She is also ruthless in her pursuit of her destiny, which starts to get pretty interesting at the end of this novel, and I expect will feature even more prominently in the next. She also reads, to me, as asexual or something close to it, which as an ace person myself was fun to see, especially because it isn't treated like a problem in her relationships. Neither does it stem from her own complex relationship with gender--it's just how she is.

The deuterogonist Ouyang is every bit as interesting, even though we don't see his POV until the middle part of the book. He is someone who is so viscerally torn between feeling compelled towards revenge and yet not desiring anything that will actually come of it that it's so interesting to watch his fate play out. I think Parker-Chan does a great job getting you into Ouyang's head during his perspective chapters and it was so interesting to me how Zhu leans into their connection while Ouyang is repulsed by it.

Recommend if you:
  • Enjoy morally gray/amoral protagonists--both Zhu and Ouyang do shady to outright horrifying things in pursuit of their goals.
  • Want queer relationships--won't give spoilers on this but again, both Zhu and Ouyang have queer experiences ,
  • Enjoy a historical setting that leans into the contemporary cultures--we get a good look both at the culture of the Mongols and of the Chinese.
Do not recommend if you:
  • Like heavily detailed stories--my only real criticism of the novel is that it often skims over things I would have liked explored in more depth.
  • Like a happy ending--of course this is only 1 of 2 books, but based on how it's going, I would not hold out hope for a happy end. The end of this first novel was not an uncomplicated victory.
  • Prefer romance to be a core of the story--as noted there are queer relationships here, but for the most part they are not the central part of the novel.
rocky41_7: (overwatch)
I finished this collection of Ursula Le Guin's work a few weeks ago, but honestly doing book reviews takes a lot of effort! /_ \ So I'm keeping this one short and sweet.

This is a collection of Le Guin's first 3 published stories. All 3 are set in the Hainish Cycle verse, but each stands independent of each other and of other published Hainish Cycle works. As the first of Le Guin's published works, these are naturally less polished than her later work. They lack the clarity and purpose of The Left Hand of Darkness. However, even this early in Le Guin's career, you can see her breathtaking capacity for imagination. I found them fun and engaging without requiring too much from me.

Recommend if you:
  • Are interested in Ursula Le Guin generally as a writer
  • Are looking for short, self-contained stories
  • Enjoy stories that give you just a glimpse of other words
  • Like stories about disparate characters working together and the struggles inherent therein
Do not recommend if you:
  • Want a more fleshed out story with side plots and lots of characters
  • Want character-focused stories (these stories are more on the "plot" side of "character vs. plot driven")
  • Prefer when fantasy/sci-fi worlds are thoroughly explained in text
  • Dislike adventure as a genre
rocky41_7: (tlt)

Moving outside the realm of fanning out over characters we already know, here are a few book recommendations that feature or center F/F relationships. (Note: I am NOT including comprehensive trigger warnings--please mind your triggers if you choose to check any of these out!)

The Locked Tomb series by Tamsyn Muir - My personal favorite on the list. If you’re into the F/F lit scene at all, I’m sure you’ve heard of these. TLT is a masterpiece of modern fantasy and has enough moments where its glib tone gives way into something raw and real that it keeps the stakes high and the reader invested. The characters jump off the page and the worldbuilding is colorful and strange. However, if you’re easily squicked by gore, you might want to give these a pass--necromancy is a central pillar of the world and Muir does not hold back on the ick factor.

Recommend if you:

  • Like stories that keep you guessing
  • Like messy characters
  • Savor a bit of codependency in your F/F

The Burning Kingdoms trilogy by Tasha Suri - TBK is a fantasy series set in a fictional country inspired by ancient India. Suri weaves together the stories of several characters and does an excellent job of showing how her two main protagonists--Priya and Malini--are torn between their attraction to each other and the roles of responsibility they choose to take up. Suri also does an excellent job of allowing the female characters to drive the plot, even where they don’t exist in positions of power. (Longer review here)

Recommend if you:

  • Want female-focused fantasy
  • Enjoy the push and pull of “duty vs. love”
  • Enjoy multi-POV stories that unfold gradually

Fingersmith by Sarah Waters - Fingersmith is a period romance piece that involves deceit, heist plans, and falling in love with the mark. This is one of those books where re-reading it a second time will definitely feel different than the first go. Waters does a great job with the interplay of the characters’ motivations which are gradually revealed throughout the book.

Recommend if you:

  • Enjoy spy/heist stories
  • Love it when characters lie to each other
  • Are mostly looking for romance

One Last Stop by Casey McQuiston - If you just really want something lighthearted and if you’re a big reader of fanfiction, this might be your choice. OLS is a fluffy piece that relies heavily on the found family trope with just a dash of fantasy. The standout character is definitely love interest Jane, a suave, confident butch who sweeps protag August off her feet from day one. (Longer review here)

Recommend if you:

  • Are mostly looking for romance
  • Do not want lots of angst
  • Prefer a story where everyone gets along

Snow Flower and the Secret Fan by Lisa See - I debated including this one, because it is not explicitly F/F, which is going to be a deal-breaker for some people. But honestly the romantic and sexual undertones of Lily and Snow Flower’s relationship come across so strong I’m willing to put it up here. This book is set in 19th century China and centers around the intense friendship of two women, starting from childhood and through their adulthood. This one will take you on an emotional ride for sure. A film came out based on this, but in short my review on that is: the book is better!

Recommend if you:

  • Are okay with ambiguous relationships
  • Like looking at what women’s private lives looked like in the past
  • Are looking for something dramatic/emotional
Crossposted from tumblr
rocky41_7: (tlt)
This book is my first dive into Ursula Le Guin, an author I've had on my to-read list for years. I picked this one more or less at random; I'd heard the title around so I figured I might as well start here. Atlhough the book has been out for a long time, I will keep this review spoiler-free for anyone, like me, who hasn't gotten around to reading it yet. The book description is:

A lone human ambassador is sent to the icebound planet of Gethen, a world without sexual prejudice, where the inhabitants’ gender is fluid. His goal is to facilitate Gethen’s inclusion in a growing intergalactic civilization. But to do so he must bridge the gulf between his own views and those of the strange, intriguing culture he encounters...

The uniqueness of the Gethens is this: They have a 26-day sexual cycle. For most of it, they exhibit no extent sex or gender identity, and experience no sexual desire. During the peak phase of the cycle ("kemmer"), they do begin to exhibit a sex and this is when intercourse and reproduction will happen. After the passing of kemmer, absent a pregnancy, they revert to their usual sexless/genderless state. The book refers to this as being "ambisex."

First, I think it's due to recall this book was published in 1969. There are obviously aspects about it that seem outdated now (there's no mention of transgender or intersex Earthlings for instance, or polysexuality), but the book would have been absolutely radical for its time and I still think it poses relevant questions. For most of conservative America, the book is just as radical now as it was then.

Le Guin I think does a very nice job of constructing a society around this idea--of ambisexuality--and how it would (and also how it would not) impact the structure of their world. For instance, as noted in the description, discrimination based on sex does not exist on Gethen, because there are no hard-locked sexes (with the exception of some individuals, but that's another story). There are many instances in the novel of Gethens who have both sired and birthed children. However, at one point protagonist Genly considers why Gethen has no experience with large-scale warfare despite its relatively advanced society and while he initially believes the lack of persistent "maleness" in Gethen society is the cause, he fairly quickly discards that in favor of the idea that the simple harshness of Gethen's environment made warfare too costly an option for Gethens.

Genly struggles with persistent underlying distrust of a people whose gender he does not understand and continues trying to fit into his own preconceived notions (for instance, he defaults to he/him pronouns for all Gethens). Genly's inability to see the Gethens as truly agender interferes with his ability to communicate with and relate to them (the Gethens find Genly equally off-putting at times, often referring to him as a "pervert," for in their view, he is someone permanently in kemmer). Okay, a minor spoiler--he does get over it. And that's what one of the central themes of the book is about--the relationship between two humans (the book refers to all humanoids as "human" whether Gethen or Earthling) who don't understand each other necessarily, but come to respect and accept each other nonetheless.

The Left Hand not only poses questions about the role of gender in society--and to what extent our own concepts and instincts about gender shape our interaction with the world--but also about the role of government, patriotism, and trust. The book fairly bluntly attacks the notion of nationalistic pride and the harm it causes, and how governments may manipulate such feelings of "patriotism" to fuel their own agendas.

In terms of world-building, I found myself very drawn in to Gethen. I loved the brief interludes of Gethen history or folklore, which served not only to give flavor to the world, but to foreshadow and give background to the main story. Le Guin shows us how the harsh, persistent winters on Gethen have shaped its society and creates a world both like and unlike our own. Ultimately, despite all the differences, people are people, and there is something deeply touching in the notion.

Reading The Left Hand has made me eager to get ahold of more of Le Guin's books. I can only imagine what the experience of reading this book when it first came out in 1969 must have been like, but I can say that although the notions of gender presented here may seem passe to an audience familiar with queer theory and literature in 2023, I do still think the book poses interesting questions for our society as a whole, which is still very locked into the notion of binary genders, as well as perennially relevant remarks on nationalism. Also, it was just an interesting read!

High marks, I really enjoyed this one.

rocky41_7: (Default)
As of now, only two of the three books have been released, but I recently finished the second. The trilogy starts with The Jasmine Throne and follows with The Oleander Sword. The author is Tasha Suri.

The jacket description from The Jasmine Throne is:

Imprisoned by her dictator brother, Malini spends her days in isolation in the Hirana: an ancient temple that was once the source of powerful magic – but is now little more than a decaying ruin.

Priya is a maidservant, one of several who make the treacherous journey to the top of the Hirana every night to attend Malini’s chambers. She is happy to be an anonymous drudge, as long as it keeps anyone from guessing the dangerous secret she hides. But when Malini accidentally bears witness to Priya’s true nature, their destinies become irrevocably tangled . . .


Both women are queer and I promise it's not much of a spoiler that there's something going on between Priya and Malini.

First, it was refreshing to read an English-language fantasy novel that was very much not culturally Western/European. Although it takes place in a fantasy world, TBK is clearly south Asian culturally--the women wear saris and the men dhotis; they eat roti; they're described with brown skin and dark hair. I'm sure there are things I miss because I'm not culturally aware enough to catch them, but given how European a lot of the fantasy genre is, this was a nice break from that!

The characters themselves are probably Suri's greatest triumph. All of them are very distinct and yet real. All of their motivations make sense; they all come across like three-dimensional characters with conflicting feelings and their own personal goals. I adore all three of the core protagonists and I loved watching how they tackled their respective problems. I particularly enjoy how ruthless Malini is allowed to be. She is a woman with a quest and she is not going to let anything get in her way, and that hurts her relationships sometimes, but it was also fun to see a female protagonist be so unabashedly driven and ambitious.

I saw The Jasmine Throne described as "feminist" in a review which made me roll my eyes a little--what makes a book feminist? Having read it now, if there's something I would say makes the book "feminist," it's that all the major movers of the plot are women. There are men present, even in positions of power, but outside Malini's brother Chandra, they are by and large not significant influences on the plot. The women's responses to these men moves the plot far more than the actions of the men--and this is true even where the women are in subservient positions. The three core protagonists--Priya, Malini, and Bhumika--are on a ladder of power, with Priya the maidservant at the bottom, Bhumika the regent's wife in the middle, and Malini the princess at the top--but they ALL enact significant influence on how the story unfolds.

The prose itself is not particularly remarkable and in some places, the dialogue comes off as awkwardly modern in this pseudo-historical setting, but it does make for a quick, uncomplicated read.

Priya and Malini's relationship is not the core of the book--it is a fantasy story, not a romance--but it is very central. One of the things that fascinates me about them is how driven they both are for their goals. At various times, they butt up against the "love vs. duty" conflict and I do believe both of them, if they were forced to choose, would pick their duty to their people over their feelings for each other. And that's interesting! It feels like a realistic approach, where you don't always have the luxury of putting your own feelings and desires first. And I'm always interested in stories where love just wasn't enough. However, I do firmly believe Suri means to give her leading ladies a happy ending. In the meantime though, it's great to watch them struggle with this conflict.

Overall, I enjoyed these and I'm looking forward to the final book in the trilogy. Suri has crafted a vivid, diverse fantasy world with fascinating characters and a queer leading romance and I'm very interested to see how things play out for Parijatdvipa in the end.

rocky41_7: (overwatch)
I've had so little time and motivation for reading the past two years thanks to school, but now that I have to visit a laundromat once a week, I have time, and no wifi, so I finally made it through one of the books I grabbed last time I was at home. The book was One Last Stop by Casey McQuiston. Apparently she also wrote a book called Red White and Royal Blue that was well-received, but I haven't read that one. The book description is:

Cynical twenty-three-year old August doesn’t believe in much. She doesn’t believe in psychics, or easily forged friendships, or finding the kind of love they make movies about. And she certainly doesn’t believe her ragtag band of new roommates, her night shifts at a 24-hour pancake diner, or her daily subway commute full of electrical outages are going to change that.

But then, there’s Jane. Beautiful, impossible Jane.

All hard edges with a soft smile and swoopy hair and saving August’s day when she needed it most. The person August looks forward to seeing on her train every day. The one who makes her forget about the cities she lived in that never seemed to fit, and her fear of what happens when she finally graduates, and even her cold-case obsessed mother who won’t quite let her go. And when August realizes her subway crush is impossible in more ways than one—namely, displaced in time from the 1970s—she thinks maybe it’s time to start believing.


You can probably guess I picked this book up because it has two queer women in it.

I have to begin this by saying that romance is not a genre I get a lot out of. I basically only ever dip my feet in when there's queerness involved, and even then it's really not my favorite genre. Now OLS does a decent job of working in other elements. The core of the story, of course, is the love story between August and Jane, but there's also mystery, light supernatural (the time travel) and copious amounts of found family/finding your place. And Jane herself makes for a delicious love interest--a fiery butch who's cool, confident, and yet--possibly a little afraid of a love that could tie her down. As for August, there's definitely something relatable there if you're in your early twenties and have little-to-no romance experience.

The best thing I think about August and Jane's romance is that McQuiston goes through the effort to show that they're friends. It's not all just wanting to bone and being starry-eyed about each other. August and Jane enjoy each other's company, they laugh together, they have fun. August wants to share things with Jane when they're not together--conversations or parties or moments. It makes the relationship come off very real to me, without some of the hysteria of certain dramas and romances that make you wonder "When these two people are just sitting alone in a room with nothing going on...what do they even TALK about?"

Overall, my take is that OLS reads like fanfiction. Whether you take that as a good thing or a bad thing will probably color whether or not you enjoy the book. Personally the heavy found family aspect came off a bit hokey and unrealistic to me (August never has a squabble or disagreement with any of her three roommates) but if you're just looking for a feel-good story about queerness (which isn't limited to August and Jane--the book is packed with queer characters and drag queens end up playing a rather plot-significant role) that isn't about teenagers and has some familiar, comforting fanfic tropes, this book is probably something you'll enjoy. OLS is sweet, heartfelt, and avoids both queer characters struggling with their queerness (August proudly announces her bisexuality to a man who calls her a lesbian, and Jane was out and proud in the 70s) and queer characters dealing with queerphobia (no one's family is around making snide comments, nobody's job or home is being threatened because of their queerness, there are no queerphobic bullies around, although there are references to Jane's struggles with being queer in her own time), which can be a refreshing break from a lot of queer media (not that addressing those things is bad or not relevant, but sometimes it's nice to read a book where a queer person's struggles don't revolve around being queer).

The book also touches on queer history, including protests, riots, and the struggle for recognition and acceptance in the United States. Personally I enjoyed this. Since Jane is from the 1970s, and was a zealous activist back then, it would have felt weird or purposefully avoidant not to mention any of that, and it's nice to see queer history woven into a queer love story. It's not an overwhelming theme of the story, so if you'd rather not focus on those things it's easy to skim past, but I thought it added to the story.

TL;DR: If you generally enjoy fanfic and you're looking for a mostly lighthearted novel (with some angst) about two women falling in love and a group of queer people coming together as family, this one might be for you.



You know, I find doing these reviews helps me really get my head straight about what my thoughts are on the media I'm consuming. Even if I thought I didn't have much to say, once I sit down to write it, I can usually put out more than I expected.
rocky41_7: (tlt)
With all my finals done and essays turned in I've finally had time to focus on some reading, which meant tackling Gideon the Ninth, which I bought over the summer and didn't have time for, being engaged in The Silmarillion. And I have to say, I see now why I've seen it kicked around on a number of queer book lists. I really enjoyed it! It's definitely fast-paced, but I didn't feel like it rushed through the story, and the world-building didn't try to paint an entire picture, but instead gave us enough very vivid abstract pieces for us to fill in gaps ourselves. I think there's a benefit to this as in some cases, less extensive world-building means it's harder to poke holes in the logic of the world the author is creating. I thought her style was punchy and witty without crossing into obnoxious, or feeling like it was trying too hard to be contemporary.

Really looking forward to getting the next one, although I'll have to wait a few days now because everything is closed (*  ̄︿ ̄)

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