Saturday, August 27, 2022

The Innocents Abroad

The Innocents Abroad, or A New Pilgrim's Progress

By Mark Twain

A detailed narrative of a long excursion with a group of fellow travelers to the Holy Land shortly after the Civil War aboard the vessel Quaker City. The humorous account covers his visits to Paris, Italy, Greece, Egypt and the Holy Land. At times irreverent, it is always entertaining.

So I finally, finally finished The Innocents Abroad. I think it took me longer to read it than it took Mark Twain to get on a steamship, sail over to Europe, tour the continent, head out to the Holy Land, visit approximately one million sights of interest, and return to the United States. It's a long frickin' book!  And it's a wee bit old-fashioned, so you sometimes get ahead of yourself if you skim too much.  And the second half is basically all biblical, which I have very little interest in or knowledge of, so that part was semi-nonsensical to me.

However, do not let that dissuade you from picking this up! I found it to be a delightful travelogue, and very comedic, a la his usual style, even if it did suffer at points from a light coating of racism and long-windedness.  To be fair, I don't think the racism was as bad as it could have been considering the time period and circumstances.  Twain is pretty cynical in general, and rarely complimentary of any ethnicity or country (with the possible exception of Russia, amusing in retrospect), and I would agree that western travelers can find traveling in eastern countries very disorienting and the begging to be unpleasant, so I didn't find it (myself) to put me off the book entirely. I mean, The Egg and I raised a lot more of my eyebrows and that was written by Betty MacDonald in 1945. 

This is one book that I would really love to read an annotated version of. From the beginning, just when he's talking about the hooded women of the Azores, and sights of Pompeii, and then going into the valleys of Damascus and Syria, and the seashell path in the Caucuses, I just really wanted to see pictures of what he describes so evocatively, and chart their path, and get historical background.  I found myself on wikipedia getting lost in the history of the tsars and looking up old black and white pictures, and color pictures and maps and just taking a thousand little trips as I joined Twain on his journey.  

It is very, very long, but it was never tiresome, and there's a tartness to it that cuts through a lot of the length. And it did feel immediate too - even early Twain was a master at pinpointing just the things which make you feel like you're there with him and his fellow "pilgrims". 

2: A Book Set on a Plane, Train, or Cruise Ship

Saturday, August 20, 2022

Raybearer

Raybearer

By Jordan Ifueko


Nothing is more important than loyalty. But what if you've sworn to protect the one you were born to destroy?

Tarisai has always longed for the warmth of a family. She was raised in isolation by a mysterious, often absent mother known only as The Lady. The Lady sends her to the capital of the global empire of Aritsar to compete with other children to be chosen as one of the Crown Prince's Council of 11. If she’s picked, she'll be joined with the other Council members through the Ray, a bond deeper than blood. That closeness is irresistible to Tarisai, who has always wanted to belong somewhere. But The Lady has other ideas, including a magical wish that Tarisai is compelled to obey: Kill the Crown Prince once she gains his trust. Tarisai won't stand by and become someone’s pawn--but is she strong enough to choose a different path for herself? With extraordinary world-building and breathtaking prose,
Raybearer is the story of loyalty, fate, and the lengths we're willing to go for the ones we love.

 

I started out comparing this to The Ear, the Eye, and the Arm, because it was about a sheltered kid who goes out into the larger world and winds up getting into adventures, and then we skipped forward several years and that fell by the wayside, and then we took a trip into the bush and I got Black Leopard, Red Wolf vibes, but only slightly, since that book is definitely was more adult than Raybearer, and I guess then I got kind of like, Tamora Pierce vibes? Not that any of that is bad!  And frankly, it didn't feel derivative the way that Children of Blood and Bone did (very strong Avatar: The Last Airbender plot) even though it was vaguely reminiscent of all of them. 

So there's been a push for more diverse cultures and settings in sci-fi and fantasy (Black Sun is a good example of that) and while I appreciate that this was not set in faux-medieval Europe, I did feel, at times, that the broad geographic and cultural empire of Aritsar felt very "pan-African" at times to the detriment of the setting.  We clearly see East Asian and South Asian influences and as a result, it felt more like the other provinces kind of melded together as "African".  I know there's a lot of diaspora in current Nigeria, where the author's background is, but I just keep thinking of that old chestnut, which is the more specific you can be in telling the story, the more general the appeal.  Would keeping it tighter geographically and culturally have given it more depth?

There was also commentary on social justice and law reform which seemed influenced by current events. I initially got very excited, as it seemed like we would get into real debates on social ills and quick fixes and unseen causes when there was (a) the initial question about certain provinces not performing well on the mind tests, and two answers of: are they just bad at it in general, or is it because alphabetically, their names are last called for food and they're hungry, and then (b) Tarisai's attempt to create a child foster care and protective services process, butting up against the practical concerns of: money.  But after those two early examples, it seemed like we just went straight into: the villains make bad laws and the heroes make good laws.  [Spoiler alert: I started reading the second book and I'm only a chapter in so far, and I am incredibly disappointed with how the book starts, Tarisai basically deciding that if she likes the person, then they should get off scott-free, never mind that they committed murder in cold blood - for very little reason!  A very bad murder! And Tarisai is the high judge, who is trying to create an equitable system!  The second book treats her breaking this person out of prison as like, a hijink for the greater good.  If that doesn't get addressed, I'm going to have a very different impression of the story. And further spoiler - I read one chapter and then just stopped, for like, months.  It was not beguiling me.]

In hindsight, I like this book while I was reading it, and I was excited about the second, but then, after getting only a little ways into the second, the problems I had with it were exacerbated and ultimately I just wasn't excited about continuing the story, although I definitely will, for the challenge.  Tarisai has a childish outlook and approach that works fine in the beginning, but begins to be grating as we get further along and she should be more mature.  But I do like the setting, and the storyline, and I appreciate the familial relationships that the Raybearer and the council present, although again, it's one of those things that you kind of go, "How did they ever succeed in erasing the second Raybearer in the first place?" in terms of plausibility.  Some suspension of disbelief is required.
 

44: A Duology (Part 1)

 

Saturday, August 13, 2022

When No One is Watching

When No One is Watching

By Alyssa Cole

Sydney Green is Brooklyn born and raised, but her beloved neighborhood seems to change every time she blinks. Condos are sprouting like weeds, FOR SALE signs are popping up overnight, and the neighbors she’s known all her life are disappearing. To hold onto her community’s past and present, Sydney channels her frustration into a walking tour and finds an unlikely and unwanted assistant in one of the new arrivals to the block—her neighbor Theo.

But Sydney and Theo’s deep dive into history quickly becomes a dizzying descent into paranoia and fear. Their neighbors may not have moved to the suburbs after all, and the push to revitalize the community may be more deadly than advertised.

When does coincidence become conspiracy? Where do people go when gentrification pushes them out? Can Sydney and Theo trust each other—or themselves—long enough to find out before they too disappear?

I struggled with this one - I'm not sure where exactly it's lacking, but it did feel lacking to me.  I didn't warm up the characters right away, or even at all.  They switch off viewpoints between Theo and Sydney and we're introduced to both as they're drunk/hungover and aimless.  Sydney is admittedly paranoid and kind of belligerent, Theo is a weird passive aggressive doormat.  Both have "secrets," which are kind of out of left field, albeit nothing too outre for the genre.  They're not really people I like spending time with, or feel empathetic towards.  So that's strike one.

Strike two is maybe the concept itself.  It's basically a "what if gentrification was actually a legit conspiracy to eliminate black people from a community (instead of simply being a convenient byproduct) and people were being murdered and experimented on" kind of concept.  Not a bad idea, per se, but... I don't know, there were thriller-ish elements - the weird cabbie, the drugged man, the fake meter reader - but we also spent a lot of time just rehashing basic history, i.e., the seizure of land from anyone non-white, if the land was valuable at that time, the racial policing, yada yada yada.  Like yeah, it's important for background, but it also slows down the pace a loooooot.

It's compared to Get Out in the description, but I feel like it's a less successful take on the genre. Maybe the idea just lends itself better to a theatrical presentation. Maybe it's because there's never really a point at which any white person (other than Theo and possibly Jenn/Jen) is even marginally suspected to be a good person? Like, forget microaggressions, it's pretty much just straight up aggression.  I think it loses some of the thriller feel here too, because we're not second guessing whether this is actually happening - it's actually happening, and it's not that subtle. Maybe if we spent all the narration with Sydney? Then Theo could have been a wild card, and added more uncertainty to the story. 

I liked the incorporation of the old folks into the "actually onto the villains' game the whole time" role, but feel like they were underused - again, with main characters like Sydney and Theo, I think bringing the old people in (and potentially putting them at risk, raising the stakes) would make you care more about the characters.  

I also appreciated how all of the MANY people Sydney and Theo killed (at least, like 5-10, right? I lost track at the rejuvenation meeting) were just elided over since the corporation took care of everything.  Really? How convenient. And convenient that both Sydney and Theo were like, cold blooded shooters. We spend all this time really laying the groundwork for how realistic a conspiracy this could be, and then blow it all up with the dumb-enough-to-use-a-neighborhood-chatroom-to-lay-bare-their-plots, plus don't get me started on all the Wild West shooting goin' on in them thar hospital.

What's weird to me is how many people downvoted it solely because of the language.  I mean, there were a lot of other issues besides the cursing, for sure.  It felt kind of messy.  I'm not big into Cole's other romance novels, so it might just be her style, but it fell flat to me.  Again, because the reader knows the corporation is behind all of it, but it takes so long for Sydney and Theo to catch up that we don't have a lot of time for unfolding the conspiracy.  It's pretty much: hey, everyone we interacted with in the book is a bad guy and they're having a meeting this Tuesday. Literally, even the lawyer for her mother is not merely lazy and uncaring (which would have still been fine for drama too! We need those uncaring bystanders and again - uncertainty builds tension!) but actively involved.  Sometimes it can be frustrating to get done with "the bad guy" only to find out they're only a small part of the bigger picture, and here's an even bigger and badder guy we never suspected, but this was frustrating too.  We never even catch a glimpse of the snake's head.

33: A Social-Horror Book


Saturday, August 6, 2022

A Winter's Promise

A Winter's Promise (Book One of the Mirror Visitor Quartet)

By Christelle Dabos

Plain-spoken, headstrong Ophelia cares little about appearances. Her ability to read the past of objects is unmatched in all of Anima and, what’s more, she possesses the ability to travel through mirrors, a skill passed down to her from previous generations. Her idyllic life is disrupted, however, when she is promised in marriage to Thorn, a taciturn and influential member of a distant clan. Ophelia must leave all she knows behind and follow her fiancé to Citaceleste, the capital of a cold, icy ark known as the Pole, where danger lurks around every corner and nobody can be trusted. There, in the presence of her inscrutable future husband, Ophelia slowly realizes that she is a pawn in a political game that will have far-reaching ramifications not only for her but for her entire world.

The World of the Arks

Long ago, following a cataclysm called the Rupture, the world was shattered into many floating celestial islands, now known as arks. Over each, the spirit of an omnipotent and immortal ancestor abides. The inhabitants of these arks each possess a unique power. Ophelia, with her ability to read the pasts of objects, must navigate this fantastic, disjointed, perilous world using her trademark tenacity and quiet strength. 

 I found myself intrigued by the book description and sale pitches ("Game of Thrones meets Pride and Prejudice!"), and checked it out.  I was having trouble with this entry anyway, since BookTok seems to exist solely to promote popular dreck, and I'd read mostly everything I was at all intrigued by. And I'm in the middle of Innocents Abroad, which is fine, I'm enjoying it, but it's also as long as the universe, and I'm still in Italy, despite reading for almost two weeks. Anyway, I wanted a bit of change, although Winter's Promise is also long. 

I really regretted it for at least the first 40% of the book.  Let me summarize it for you: Ophelia finds out she has to marry someone from the Pole, she mopes around, breaks things (accidentally), says very little, mopes around, breaks more things, gets yelled at, mopes around, gets packed up and shipped up north, and is warned no one can be trusted, she mopes around, breaks more things, tries to find a bit of adventure out there, is verbally and physically abused, they move, repeat ad infinitum.  There's no sense of development, achieving anything in the first half of the book.  Ophelia is a chess piece, basically, and just goes where she's put.  (Breaking things as she goes, all the fucking time).  I honestly am not even entirely sure of the point of the first half of the book, or why we spend any time on Anima, her home ark.  It all seems very dreary and pointless, and it's not helped because we're basically housebound on the north pole for most of it. Plus, and this was really only an issue for me in the first few chapters, the characters have weird fakeish conversations where they spout out worldbuilding information instead of letting us arrive at it more naturally. The scenes with her godfather really grated on me.  

And Ophelia herself is a difficult heroine to root for: she has no power (within the setting she's placed, she has magical mirror/object reading powers), she's apparently disliked or hated by everyone she meets, she doesn't listen to good advice, and she has no self-determination or autonomy - she spends almost every minute in the book just getting manipulated or moved into scenarios by various people around her, and letting things happen to her (to be fair, the one time she tries to get out on her own it ends disastrously, but what can you expect when you go out adventuring and you know you have a bad sense of direction and make no effort to have a safe route home). It feels repetitive and aimless.

And yet, for all that, I found myself really getting into the last half of the book.  It picks up dramatically when we've moved once again, to Clairdelune, the "protected" sanctuary of the Ambassador, where Ophelia has to pretend to be a valet, and there are other characters to interact with.  There's actually some inklings of a plot, some activity, more development, etc., etc. And then we hit a denouement (where we find out that we have to move because Ophelia screwed the pooch again) and then the book ends, abruptly, literally in an elevator on the way to see someone. I mean, I guess it worked, since I;m checking out book 2, but it's not what I would call a really enjoyable experience.  I just can't foresee myself ever wanting to re-read this book, even if I ultimately enjoy the series.  

And don't get me started on Ophelia and Thorn's relationship. Maybe I have the benefit of being able to read the dust jackets, so I know they end up together, but her whole attitude towards him also was frustrating to read: she's terrified of him, he's cold to her, she acts out, she kind of depends on him a bit, she thinks he's in love with her (and didn't that seem like just wishful thinking), she's immediately appalled, she's "rude" to him (rude for Ophelia is telling people who are virtual strangers that you don't love them), then she finds out he's kept things from her (OBVIOUSLY) and she's so offended she treats him like public enemy number one.  Duh, he's been lying to you, Ophelia, for one, he's told you exactly jack shit about anything going on.  And you don't love him anyway, and seem horrified by the idea that he loves you (although that seems out of character for him) so CHILL.  It's like, the only decisions Ophelia makes are bad ones.  

Anyway, aside from those three problems (pacing, drippy heroine, drippy heroine who acts out against the hero solely for angst purposes) the world building is actually interesting, seems kind of internally coherent, and I'm interested enough to keep going, at least for now.  But I really can't stand another book that drags on, just beating up on drippy Ophelia the whole time.  Aaaaaand I just read reviews for the next three books and yep, looks like I'm going to be massively disappointed.   Le sigh.


 11: A #BookTok Recommendation

Saturday, July 30, 2022

She Who Became the Sun

She Who Became the Sun

By Shelley Parker-Chan

In a famine-stricken village on a dusty yellow plain, two children are given two fates. A boy, greatness. A girl, nothingness...

In 1345, China lies under harsh Mongol rule. For the starving peasants of the Central Plains, greatness is something found only in stories. When the Zhu family's eighth-born son, Zhu Chongba, is given a fate of greatness, everyone is mystified as to how it will come to pass. The fate of nothingness received by the family's clever and capable second daughter, on the other hand, is only as expected.

When a bandit attack orphans the two children, though, it is Zhu Chongba who succumbs to despair and dies. Desperate to escape her own fated death, the girl uses her brother's identity to enter a monastery as a young male novice. There, propelled by her burning desire to survive, Zhu learns she is capable of doing whatever it takes, no matter how callous, to stay hidden from her fate. After her sanctuary is destroyed for supporting the rebellion against Mongol rule, Zhu takes the chance to claim another future altogether: her brother's abandoned greatness.

I got into this one! I heard it recommended before I heard it was actually a twisted history of a real person, the Hongwu Emperor of 1300s China, who founded the Ming Dynasty. So I was originally interested as an original fiction tale, rather than a fictionalized version of a real person.  I'm not sure which is harder, but it works on both levels.  There's almost a Michener/McCullough/Rutherfurd feel to it.  That's not a knock; their books give a very personal spin on history.  She has a fairly broad scope.  We're given a fair number of narrative viewpoints - Zhu herself, Ma, the thief, Esen, Ouyang - although the focus is primarily on Zhu's rise from peasant through the Red Turbans, and secondarily on Ouyang's revenge on the Mongols, and the bulk of the book takes place over two years while the Mongols and the Red Turbans fight for ascendancy over central China. I did wish, at points, for Zhu to be even more prominent in the storyline, rather than switching back and forth, although there's usually always a reason for it (although the thief's purpose as narrator seems specious  - it feels like Zhu could have taken that on herself. The only major exception I can think of is the thief's narration of the ghost meal plot, and if Parker-Chan didn't want to tip us off too early as to Zhu's plan.  But I will continue to say what I've always felt, which is that while a good surprise can make a book great, misdirection of the readers can feel like a cliched ploy- unless it's the point of the book, like Agatha Christie's The Murder of Roger Ackroyd. When you know what's happening early on, like here (Parker-Chan intentionally hints what Zhu will do!) it just seems cheap to try to hold back the reveal further. I think that's one of the reasons I was so unmoved by Gideon the Ninth, it just felt like the author held back so much in order to make the plot points pop, which felt underhanded and manipulative.)

Zhu as a character wholly succeeds for me, although I wish we had more formative years with her. Ouyang I didn't want to like, partly because he was positioned in opposition to Zhu, and maybe also partly because I think Zhu made a good point about him thinking that being castrated had anything to do with being less of a man (although to be fair to him, everyone else certainly thinks that, so I assume it would be hard for him not to do so likewise). I kind of agree with Zhu on this one: to survive is the key.

There's a lot in the book about fate: escaping it, turning towards it, helping someone realize their own, and it's interesting how Parker-Chan has added an additional magical element, by ghosts and this idea that the Mandate of Heaven is actual fire that can be seen.  I'll be waiting to see if the new elements make any material difference in the storyline versus Zhu Yuanzhang's documented life. 

What else can I say? It's lengthy but compelling.  Parker-Chan does a good job keeping characters distinguishable and memorable, even with the Chinese naming conventions (at least we don't get into Russian naming conventions which are pretty much: anything goes and god be with you), so even though we substantially broaden our cast of characters after the first section, the average reader shouldn't get lost. Pacing is good. Oh, right -!

This is just Part One.  Of how many, I don't know, maybe two? Three? I mean, we spend most of the book on just two years and Zhu Yuanzhang lived until he was almost 70, so, in theory I guess, like it could be the first of twenty. I don't know if the next will focus much, or at all on Ouyang, who finished up the first part of his REVENGE, and is now gunning for the whole Mongol court, and I know Chen will pop back up at some point (thanks, Wikipedia!), but it seems like Zhu is pretty comfortably in charge of the Red Turbans, the prime minister and young lama are dead, and now all she has to do is unite central China.  Easy!  Especially when a stray eunuch is targeting your biggest enemies preemptively.  Parker-Chan's website says it's a duology, although no name or information is available about part 2, so we'll see.  Honestly, it does mostly stand on it's own, although it feels also a bit unfinished at the end.  Things wrap up rapidly and we don't see much fallout, aside from Ma's objections to the death of the young Mandater.  

[Sidebar: I did find the tone of the section on the child's death a little weird.  It just felt...like it was supposed to mean more than it did? I mean, was anyone really surprised that Zhu killed the kid? We know how the story ends, and while yeah, it's possible for misadventure to befall people of many ages for many reasons, did anyone, except Ma, think this child was going to be leaving the situation alive? It's almost more interesting to me that Parker-Chan had Ma object so strenuously to it, although it is in keeping with her character.  But you'd think Ma would have become slightly more pragmatic at some point, having seen her father killed in battle, her fiance executed for a traitor, and her husband lose his arm in a duel. Or is Parker-Chan's point that after a very short time in Zhu's life, she's gone from agonizing over killing a monk to a child's death not even meriting a debate. If so, she weirdly missed the mark, maybe the conversation should have been with Xu Du instead.]

Anyway, I like rooting for people who seem smart, and who figure out solutions to their problems that I can't guess, so I'm all in on Zhu's side.  Which is great, because it sounds like she's going to found a preeminent dynasty. Let's see what she does next!  And we'll gently ignore the pun in the title She Who Became the Sun because I feel dumb I only just noticed it, and also it's too on the nose for words. 


22: A Book with a Character on the Ace Spectrum

Saturday, July 23, 2022

Dopesick

Dopesick: Dealers, Doctors, and the Drug Company That Addicted America

By Beth Macy

In this extraordinary work, Beth Macy takes us into the epicenter of a national drama that has unfolded over two decades. From the labs and marketing departments of big pharma to local doctor's offices; wealthy suburbs to distressed small communities in Central Appalachia; from distant cities to once-idyllic farm towns; the spread of opioid addiction follows a tortuous trajectory that illustrates how this crisis has persisted for so long and become so firmly entrenched. 


Beginning with a single dealer who lands in a small Virginia town and sets about turning high school football stars into heroin overdose statistics, Macy sets out to answer a grieving mother's question-why her only son died-and comes away with a gripping, unputdownable story of greed and need. From the introduction of OxyContin in 1996, Macy investigates the powerful forces that led America's doctors and patients to embrace a medical culture where overtreatment with painkillers became the norm. The unemployed use painkillers both to numb the pain of joblessness and pay their bills, while privileged teens trade pills in cul-de-sacs, and even high school standouts fall prey to prostitution, jail, and death. 


Through unsparing, compelling, and unforgettably humane portraits of families and first responders determined to ameliorate this epidemic, each facet of the crisis comes into focus. In these politically fragmented times, Beth Macy shows that one thing uniting Americans across geographic, partisan, and class lines is opioid drug abuse. But even in the midst of twin crises in drug abuse and healthcare, Macy finds reason to hope and ample signs of the spirit and tenacity that are helping the countless ordinary people ensnared by addiction build a better future for themselves, their families, and their communities.

I think that description is balderdash.  It's a much bleaker book than the blurb appears.  The "once idyllic" farm communities are actually coal mining areas, beset first by the terrible working conditions of the mines, and now by the even worse specter of no working conditions at all. Maybe they're scenic, but they were never idyllic.  There's also very little hope in the book.  Although there is greater recognition of opioids and laymen are more familiar with the dangers of Oxycontin, Macy doesn't seem to think the epidemic is slowing at all. I suppose it will burn itself out eventually, as fewer people get on the opioid track to begin with, but there's nothing promising real diversion from that track once began. 

I was wrapped up in the book; although it's fairly dense Macy manages to keep it pretty zippy and move things along.  The first section focuses on the pushed over-prescription of opioids for low-level issues, the incentives behind the American medical system for companies and individual doctors to upsell drugs and the gaps in oversight which let it happen (and the financial incentives to keep doing it this way). The second section is more about individuals who, once hooked for whatever reason, are now sliding deeper into addiction, and the third section was more about what options there are for diversion, rehab, prison, getting clean, etc. The third section felt the weakest, less focused and more self-insertion, as to what is or is not an appropriate way to treat people.  The whole fentanyl thing was also confusing - fentanyl is another opioid drug, but also, any amount included in heroin will kill you? Or is it just fake fentanyl? It felt like the topic was so big another book could have been written on it, so including just a little bit was like getting only one or two pieces of a jigsaw puzzle. 

One criticism I will level is Macy's habit of introducing a character, diverting almost immediately onto another topic or segue, and then come back to the character.  It was annoying for several reasons: (a)  I couldn't keep everyone straight and that made it harder to connect who I'd already been reading about versus who was newly introduced (b) it felt like she was doing an injustice to their personal stories by leaving us on these sort of "cliffhanger" notes, like they weren't real people with heartbreaking problems, and (c) she'd sometime bring us in in the middle of an event, like an overdose, and I struggled to figure out if we'd read any background on these people or not.  Was I supposed to remember that they had been in fifth grade together? Whose mother was it that this person was relying on? Although honestly, it wasn't all that relevant, since basically anytime a mother was mentioned, they had an adult child who was addicted, and they were all helping out other parents and children.  No explanation was given as to why fathers were never involved.  Were these all single parent households? Did the fathers just not care about their children? Is any of that relevant to these kids' addiction stories? Who knows?

For all that I criticize, it is a good, engrossing, important read.  There needs to be more attention paid to the systemic problems pointed out in the book - the incentives to push drugs for profit instead of health, the bias towards jail instead of rehabilitation, the reluctance to commit resources or medicines to combat the problem, the idea that the addicted are somehow deficient, rather than victims. Although I certainly don't feel as sympathetic for teens who just took random medication at pill parties as those who were over-prescribed opiates by trusted physicians, I also don't think that anyone deserves to be reviled for a single bad decision, especially one when made at the height of peer pressure and immaturity. Like I said, it's a depressing read, but a worthwhile one. Hopefully it will help change minds and allow doors to open that create better results for the addicted than what we currently see.


31: A Book Featuring A Man-Made Disaster

 

Saturday, July 16, 2022

We Are Okay

We Are Okay

By Nina LaCour

Marin hasn’t spoken to anyone from her old life since the day she left everything behind. No one knows the truth about those final weeks. Not even her best friend Mabel. But even thousands of miles away from the California coast, at college in New York, Marin still feels the pull of the life and tragedy she’s tried to outrun. Now, months later, alone in an emptied dorm for winter break, Marin waits. Mabel is coming to visit and Marin will be forced to face everything that’s been left unsaid and finally confront the loneliness that has made a home in her heart.

I mostly picked this one because (a) reviews said it was short and (b) it was available at the library - and in fact had been on my TBR list for some time, even though I have no idea when or why I added it.  It's not something I would  normally go for, i.e., it has no plot, and concerns the emotional goings-on of a young teenager who mopes around after several of her family members die. 

It sounds kind of maudlin, but you know, in the way that teens really dig.  The author does a great job of not falling too deeply into that hole, despite the subject matter.  Yes, it does make you cry (even me, who hates sentimental teenagers and found families and other such wholesome activities, and even though I could feel myself starting to cry, and tried to will myself not to fall into the trap).  

It's a profoundly sad book.  The present storyline involves the narrator, Marin, planning for and receiving a visit from her old friend/ex-girlfriend Mabel, from California, during winter break. The past storyline, is pretty much what you think it will be from the outset, i.e., Marin graduates high school, starts getting involved with Mabel, and then her grandfather, with whom Marin has grown up after her mother died surfing, basically commits suicide by walking out to sea, leaving her to find out that he was hoarding all of her mother's memories.  This upsets her, leaving her to flee California like she's wanted for a felony, hence her current hermit-like cocoon at school in New York.  

Mabel's visit gets her to open up, grieve, talk, and begin planning how to exist again, rather than just remain in stasis.  It is, as I mentioned, very light on plot, very heavy on character drama.  The romance with Mabel is more wistful and in the past than an active relationship.  This is one of those books where you kind of read them for the catharsis jolt you get.  Does it feel weird and manipulative? Yes.  Does it prevent you from crying? No. I knew what was coming and I still cried.  

So, is it a good book? It's well written, and contains a decent enough story.  It's a sweet story, and no one is really the villain.  Mabel comes across as inhumanly patient, but aside from that, it's decently realistic, I guess.  For a YA novel.  There was a phase of my life that this would have hit all those synapses, but I'm a little more jaded and less wallow-y now.  I'd still recommend it to any teen girl.

05: A Sapphic Book

 

 

 

Saturday, July 9, 2022

The Ex Hex

The Ex Hex 

By Erin Sterling

Nine years ago, Vivienne Jones nursed her broken heart like any young witch would: vodka, weepy music, bubble baths…and a curse on the horrible boyfriend. Sure, Vivi knows she shouldn’t use her magic this way, but with only an “orchard hayride” scented candle on hand, she isn’t worried it will cause him anything more than a bad hair day or two.

That is until Rhys Penhallow, descendant of the town’s ancestors, breaker of hearts, and annoyingly just as gorgeous as he always was, returns to Graves Glen, Georgia. What should be a quick trip to recharge the town’s ley lines and make an appearance at the annual fall festival turns disastrously wrong. With one calamity after another striking Rhys, Vivi realizes her silly little Ex Hex may not have been so harmless after all.

Suddenly, Graves Glen is under attack from murderous wind-up toys, a pissed off ghost, and a talking cat with some interesting things to say. Vivi and Rhys have to ignore their off the charts chemistry to work together to save the town and find a way to break the break-up curse before it’s too late.

 This was firmly "fine"! Contemporary romances are not really my thing, although I do keep trying them for some reason, thinking that I'll enjoy them much more than I actually do.  But this one left a more favorable impression than most for me, probably because of the setting and details were just so...comforting.  Not that it was a soothing book, but more like it felt kind of nostalgic, like watching one of those old kids' movies about witches, like Halloweentown or Hocus Pocus, but you know, with some sex in it.  I will say that I think Hocus Pocus's greatest misstep was making Binx a cat for like, the whole movie!  Let's give the tweens something to sigh over!  Between him and Vincent Kartheiser in Masterminds, I had a type.  Look, floppy hair was in back then, I'm not making excuses.

Anyway, for adults who like witches, Rhys is a great update to Thackery Binx.  He's hot, he thinks the heroine walks on water, he's helpful, yada yada yada.  I mean, the characters themselves are not the point.  They're both kind of bland people, unexceptional and unexceptionable, I would say. They don't have a big misunderstanding (although how Rhys broke the betrothal which led to the break up in the first place - was that ever explained? Did I blink and miss it? I feel like that's a story there, right?), they cooperate well in their investigation - such as it is. They acknowledge they're both adults now, nothing but the burden of a long distance relationship is stopping them from banging boots now.  It's nice not to have that heavy angst. It's basically Hocus Pocus for all the ladies who were children when the movie came out.

Like I said, it's the scenery and details which keep you interested. I hate to say it, but I skimmed some of the dialogue between them (and missed some of the sex scenes) because they're just not that exciting when they're not in a haunted house, trying to capture a ghost, or whatnot.  But when they are? That's when the magic happens, haha.  Or at least, the good parts.  More talking cat, more angry tchotchkes, more ghosts and pumpkins and fall weather and pointy hats and burning candles and the color purple!   I will probably read the next one, having forgotten all about this book except that I vaguely liked it, but it's not a real priority. And it'll feel just like some comfortable pyjamas to cozy up into.

Anyway, not thrilling, not terrible, resoundingly "fine!"


 35: A Book with a Constellation on the Cover or in the Title

Saturday, July 2, 2022

Dark Waters

Dark Waters

By Katherine Arden

Until next time. That was chilling promise made to Ollie, Coco and Brian after they outsmarted the smiling man at Mount Hemlock Resort. And as the trio knows, the smiling man always keeps his promises. So when the lights flicker on and off at Brian's family's inn and a boom sounds at the door, there's just one visitor it could be. Only, there's no one there, just a cryptic note left outside signed simply as —S.

The smiling man loves his games and it seems a new one is afoot. But first, the three friends will have to survive a group trip to Lake Champlain where it's said Vermont's very own Loch Ness monster lives. When they’re left shipwrecked on an island haunted by a monster on both land and sea, Brian's survival instincts kick in and it's up to him to help everyone work together and find a way to escape.

One thing is for sure, the smiling man is back and he wants a rematch. And this time Brian is ready to play.
 

I zipped right through this one, and my only complaint, really, is that it felt very short, compared the first two.  I read it on a device, and the little ticker said the book ended at 75%, the other 25% being previews of other books.  I didn't want to read the preview of the next book, Empty Smiles since I wanted to get to it all at once.  So I was left wanting more, which isn't a bad thing, but I am glad that I waited so long to read this one, so I don't have too much longer before the next (and final) book is published.  

In fact, I read this one akin to when events were happening in the book, i.e., a Saturday in early May, although I was not at Lake Champlain, sadly.  And it looks like the next one takes place in August, so from this time to then, I will assume poor Ollie is lost in the mirror world.  That's a long ass time!

Because of the cover, I was thinking that this might take place underwater (I mean, if you can do a mirror world, you can do an underwater world I suppose) and I was thinking that was kind of stupid, so I'm glad Arden didn't go for that.  It's also interesting to me how she manages to keep the adults on the other side of these supernatural shenanigans even where they're clearly necessary to keep the plot mostly believable (send four kids out on a boat by themselves? yeah, that would have been a stretch).  It may be a low bar, but I appreciate the effort she put into making it at least semi-realistic in the context of this children's ghost story.  

This one is more of a straight monster story than the previous two.  While, yes, scarecrows are scary, they were more the minions of the Smiling Man.  Here, although I assume the Smiling Man is implicated in the whole set-up, the lake monster is more of a creature-feature, like, uh... Anaconda.  While there's a ghost involved (more than one), he's a nice ghost, who's willing to kill you so as to avoid your slow death by hunger/giant snake.  I like the change of pace, and am (again) impressed at Arden's ability to both incorporate horror tropes, and also switch it up so we don't read the same story four times.  

I would say that this feels less like a complete book, both because it feels shorter than the other two books, but also because it leads into and sets up book four.  We're left on a more significant cliffhanger and frankly, haven't even made it safely back to shore yet when the book ends (and really reckoning with the fact that Phil's uncle was eaten by a lake monster... although as Phil says, it's how he would have wanted to go).  

This is Brian's turn to shine (I assume Phil will narrate the final book in the quartet) and he's okay, but doesn't bring a lot of special abilities to the fore.  It seems like both Coco and Ollie take more of an active approach to the problem while Brian and Phil are mostly along for the ride.  It's not bad, just feels a little bit shallower. 
 
I really wanted to read this one, and so I entered into the spirit of the challenge, by selecting this for a "Sister Lake" exchange instead of a Sister City.  Honestly, I'm pretty excited by the other book too, I'm looking forward to learning more about Lake Toba.

49: Two Books Set in Twin Towns Lakes, aka "Sister Cities Lakes"

Saturday, June 25, 2022

Trail of Lightning

Trail of Lightning

By Rebecca Roanhorse

While most of the world has drowned beneath the sudden rising waters of a climate apocalypse, Dinétah (formerly the Navajo reservation) has been reborn. The gods and heroes of legend walk the land, but so do monsters—and it is up to one young woman to unravel the mysteries of the past before they destroy the future.

Maggie Hoskie is a Dinétah monster hunter, a supernaturally gifted killer. When a small town needs help finding a missing girl, Maggie is their last best hope. But what Maggie uncovers about the monster is much more terrifying than anything she could imagine.

Maggie reluctantly enlists the aid of Kai Arviso, an unconventional medicine man, and together they travel the rez, unraveling clues from ancient legends, trading favors with tricksters, and battling dark witchcraft in a patchwork world of deteriorating technology.

As Maggie discovers the truth behind the killings, she will have to confront her past if she wants to survive.

Welcome to the Sixth World.


I had this on my list for SO LONG, and I was excited to read it, I swear, but then I read some mishegas about the author being decried as appropriating Navajo culture and mashing things together, which s a shame, since it doesn't affect the quality of the book, but did, perhaps undeservedly, dampen my enthusiasm. I would describe it as akin to Jim Butcher's Harry Dresden series, in tone and style, and I also fell off that series after just a few books, so who knows but that I wouldn't have gone much further anyway.  

The idea is still very cool, and it sounds like the second book explores the Big Water disaster that resulted in the setting, which sounds cool, but execution-wise, the pieces just didn't gel for me.  It may have been my fault, for assuming, for example, that Neizghání was like a mentor/father figure to her (since he found her at age 16 and taught her how to fight monsters), so the incorporation of her being in love with him and being heartbroken at his departure was weird and never gained my sympathy.  Maybe the first book should have been her fighting monsters with Neizghání, and the ending being his departure.  That seems like it would have had a lot more emotional resonance (plus maybe Coyote's beef with Neizghání would have made more sense). 

Here's an early example: Maggie is sent off to track down a monster which has abducted a little girl.  She finds the monster, but the girl is too far gone to save.  She brings back the girl's head for the family, but then just drops it off at the front of the compound, so we never see the family's reaction to either (a) her "rescue" or (b) their child's head. It's like we have to rush along to the next plot point so fast that we don't have time to explore Maggie's life or her interactions with people.  We've lost out on building that connection.

And I couldn't figure out why she ever trusted Coyote, since she says in the beginning that he's tricked her before.  Without actually knowing their background and previous interactions, her conversations with him just felt like I was missing a bunch of context and subtext. I still don't understand what the point of Coyote's mission to Canyon de Chelly was in the first place.  Was that supposed to lead her to Neizghání sooner?

And I don't get why Kai's death was necessary or useful.  Perhaps there's some part of Navajo lore that would have explained it to me, but why would she assume that Kai would be reborn? Or that Tah would be brought back because of Kai's death?

I really liked the monster hunting at the beginning - the trade sequence, the desperation of the locals and the lost little girl.  But it starts to feel a little underbaked soon after she meets up with Kai.   Without the relationship with either Neizghání or Tah, there's very little emotional underpinning here.  When I should be anticipating her fight with Neizghání with dread, all I feel is confusion that she ever agreed in the first place and disdain for her choices (especially since it's "to the death" and Neizghání... can't... die... right?).  I mean, even if we accept that they had a lover-quality relationship, him leaving her spurs her on in a fight to the death in a cage match? Girl, look at your life. 

I just couldn't get into Maggie's head or heart enough to ride along with her decisions or feelings. It's like listening to a friend who constantly makes bad choices, and eventually you get impatient that you're still hearing this hard luck story all over again. I like the setting, I like the background, I like the details, but the characters lacked depth and the book lacked an emotional hook, for me. 

I don't think I'll be getting the next book in the series. This is certainly more of an episodic series than her other, so the plots are all pretty well tied off, even though we're waiting on Kai's rebirth and there's a looming threat of Neizghání breaking out of the hoops.  But I just didn't want to spend more time with Maggie or the other characters.  

39: An #OwnVoices SFF (Science Fiction and Fantasy) Book

Saturday, June 18, 2022

Fevered Star

Fevered Star

By Rebecca Roanhorse

The great city of Tova is shattered. The sun is held within the smothering grip of the Crow God’s eclipse, but a comet that marks the death of a ruler and heralds the rise of a new order is imminent.

The Meridian: a land where magic has been codified and the worship of gods suppressed. How do you live when legends come to life, and the faith you had is rewarded?

As sea captain Xiala is swept up in the chaos and currents of change, she finds an unexpected ally in the former Priest of Knives. For the Clan Matriarchs of Tova, tense alliances form as far-flung enemies gather and the war in the heavens is reflected upon the earth.

And for Serapio and Naranpa, both now living avatars, the struggle for free will and personhood in the face of destiny rages. How will Serapio stay human when he is steeped in prophecy and surrounded by those who desire only his power? Is there a future for Naranpa in a transformed Tova without her total destruction?


So, I was pretty jazzed about the first book in the series, Black Sun, yes?  But I'm struggling with Fevered Star because the same issues I had with Black Sun? I have all over again with Fevered Star. Mainly, Fevered Star has all the same problems of too much build up, not enough release.  Both books have various deaths and betrayals and stuff, and there's a clash between gods to keep the readers busy, but it still feels a lot like place-setting.  

Let's recap, since I guess I'm committing to the next book in the series.  Serapio lives (this is apparently Not Part Of The Plan, which is uh, news to me.  Guess my last recap should have been more detailed), and he winds up falling with Okoa and Carrion Crow, before getting overwhelmed by zealots, disbursing himself into birds, and then basically biding time until he can confront Naranpa again. 

Naranpa is also alive (not a surprise, thanks recap!) and comes to in the crypts over at Coyote's Maw. There's some back and forth with her brother, but eventually he convinces her to put herself out there as the Coyote Matron (he does this by promising on her behalf, without talking to her about it first, and then when she says no, his punishment consists of thorns through his dick, which I think is totally unnecessary. Surely there was another way to arrive at this plot point).  She does, and also finds new powers as the actual sun god avatar, and ends up confronting Serapio and telling him instead of trying to kill each other, he needs to unite the whole city to save it from the other enemies, while she goes to learn more about her new god powers, which include turning into a big bird. Oh, and her brother dies, and Naranpa makes his ex-girlfriend the new Coyote Matron.

Xiala wanders around trying to find Serapio, once she realizes he's alive, and ends up falling in, semi-accidentally, with Iktan (who is also alive, but that's only a surprise to some people, I think). Iktan is spying on Carrion Crow when we meet him (I guess he had a sub in at the great deathening, and he's mad that Naranpa "died" so he wants revenge or something) but he and Xiala quickly fall in with a Golden Eagle contingent marching around on the plains.  Xiala gets landsick, the Golden Eagle commander lies to Iktan about Naranpa being alive, and we find out that Xiala left Teek because she thought she killed her mother who (in a surprise to Xiala but definitely not to the readers) is not dead, but in fact shows up in the third act at Hokaia as the queen of Teek (even though they don't have queens, just go with it).  Her mom claps her in irons to take her back to Teek.  Note: I am not entirely sure how this is justified, since the murder she thought she committed clearly wasn't. So what crime was she guilty of? Unclear.  Also, I'm lovin' all these people who are alive when they're not supposed to be.  It's thrilling!

Anyway, also converging on Hokaia is Balam and a contingent from Cuecola.  Now Balam is the plotting one, I guess he set up the Serapio thing to... make Tova vulnerable? And then he was also planning to like, take over the world? All I know is that he's devious and plotting, and chewing on god parts so he can dreamwalk, and he's both committed to another politician that he's going to raze Teek, while also promising to Xiala he'll get her back on a ship if she'll be his spy on the inside.  I assume he did not tell her what happened to his last spy (tortured).  Anyway, Hokaia is where all these random factions are meeting up, Golden Eagle, the Teek contingent, the Cuecola plotters and the new ladies leading Hokaia, after an internal coup. Again, I'm not really sure what everyone's initial plans were or what they're all trying to accomplish now, but I like the energy! 

Oh and Okoa: he fiddle faddles around, feeling bad for himself, torn about helping Serapio (who leads the zealot crows) versus his sister, who leads the normal crows, and then he finds out who in Carrion Crow betrayed his mother but that person is like, immediately murdered, so it's not really a big thing.

Again - we're doing a lot of moving people around with not a lot of results here.  There's machinations out the wazoo, but very little payoff.   The stuff I understood the most, i.e., the attempted coup by Golden Eagle, the clash with the Carrion Crow zealots, all the Tova stuff basically, which is the whole first book, turned out to be sort of pointless, since all the main action now centers around the players meeting in Hokaia.  It's honestly frustrating, not to mention that the MAP is COMPLETELY USELESS.  I have always taken issue with the way Tova, an ostensible inland river city, is made of up islands that are like, perpendicular to each other, not to mention all the mentions of canyons and bridges and borders between zones, which are NOT on the map, and now Naranpa can get from the Maw into the celestial tower, which is three zones over, go through a bunch of books in the library, confront Serapio and get back in nine hours, total??? Is this town like, a town for ants? Irrelevant tangent, sorry, but anyway, we get outside of Tova and the first place we go is NORTH, which is nowhere to be found. Like sure, it's boring and doesn't really matter, but seriously, if you make a map, you need to put the places on it where your characters go!  

So this whole thing is actually pretty frustrating.  That being said, as I mentioned before, I am committed and planning to read the next one, but Roanhorse better start resolving threads, if not outright finishing the series, or I may find myself falling off. This is an exciting world, but my patience is not limitless.  There's no single character that I'm hooked by, so the book itself has to hook me. Let's see if she can stick the landing. 

More map rants: Why is Tova so far upriver? Why aren't the big towns at the deltas, for both Tova and Hokaia? How big is this world supposed to be? It's winter in Tova while it's spring in Hokaia, and apparently Teek is warm all the time, but like, Tova and Hokaia look like they're at the same latitude. I know I was pretty pissed about The Cartographers, but their initial idea to do a bunch of fantasy maps like real places and vice versa was super cool. I wish Fevered Star had a realistic map. 


03: A Book About or Set In A Non-Patriarchal Society



Saturday, June 11, 2022

The Cartographers

The Cartographers

By Peng Shephard

Nell Young’s whole life and greatest passion is cartography. Her father, Dr. Daniel Young, is a legend in the field and Nell’s personal hero. But she hasn’t seen or spoken to him ever since he cruelly fired her and destroyed her reputation after an argument over an old, cheap gas station highway map.

But when Dr. Young is found dead in his office at the New York Public Library, with the very same seemingly worthless map hidden in his desk, Nell can’t resist investigating. To her surprise, she soon discovers that the map is incredibly valuable and exceedingly rare. In fact, she may now have the only copy left in existence . . . because a mysterious collector has been hunting down and destroying every last one—along with anyone who gets in the way.

But why?

To answer that question, Nell embarks on a dangerous journey to reveal a dark family secret and discovers the true power that lies in maps . . .

I was super pumped by the first few chapters, by about halfway, I was getting very doubtful about the possibilities of the book, and when it ended, I spent at least a good ten minutes righteously racking up all the plot holes and things that I thought were dumb.  First on the list was the hinge of the book, that two parents decided that the MOST REASONABLE thing to do, when presented with a somewhat out of order friend, was that one of them WOULD STAY HIDDEN FOR THIRTY YEARS, while she DREW A MAP, and the other would tell their three year old daughter that her MOTHER HAD DIED IN A FIRE.  Yes! YES!! This is what two (I assume) sane people thought was a good solution to the fact that one of their friends had gone gonzo and burned a bunch of gas station maps.  Let's back up though.

Nell is Dr. Young's daughter. Her mother died when Nell was young, saving Nell from a fire. Dr. Young is a preeminent cartographer at the New York Public Library. Although Nell used to work there too, the fulfillment of all her childhood dreams, her father got her fired one day after she opened up a old donation box in the museum and found a gas station map.  Since then, seven years ago, she's worked at a second rate art map place and has not spoken with her father.

She gets a call that her father died in his office, and she finds the gas station map in a secret compartment of his desk (nifty, right?).  She begins showing it to various people, trying to understand why he kept it.  Someone else we don't really care about is murdered.  No wait, two people! (that's how little we care about them).  She learns about a secret group called the Cartographers (silly name, but okay, still with you), and finds out that long ago in grad school (danger!) her parents and five other people formed a group who really liked maps.  Eventually they graduate and, with one thing and another, find an old gas station map from the 1930s with a "phantom settlement" on it, i.e., a deliberate error that was designed in order to ferret out copyright infringement of their map.  However, they realize that when actually using the map, they can see the settlement, and enter into this "town", which is basically a shell, like that fake place Indiana Jones found himself in for the nuclear test during Indiana Jones 4: Kingdom of the Crystal Skull.

So naturally, they get super into the town, and some of them try and map it, and some of them cheat on their partners, and some of them go crazy and decide to beg, borrow, or steal all the maps in existence that show this town.  

When things unravel, as naturally they do, paranoia reigns, the cheating partners get caught, in revenge one of them steals a map from the crazy dude (Wally) and then tries to sell it back to him for money, and he finds out and goes crazier and he burns all the spare maps.  Except woah! Nell, the three year old afterthought who was being raised in a map lunatics commune is somewhere in the fire, so her mother runs in to get her, and then hands her off to Dr. Young. Meanwhile, as the maps go up in smoke, everyone, sans mother, wakes up in a field, since they no longer have the secret map.  They decide, hey, have to explain mother's disappearance and child's burns somehow, so they burn their own house down, and then never talk to each other for the next thirty years. Except! Dr. Young discovers that Nell's mother hid a last copy of the gas station map on her child as she rescued her from a burning building, her final act of caring about a map more than her own child (or is it?).  So he hides it in a box of old junk at the public library (as you do).

Nell discovers all this over the course of her investigation and (crucially) that all maps with these "phantom settlements" - which can be as small as a fake door, or a fake room - have this super power.  She and her old lover Felix, who is now working for the mysterious William Habberson - a man who is rarely seen in person, and incredibly focused on some sort of technological map thing that requires every input ever made and then it... answers all questions? Unclear - tootle around discovering things and wind up back at the original site of the phantom settlement with the map and none other than William Habberson, who turns out to be crazy Wally (Surprise! But also, duh), who was searching for another copy of the map for the last thirty years, and then they go in, and find Nell's mother, and realize this was part of some scheme cooked up by Nell's mother and father in which (and this made bonkers sense to me, so forgive me if I'm not explaining this correctly) they decide that in order to protect... themselves? from Wally, the mother will stay in town and make a map, and the father will pretend he doesn't have the map.  And then, when the mother's map is finished, she can come back out because... there'll be another map and that will make it okay???

No, seriously, ?????????????

 Anyway, in the midst of all this, yet another person is murdered by Wally, and they find out that the mother did create a map (so sick of typing the word map) and Wally tries to make her scan it into his super MacGuffin digital database and Nell does... something, I don't know, moves it by writing on it (??) and the settlement disappears for everyone else, again, and then six months later Nell sends out invitations to everyone to come see the secret town. And then the book ends.  

And no, I am not leaving out huge chunks of the book, and no, I am not making anything up. So now that you're caught up, and in no particular order:

1. Was there ever any doubt that the mysterious Wally would in fact be the William Habberson that only Felix has met in person? 

2. Is there any point to the fact that Nell is dodging the police detective's phone calls and in-person conversations (and is he following her and assuming she murdered her father? If so: why on earth?).

3. If her father had a secret compartment in his desk, why (a) tell her about it and (b) not hide the map there? Or, and here's a radical idea, tell your daughter it's the last map her mother ever gave you, and it's sentimental, so she doesn't tear it up or throw it out or anything?

4. How on EARTH did her parents spend more than two minutes thinking their plan made any damn sense? As soon as he found the map, why not immediately use the map to get back to the town, rescue the mother and give Wally the damn map.  At that point in time, no one knew he murdered people.  They just knew he was bonkers for maps, and in love with the mother.  Save her, give him the other and voila! No more obsession!

5. Man, if I found out my mother abandoned me when I was three to sit and draw a town map for thirty years, I would be pissed.

6. How did it take thirty fricking years for her to come up with a reasonable map of this place?

7.  How did Wally manage to find ALL THE MAPS of this place in a single summer in 1990, without the benefit of the internet? Somehow, magically, all the people going through their old attics never found another old map after that point in time? Because if so, you'd think Wally would have snapped it up and visited the town a long time ago, revealing this stupid plan for the master piece in idiocy that it was.

8. How come the mother was stuck in town, but no one else? Sure, she had a spare map, but then, so did Nell (and Dr. Young, who was holding her after the fire).  Was the mother looking at the spare map when all the other ones burned? And how come no one else, after several people realized that Wally was stashing all the other copies, thought maybe it would be useful if all seven people didn't rely on a single map to get in/out of this place.  Just take one for each person.  Like hotel room keys.  I get annoyed if there's only one key for two people. As soon as any of the others realized that more copies could be found, the most natural thing to do would have been to stash a spare copy for all the other cartographers.

9. The better plan, obviously, even if they went along with the absurd hiding thing, would have been for Dr. Young to anonymously tip off the police that Wally was in the same place as all these people who got murdered and that he's obsessed with this map.  Then, when he's in jail, spring your wife from map-purgatory. Mapurgatory.

10. For that matter, the whole point of this map was that it was used to catch out copyright infringement, which apparently Rand McNally and the other mapper were doing.  So shouldn't all the maps from 1930, not just the ones from this particular company, have the settlement and can be used to find the town?

11. And how come no one experimented with the idea that making a map of a real place with a fake place on it makes the fake place real? That would have been the first thing they should have done.  How realistic of a map does the drawing have to be? Does the intent of the phantom settlement have to be pure, or can anyone who wants to have an ice cream parlor down the street add it onto a map and bango presto!  We find out later that doodles really do create things - the mother adds a restaurant and hospital to the town, and Nell moves (still have no idea how she did this using a ball point pen, but whatever) the town by drawing it. Seriously, no one tries re-drawing the map?

12.Wally has spent thirty years going through all the maps at the New York Public Library, but Nell finds it in one afternoon looking at a box of junk on her day off?

13. Once he knows that Wally knows he has the gas station map, (a) it still takes Dr. Young seven years to decide he needs another map with a backdoor exit and (b) he says nothing to Nell about this whole thing.

14. Wally keeps murdering people without actually getting the last map.  Poor strategy. You'd think after murdering Dr. Young and still not finding the map, he'd actually have like, waited to murder the director of the library until after having map in hand. Unless he just likes murdering people, which is assuming facts not in evidence.

15. Wouldn't it have made so much more sense for Wally to use Felix to get close to Nell and get the map??? Instead of like, infiltrating the library, why not just tell Felix, "Hey, there's this map Dr. Young had of mine, and if Nell ever mentions it, can you let me know?"

16. NONE OF THE PLOT ABOUT HOW THE TOWN DISAPPEARS FOR SOME PEOPLE IF YOU DON'T HAVE THE MAP MAKE SENSE. EITHER SEVEN PEOPLE WERE USING A SINGLE MAP TO GET IN AND OUT OR THE MAP ONLY WORKS IF YOU'RE LOOKING AT IT, BUT NOT BOTH.

17. Haha, eight people. I keep forgetting they had a toddler with them.  As they do themselves, it seems.

18. Why not just print tens of thousands of your map, Dr. Young, and send them to all the people who had their maps stolen or sold to Wally? It'll take him a while to track them all down, and at lease one person will hang onto their map, thinking it'll make even more money when the other copies are mostly sold.  This plan has the side benefit of tempting Wally to murder more people, giving them more opportunities to TELL THE POLICE WALLY IS MURDERING PEOPLE.

19. Seriously, Wally is not some criminal mastermind here. I'm pretty sure he still has DNA, even if he can get in and out of places using maps with secret exits.

20. I can't even.

21.WAIT, I forgot a big one.  WHEN YOU BURN DOWN A HOUSE, THEY DON'T FORGIVE YOUR DEBT, THEY ARREST YOU FOR ARSON. I'm pretty sure they knew what "arson" was in the 1990s.


01: A Book Published in 2022

Saturday, June 4, 2022

Girl A

Girl A

By Abigail Dean

She thought she had escaped her past. But there are some things you can’t outrun.

Lex Gracie doesn't want to think about her family. She doesn't want to think about growing up in her parents' House of Horrors. And she doesn't want to think about her identity as Girl A: the girl who escaped, the eldest sister who freed her older brother and four younger siblings. It's been easy enough to avoid her parents--her father never made it out of the House of Horrors he created, and her mother spent the rest of her life behind bars. But when her mother dies in prison and leaves Lex and her siblings the family home, she can't run from her past any longer. Together with her sister, Evie, Lex intends to turn the home into a force for good. But first she must come to terms with her siblings--and with the childhood they shared.

What begins as a propulsive tale of escape and survival becomes a gripping psychological family story about the shifting alliances and betrayals of sibling relationships--about the secrets our siblings keep, from themselves and each other. Who have each of these siblings become? How do their memories defy or galvanize Lex's own? As Lex pins each sibling down to agree to her family's final act, she discovers how potent the spell of their shared family mythology is, and who among them remains in its thrall and who has truly broken free.


I 'd like to say I knew what the (or "a", I guess, since both are revealed very closely in time) "twist" was from the very beginning, but if I'm being honest, I could only so far as to say that I was mildly irritated that there were supposedly seven rescued people but only six chapters, and that we skipped Boy C and went from Boy B to Boy D.  Normally that would alert someone that yes, Boy C is missing and therefore probably not alive, but I was like, Hey, maybe I can't count, or keep people straight, and I'm just along for the ride, so take me where thou wilt.  So yeah, I was not really surprised that Boy C was summarily dispatched as soon as we knew his name, although it was honestly heartbreaking to know he'd died the moment we knew who he was.  And the other death twist was also not a huge surprise, although I'd been misled by the conversation about wedding guests, and Girl A's comment that Evie and Delilah didn't get along.  

So if it was meant to be a shock, total failure.  But I'm not really sure what the book was going for - was it going for a meditation on what it takes to survive? Or is it a tragedy about how this family ended up in this situation to begin with? I'm going to assume the author borrowed inspiration liberally from the Turpin case, although the story is set in England (part of it takes place in Blackpool). There's other long term child abuse/imprisonment cases but to be honest, most of them come with a side of sexual abuse too, which was not really present as such in Girl A (there is a fadeout of a punishment and the implication that a wooden stake messes up Lex's ability to have children, soooo...probably present? But also unclear). 

I dunno, the book is a fast read, but because of the present and past framing aspect, it feels like we have trouble striking the right tone.  The present stuff is all about getting approval to make the house into a community center, which isn't exactly scintillating stuff. The climax of this storyline is Lex's realization that Evie died, which, since we're viewing it from her perspective and she doesn't know it (because trauma), can't be used as a build-up of tension, so we're sort of waffling about for a good chunk of story there.  

The past storyline is interesting, but we spend a lot of time on the before aspect of things, and don't get into the Binding Days etc., until the very end (although once we were in that part, I very much did not want to be. I had a dreadful foreboding about the baby, and just did not want to get into that).  It felt weird to be reading this as entertainment, like it just reinforced the feeling that anyone reading this is ghoulish.  The Marsh King's Daughter (and Room for that matter) did a better job, I think, of making this type of story enjoyable (for lack of a better word) by avoiding the POV of the primary victim, and focusing on the child who had a very different perspective. And The Marsh King's Daughter went a step further in making the main character kind of unlikeable too, a product of her environment, but still pretty cold to her mother and other people's problems. 

I think I saw that Dean's intention was to focus on the aftermath sort of, the media and attention and not on the crime itself.  If so, then I think we should have had the revelation about Evie much much earlier in the book. It springs from a decision that the psychologist (Dr. K) makes about Lex's recovery and for better or for worse, informs a lot of Lex's decisions and actions, but it comes too late to do much more than wrap everything up. There's a lot that's held back, I assume because of pacing issues (Noah's life, Ethan's participation in the final beating), that if we're making this a story about the ways these families are failed after the initial media onslaught, doesn't do justice to that aspect. G's chapter deals with this the most, but we spend very little time (if any) on Ethan or Delilah's foster situations, and how they decided to separate the kids versus having them do group sessions together. 
  
Overall, it was engrossing and kept me interested, but after I was done I felt gross and unhappy.  I needed something different right away to wash the taste out. Anyway, this may be stretching it, but the wedding is a focal point of the book, and we have a big scene there, so I'm calling it a party book. Kind of ironic, since this is the last book where you'd think, "I bet there's a party scene!" 

38: A Book Featuring a Party.

Saturday, May 28, 2022

There There

There There

By Tommy Orange

A wondrous and shattering novel that follows twelve characters from Native communities: all traveling to the Big Oakland Powwow, all connected to one another in ways they may not yet realize.

Among them is Jacquie Red Feather, newly sober and trying to make it back to the family she left behind. Dene Oxendene, pulling his life together after his uncle’s death and working at the powwow to honor his memory. Fourteen-year-old Orvil, coming to perform traditional dance for the very first time. Together, this chorus of voices tells of the plight of the urban Native American—grappling with a complex and painful history, with an inheritance of beauty and spirituality, with communion and sacrifice and heroism.

Well, it ain't no YA.  I was kind of dreading this, a little, because even though I might be sore sick of YA, I still wasn't really in the mood for a polemic on social justice issues.  I'm worn out.  And there's something a bit voyeuristic about it.   There's a scene in there where Tony dresses up in his regalia and gets on BART to go to the Powwow and people are staring at him and he's thinking, basically, lap it up, sure, let's give the white people a fun story to tell about seeing a real Indian all dressed up.  I get a little bit of that same sense reading this. Basically peering in on someone else's life and making judgments on something I know very little about.  

But the book is generally strong and interesting to read.  Orange switches both POV and style, so we get some essays, but mostly chapters in a multitude of characters, most of whom are semi-loosely related in fashions that will become clearer as we get further into the book.  The finale centers around the Powwow, where everyone has gathered for their own reasons, ranging from initiation into a more Indian lifestyle, job/hobby, finding family, robbery, and the most fourth-wall reason, collecting stories from Indians to get a better sense of the modern "Urban Indian", as opposed to the historical, stereotypical reservation Indian.  One of my favorite scenes is Dene, the historiographer, talking with another character about the project and what it means to be Indian.  

But the book ends basically on a cliff-hanger, with no (at the time) intended resolution.  There's a way to do it that makes the story stronger, but in this case, I feel like it made everything else weaker, by not tying up at least a few of the loose ends.  We end one storyline literally with a boy's de facto grandmother beginning to look up at the doctor who is (we assume) going to tell her whether he lives or not.  Another is with a character bleeding out on the floor.  

These characters are teetering on revelations about family members, life and death, and we don't spend enough time with them during the book to really get a sense of how we can even assume or guess at how they'll handle it. Because we have so many characters, and this isn't a twelve book series, we're only with each character in small chunks.  Orange does a decent job with such a large cast, but I never entirely figured out who all was who in the criminal side of the book. 

I don't know; this one feels tough because yes, it feels completely unfinished, but also, I don't feel any impetus to get back in these people's lives. So I don't think I'd be up for a sequel, and that just kind of encapsulates my review: good, but not compelling.

10: An Anisfield-Wolf Book Award Winner

Saturday, May 21, 2022

Cemetery Boys

Cemetery Boys

By Aiden Thomas


When his traditional Latinx family has problems accepting his true gender, Yadriel becomes determined to prove himself a real brujo. With the help of his cousin and best friend Maritza, he performs the ritual himself, and then sets out to find the ghost of his murdered cousin and set it free.

However, the ghost he summons is actually Julian Diaz, the school's resident bad boy, and Julian is not about to go quietly into death. He's determined to find out what happened and tie off some loose ends before he leaves. Left with no choice, Yadriel agrees to help Julian, so that they can both get what they want. But the longer Yadriel spends with Julian, the less he wants to let him leave.

 

This one was cute enough, although there isn't anything in it that isn't telegraphed from the first quarter of the book.  Yadriel finds a ghost the same night his cousin mysteriously dies, and neither body can be found; not to mention the jaguar claws of ultra-human sacrifice for ultimate power are missing? It doesn't take a genius to put it together. 

I was a little disappointed it takes place in East LA - for some reason I was thinking it took place in Mexico, and I don't know why that makes such a difference, but honestly LA is oddly flat for me as a setting (it's not specific to Cemetery Boys, I don't really get any entertainment that's set there).  

There's certainly enough Spanish in it (and untranslated too, so monolinguists just get to guess at some of the interplay) and the details about Dia de Muertos are thoroughly and lovingly described. And the romance is cute enough, and the main character isn't dumb for plot reasons, or obnoxious or anything like that.  I just... found myself skimming slightly, to get to the action at the end.  One of those things where, since you know so early how the big reveal and denouement will go, all the pit stops along the way start to feel superfluous.  I did appreciate (if not "enjoy") that the author switches to another POV when the main character is potentially dead.  Every little bit of suspense helps!

Yadriel, the main character, is trans, which I somehow managed to not know until after I started reading it, even though it's right in the description and I swear I read that multiple times before checking the book out.  It does impact the plot, since the whole thing hinges on the idea that Yadriel can use the male brujx powers instead of the female, although I still kind of wished that Yadriel didn't dwell so much on it.  I will give him a pass though, since teenagers the world over care way too much about other people's opinions.  I appreciated that Julian was like, no hangups here, dude.  Man, I think I'm just tired of YA right now.  I'm old, and I don't have time for melodramatic nonsense about accepting yourself and finding love.  Give me more no-nonsense heroines, like what's her name in The Alice Network (no, not the modern day one, the cranky old spy).  


28: A Book Set During a Holiday

Saturday, May 14, 2022

Aurora Rising

Aurora Rising

By Aime Kaufman and Jay Kristoff


The year is 2380, and the graduating cadets of Aurora Academy are being assigned their first missions. Star pupil Tyler Jones is ready to recruit the squad of his dreams, but his own boneheaded heroism sees him stuck with the dregs nobody else in the academy would touch . . .

A cocky diplomat with a black belt in sarcasm
A sociopath scientist with a fondness for shooting her bunkmates
A smart-ass tech whiz with the galaxy's biggest chip on his shoulder
An alien warrior with anger-management issues
A tomboy pilot who's
totally not into him, in case you were wondering

And Ty's squad isn't even his biggest problem--that'd be Aurora Jie-Lin O'Malley, the girl he's just rescued from interdimensional space. Trapped in cryo-sleep for two centuries, Auri is a girl out of time and out of her depth. But she could be the catalyst that starts a war millions of years in the making, and Tyler's squad of losers, discipline cases, and misfits might just be the last hope for the entire galaxy.

NOBODY PANIC.

 I can't tell if I'm getting grumpier as I get older, or if books are just not as good as they used to be (spoiler alert: it's definitely the former).  I wanted to like this one, I swear!  I was very much looking forward to it, and in fact was using it to get a break from two other books I thought I would like, but were moving much too slowly for me to enjoy. 

However.  There are few things more obnoxious than a band of teenagers who talk like they're in a television show written by adults, and manage to save the world because they are so extraordinarily talented but also they're misfits so no one knows how talented they are, and also somehow they're smarter than all the adults.  

I mean, we start promisingly, with the premise that only young folks' minds are malleable enough to endure the space Fold, so there's a school for young people.  But then to say, well, each crew will have one teenager who can engineer anything, and another one will be both medical and science expert, and also there's a teen diplomat, because why not, and apparently there's a fighter too, and each of them is somehow experts even though they've been in school from age 13-18, and frankly teenagers don't know how to do any job, let alone highly skilled, technical job which would be vastly easier with some life experience.  I mean, no knock on teenagers, but they're barely out of puberty, and they simply didn't have enough time to learn anything.  You can do a lot of things in science fiction, but 18 is still 18.

And it wasn't even that, which killed my enjoyment, or the fact that all of them employed such finely crafted sarcasm and quips you'd think they'd been to school for that for five years instead of whatever else... diplomacy, I guess, although there wasn't much of it displayed in the book.  

Nor was it that the teachers apparently smuggled this Aurora person on board without telling anyone, because... a team of misfit trainees who have no idea they're carrying a stowaway is the solution to a police investigation? No, not even that!

It was in fact, when (after witnessing a mass genocide almost in passing which is then never referred to again) they wind up on a disreputable "pirate" station which has... a world galactic-class museum!  Yes! With an aquarium and a gala for the public. What public, you may ask? Presumably the other pirates on station.  And why host a gala? I can assume because the rich and powerful gangster who owns all the art pieces wants to be fair and give random teenagers a chance to steal something.  Which they do. Because they're magically talented, in case you didn't know!  They can come up with gala ready clothes and a plan to infiltrate a genetically coded lock on less than 24 hours' notice. 

If you're getting the sense that I was not "along for the ride" you are correct.  I did not get into the spirit of things, I didn't just relax and enjoy the humor, I was not charmed.  It felt obnoxiously cutesy and trite and cliche, in an unironic way.  I felt like I'd read the evil plant story before, too.  It kind of echoed the Big Bad in the Murderbot novel, Network Effect.  

So the pilot is consumed by the plant and the rest of the kids manage to escape and the one decides she might date the elf after all, and I just couldn't bring myself to care.


8: A Book with a Protagonist Who Uses a Mobility Aid

 

Saturday, May 7, 2022

The Broken Girls

The Broken Girls

By Simone St. James


Vermont, 1950. There's a place for the girls whom no one wants—the troublemakers, the illegitimate, the ones too smart for their own good. It's called Idlewild Hall, and local legend says the boarding school is haunted. Four roommates bond over their whispered fears, their friendship blossoming—until one of them mysteriously disappears....

Vermont, 2014. Twenty years ago, journalist Fiona Sheridan's elder sister’s body was found in the overgrown fields near the ruins of Idlewild Hall. And although her sister’s boyfriend was tried and convicted of the murder, Fiona can’t stop revisiting the events, unable to shake the feeling that something was never right about the case.

When Fiona discovers that Idlewild Hall is being restored by an anonymous benefactor, she decides to write a story about it. But a shocking discovery during renovations links the loss of her sister to secrets that were meant to stay hidden in the past—and a voice that won’t be silenced....

I really liked this one (as I did the last one of hers I read, The Sun Down Motel) except for one thing.  Well, two things, I guess, since I didn't really like that Sonia died.  Once I realized that Sonia was murdered, I was pretty bummed. I know it would have been duplicative, but couldn't Sonia have just gone into hiding for sixty-four years, like Viv did?

The other, more significant and more spoiler-y issue I have with the book is the crux upon which the murder hangs: how did Rose/Rosa recognize Sonia in the first place? So the first murder is based on the idea that Sonia buys a bus ticket from a former guard at Ravensbrück, where Sonia was, around 1943/44 to 1945 when it was "freed". But Sonia was 9 years old in 1944, and 15 in 1950, and not only that, she was malnourished and tiny during the war, but they mention specifically that before she died, her friends had been sneaking her more food so her hips, etc were filling out and her clothes didn't fit that well anymore. And there were over a hundred thousand prisoners at Ravensbrück.  So while Sonia might have had good reason to recognize Rosa, an adult guard, how on earth did Rosa recognize Sonia, among thousands of other children and prisoners, from the last time she'd seen her as a skinny child to the young woman she was in 1950? I mean, I guess, if we ever heard that Sonia had distinguished herself in some way, or I mean, if we ever got the narrative of the interaction between them, from either Sonia or Rosa's perspectives.  But we don't, because to know what happened sooner would spoil the mystery, and destroy the linear narrative, and as a result, I'm sitting here, spending more time than I really want, trying to figure out how the heck Rosa knew who she was. 

It's also weird that this and another relatively recent book I read, Maureen Johnson's Box in the Woods both involve Nazi war criminals being recognized in Vermont after the war and killing to save :themselves.  Was Vermont particularly attractive to Nazis? 

I do think that the three "mysteries", i.e., Mary Hand the ghost, the death and disappearance of Sonia, and Deb's murder are each well done, but in retrospect it might have been nicer if they had been tied to each other more.  The main connection to each is the location - the Idlewild woods.  Other than that, they have nothing to do with each other or in their storylines, i.e., the clues to Sonia's death don't affect Fiona's discoveries about her sister, and vice versa.  So that, I think, was done better in The Sun Down Motel.  And I think the reveal that chief Creel had tried to cover up Tim Christopher's involvement in Deb's murder could have been removed without much loss.  Think alternatively: if that whole storyline was excised, we'd still have the Sonia and Mary Hand ghost, and Tim Christopher is still in jail. If Fiona just comes to peace with that, that would have been just fine with me. 

But I did like this! I liked the characters, and I like that St. James' novels are mysteries that explore the lives and deaths of women. Men are the most common murderers and women the most common victims.  Although Christie's cerebral detectives are fun to read, and it feels a little weird to say that there should be more realistic murders in your entertaining fiction, coming to St. James is nice, because you know that ultimately the women, and justice, will prevail. 

 

09: A Book about a "Found Family"



Saturday, April 30, 2022

Double Trouble in Bugland

Double Trouble in Bugland

By William Kotzwinkle


Going forth from their little flat at 221B Flea Street, Inspector Mantis, accompanied by his trusted colleague Doctor Hopper, solve antennae-bending mysteries featuring unforgettable bugs such as the relentless spring-cleaner Mrs. Inchworm, the bespectacled Professor Booklouse, the fearless Captain Flatfootfly, and the endearing Miss Allegra Warblefly.


I'd read the first Trouble in Bugland, and liked it very much - it's an insect take off on Sherlock Holmes - and finally ginned up the funds and willingness to buy this sequel, which isn't quite as good, although it is charmingly, "profusely illustrated".  All the mysteries depend on some natural factoid of the bug world, such as the vampire moth's vampiric tendencies, or the parasitic habits of a nectar stealer.  

Perhaps my memories are ever rose-colored, but it seemed to me that the stories in this book were longer, and more fluffed out than the initial set. We have only four mysteries, which are, indeed, "profusely illustrated" (I think the illustrations must take up a quarter to a half of the book) and it seems like there isn't much in the way of detection, in most of them.  Mantis finds a clue, which he takes to another expert (and again, he depends on so many other experts - on moths, parasites, etc - in this one) and then they immediately know what has happened, and then track down the culprit.  There's a lot of padding in each story to fluff them out - one of them has them sitting in a bar, waiting for the informer to get back to them, solving a series of mini-mysteries for the local police captain, which would be fine, except that it feels like filler.  

Be that as it may, it's still a delightfully weird charming Holmesian take-off.  If you've ever wanted to read more bug mysteries, here you are!  I mean, it is weird, in the sense that bugs are living in "Bugland" eating fudge and popcorn and carpets and performing in theaters and getting kicked out of places for being stink-bugs.  But it's also a very soothing bedtime reading.  It feels cozy.


34: A Book Set in Victorian Times