Mind of My Mind
Just go read it. Seriously.
As I mentioned in Wild Seed, I am glad I read that novel first – the background it provides for Doro, and Emma, is devastatingly important. Of course you could read this first – publication order – and then have the background filled in… but this order definitely worked for me.
This book is very focussed on Doro and the people he manipulates people to his own ends. Even when other characters – Emma (Anwanyu), and especially Mary – get to tell their own story, it’s always connected to Doro: against or in favour, in reaction somehow, trying to figure out how to circumvent or please him. He is the Patternmaster. He is the puppetmaster.
This book takes place over a much shorter timeframe than Wild Seed – just a few decades. In the prologue, Mary is a small child in an abusive home; the narrative picks up with Mary, one of Doro’s many children and an important part of his experimentation, in her late teens. Mary becomes the focus of the story as she seems to be the fulfilment of Doro’s plans, and it basically follows her development and discovery of her powers.
Unsurprisingly, Mind follows some of the same themes as Wild Seed. Why humans acts they way they do, how compulsions can work and why we act in our own worst interests; what slavery can look like. It develops the discussion of the difference between haves and have-nots to a greater extent, and the consequences of power. The idea of family and its power as well as its destructiveness. Humanity at its best and worst.
This book isn’t always pleasant to read, but it is always powerful and it’s always well written and I will definitely be reading it again.
Goldenhand
This book was sent to me by the publisher, Allen and Unwin, at no cost. It’s out now; RRP $24.99.
This BOOK! I’m so happy to have read this book! I’m so happy this book exists! (Spoilers for the other Old Kingdom books. Just go read them.)
I’ve been a fan of the Old Kingdom books for a long time. Not as long as they’ve existed – Sabriel came out about 20 years ago and I didn’t read it then – but long enough ago that when the prequel, Clariel, came out in 2014 I was a bit over the moon. So with Goldenhand being a direct sequel to Abhorsen, I’ve been pining for this book for a good while.
This is most definitely a sequel. I’m not sure how it would stand by itself – there’s not a lot of explanation of the whole necromancy by bells thing, nor of the Charter, and there’s a moment where Lirael is required to use her mirror and I was like wait, what? because it’s been a while since I read the other books. But really that’s all right because just READ ALL THE OTHERS ANYWAY.
Lirael is pining the loss of the Disreputable Dog, and trying to fit in with her newly discovered much older half-sister Sabriel and her family, and learning to be the Abhorsen. Something I loved about Lirael was how she always struggled to fit in as a Clayr, and I like that Nix hasn’t just made her magically (heh) well-adjusted. Meanwhile, of course, things aren’t entirely hunky dory in the rest of the kingdom: a nomad appears unexpectedly at the Greenwash Bridge, and even more unexpectedly proceeds to be attacked by other nomads and their awesomely freaky magical constructs. Cue mad flight down the river…
The book follows two tracks: Lirael, taking charge of Abhorsen business while Sabriel has a holiday (heh so cute), which means investigating a message about Nicholas Sayre and there being a magical creature on the wrong side of the Wall… and Ferin, the nomad messenger, whose endurance makes all the other characters look a bit weak and who just occasionally has a wicked sense of humour.
I love Ferin.
Nix’s writing is incredibly easy to read: it’s fast-paced, and it has lovely descriptions that allow you to imagine the place but not get bogged down in detail. I love the idea of the Charter and the additional development that the magic system gets here. In the interview with Nix that’s included in the book, he seems a bit bemused by how many people mention the gender balance in his books. But here’s the thing: when you’re reading about some guards being awesome in fighting and realise that any number of them are women, and that’s just so not a thing for this world, it still blows my mind. Multiple women in multiple sorts of roles: it can be done.
This is a wonderful addition to the Old Kingdom world and I’m so happy that it exists.
Grass
A lot of people write stories with disparate threads – multiple narratives – that then end up all coming together somehow.
If you want to know how to do it really well, you need to read this book.
It’s set on the eponymous planet, where ‘the bons’ – noble families who left Earth generations ago, probably because people weren’t giving them the forelock-tugging they thought they deserved – have set up extended-family estancia, and their lives basically revolve around the Hunt. Right from the start you get the inkling that something isn’t quite right here, but it’s not clear why.
Meanwhile, in the rest of the galaxy, Sanctity is having a red-hot go at trying to control everyone’s lives. They’re doing a pretty good job on Earth, and having varying success on other planets. Sanctity is, I think, meant to hark back to age-of-exploration Christianity and the way Christian ideas and Christian leaders were used to excuse and, sadly, encourage European colonisation and exploitation. I also suspect it’s meant to be a far-future evolution of Mormonism: there are enormous heraldic angels in the architecture, as well as some other bits and pieces that sound like it.
And there’s a plague. It’s popping up all over the place, no one has any idea why, no one has any idea how to stop it… except that it doesn’t seem to have occurred on Grass. Guess we better send someone to investigate… but Grass people don’t want Sanctity on the planet… those bons are all about the Hunt… so hey, send non-Sanctity horsey people!
Enter Marjorie Westriding Yrarier: Old Catholic, doing charitable works, rocky marriage, painful children, Olympic equestrian. You know, all-round interesting person and key to the narrative.
There are many things to love about this novel. The way that Tepper brings together such different people and their problems and achievements into one magnificent cohesive whole. The planet Grass itself, with almost no trees and an enormous variety of grasses and what that might be like as an ecology and for humans. Complicated families and the difficulties of living with them. The existence of religion and that, while the institution of Sanctity is clearly problematic, the religion itself (and Catholicism) are not. Aliens. The beautiful and evocative prose that’s just so easy to read, so enchanting, and conveys emotion brilliantly.
I love Sheri S Tepper.
Previously, in Sheri S Tepper: Beauty, and The Companions.
Wild Seed
It’s brilliant and you should just go ahead and read it and you don’t need to know anything else … unless incest (at a distance from the reader) really, really squicks you out (it happens but it’s not a huge focus and it’s not dwelt on greatly).
I know Butler didn’t write this as the first in the Patternmaster series but I am so glad I read it first, because Butler sets up the world of Doro and Anyanwu brilliantly; I can’t imagine coming to read this after already having been introduced to Doro, especially, in a different context.
There’s an enormous amount going on in this book. Doro and Anyanwu are very different from those around them: both seem to be immortal and both have talents that set them apart. Doro moves from body to body at will; Anyanwu can heal and change herself. Anyanwu has been living with her extended family and caring for them for generations; Doro has been building himself a people, gathering together individuals with some sort of psychic talent. One day Doro feels Anyanwu and goes to meet her, and Anyanwu’s life in particular changes. She hasn’t ever moved far from her birthplace, while Doro has been setting up colonies in America – this is the 17th century, and Doro and Anyanwu are both African (Anyanwu is Ibo, I believe; Doro… is something else altogether). So this means he’s trafficking in slaves, and working with slave traders. So that’s a whole thing: how people react and feel when they are enslaved, how the trading works and can be used, and so on. And somehow the fact that this is written by an African-American makes a difference. The very question about what makes someone a slave is key to the story, actually; how chains aren’t necessarily visible, how someone can become accustomed to the state – and asking the question about whether, if you don’t mind it, how bad slavery is. I think Butler firmly comes down on the side of it still being an evil, but she’s sure not making it an easy discussion.
Having two central characters who appear to be immortal means that Butler gets to write a story that goes over a couple of centuries. This allows her to explore the development of both individuals and communities, which she does really well. In some ways the people that Doro is developing are like a generation ship: they don’t know where they’re going, and it’s temporal rather than spatial, but they’re definitely on a journey. They just need to keep following orders and keeping the place running. The focus is really always on the relationship between Doro and Anyanwu, because their fraught relationship stands for everyone else: love and hate and need and resentment. Acceptance and rejection. Anyanwu is the one who changes and develops and grows, while Doro is largely static. There’s a variety of reasons for this – he’s that much older and has a very set purpose where Anyanwu is in some regards more passive (and in others really not) – but his lack of growth and change isn’t entirely presented as a positive.
It’s the complexity of Doro and Anyanwu, as individuals and in relationship, that makes this novel an absolute stand out. It bemused me somewhat when I finished reading that, really, very little actually happens: there are few really “significant” events like battles. Instead it’s a steady stream of small events. It’s a surprisingly domestic novel, in that much of it is focused on family and family relationships, centred around the home and small communities. But don’t be fooled – never has the idea of ‘domestic’ equaling ‘unimportant’ been less true.
I read this as part of “Seed to Harvest”, the compilation of Patternmaster novels. I was so engaged and intrigued that I moved straight on to reading the next novel (in internal chronology), because I couldn’t bear to leave the story.
Courtney Milan and romances
I was one of those girls – women – who was pretty down on romance as a genre. There are lots of complicated reasons for this. Partly it was a woman thing; I wanted to not be that sort of woman (what sort? I don’t know. I guess I associated liking romances with weakness or something?). Partly it was a genre thing: over here in the disregarded spec fic corner, it’s nice to disregard someone else.
But of course this was always both a) a completely stupid attitude for a multitude of reasons and b) hypocritical. Because I do like reading romances in the stories I’m reading.
I think I’ve finally figured out what doesn’t usually appeal: romances that exist purely by themselves. I’m certainly not saying that they are bad or stupid, but that as a rule they don’t appeal to me (like I don’t love vampire stories as a rule, although I do enjoy the Blade films). What helped me finally articulate this is having read three of Courtney Milan’s Brothers Sinister series. (There is a fourth but I don’t plan to read it, partly because the main character doesn’t appeal and partly for Historical Snobbish reasons.) This is mostly because of Tansy.
These are Victorian romances, which means Milan gets to take advantage of some of the interesting social and political and scientific changes happening in the mid-19th century in England (and across Europe). The main point is always about a girl and a boy and how of course they ought to be together but there are all of these problems that might prevent their happiness: scandals in the past, problems in the present, nasty people, social expectations, etc. Some of these relationship problems ring a bit more true than others: I didn’t find Minnie’s ‘scandal’, in the first book, all that convincing, while the problems of the third book were magnificent. Overall, though, the characters are treated sympathetically and the problems carefully – no one of consequence dismisses anyone’s fears without regard, which I found quite a relief. I especially liked that both female and male protagonists get to tell the narrative from their point of view, making the stories much more rounded and feel more genuine than might otherwise be the case.
And around these relationship issues are the social and political themes that Milan uses to flesh out the world. In the first book it’s class relationships and working conditions and rape and marrying for money. In the second book it’s about race and political representation and social expectations and marrying for money and child guardianship and medical ethics and mental health. In the third it’s mostly about science (oh my, seduction by science I LOVED it) and gender expectations. Some of these issues play into the romance, and some of these issues are things that the characters are dealing with quite apart from their romance because of course life exists outside of does-she-love-me and Milan knows that very well. Milan is presenting complex and complicated individuals and worlds.
Of course, this is all within a fairly constrained society: the focus is on the wealthy, with a few not-nobles thrown in (not just as window-dressing but still, they have to meet the expectations of the Haves), almost everyone is white, and so on. There’s a lot of pretty dresses and balls and large houses. But… that’s the sort of book that Milan is writing. A romance set in the middle-class or working-class echelons would be very different and deal with different issues. And wouldn’t have the foofy dresses, which are – as you can see from the covers – important to the story.
I am not going to start reading nothing but romances (historical or otherwise), because I am still mostly interested in space ships and explosions and the odd dragon, and there are so MANY of those I haven’t read yet. But I am very glad I have grown up enough to acknowledge Old Me’s appalling attitude, and I’m very glad to have read and enjoyed these books.
Galactic Suburbia 151
In which we consume culture and take names! get us from iTunes or at Galactic Suburbia.
WHAT’S NEW ON THE INTERNET?
Tansy’s novel Musketeer Space is half price this week on Kindle (and in other ebook stores)! Price goes back to normal on Wednesday.
CULTURE CONSUMED
Alisa: Vaginal Fantasy; Crosstalk, Connie Willis
Alex: Revenger, Alastair Reynolds; Crossroads of Canopy, Thoraiya Dyer; Stealing Snow, Danielle Paige – abandoned!; The Silk Roads, a New History of the World, Peter Frankopan
Tansy: Superior, Jessica Lack; Fangirl Happy Hour on Ghostbusters: Eps 49, 50 & 52
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Agatha H and the Voice of the Castle
I was predisposed to liking this, of course, being a big Girl Genius fan from a number of years back. I don’t know whether I like the graphic novel or the written novel more; they’re obviously quite different media. I’m still not very good at reading graphic novels, despite a bit of practise – I’m not great at reading pictures.
Anyway, I already knew the story going in although there were a few twists that I had forgotten, which was nice. It’s still an amusing story with Agatha finding her feet as a Spark and as the Heterodyne; I like the relationships with Zeetha and Gil and Tarvek. Something this series has always done well is the secondary and supporting characters – frequently over the top but always enjoyable. I adore the Castle and its quirks – it’s a really nice way of illuminating the Heterodynes as a family, and of course adding some amusing danger along the way.
One curious and disappointing thing is the cover of this book. It looks like a page from one of the graphic novels, with one big difference. In the graphic novels, Agatha is buxom and curvaceous. But not on that cover. She’s verging on slender, which is really not Agatha. Bit disappointing really.
Crossroads of Canopy
This book was sent to me by the author at no cost. She’s a friend: I have blown detergent bubbles with her Small One at Ditmar awards ceremonies and watched them burst on someone’s expensive suit. So it’s a very good thing that I really enjoyed this, because it would just have been awkward otherwise.
This is her debut novel, and it’s coming from Tor in January 2017 (the hardcover will be USD$25.99, which will be who knows how much in actual AUD by that stage).
So yes, I enjoyed it. I would absolutely have enjoyed it without any knowledge of the author, too, so I have no hesitation in recommending it. The characters are compelling, the world is fascinating, the narrative moves at a good clip while leaving breathing space for characterisation, important issues are touched on. I don’t know what else you might want… I mean, there’s no dragons or unicorns, but you can’t have everything… .
This is a forest world (… what we know of it…) where the trees must be many hundreds of metres high. Our protagonist, Unar, is born to Canopy – the most privileged section of the forest, being the closest to the sun. She is not born to the most privileged group there, but she gets herself into the service of a goddess and life improves. Plus, there’s slaves to reassure her that there are always people worse off than yourself. Of course, things do not go as swimmingly as Unar would hope, and she is forced to learn new things – do new things – and meet new people in order to survive. It’s a self-discovery narrative, in that the focus is the reader learning through Unar as she learns about herself and her society.
In Canopy, there are thirteen gods and goddesses, who are served in different niches and who die and then reincarnate and who enable magic in their acolytes. In Canopy, they fear those of the Understorey. In Canopy, there are very definitely still haves and have-nots.
There’s a lot of interesting things going on here, especially in the world-building. There are people living at different points on the trees, and basically location connects to class/privilege in a really physical way where you can see the in-world logic: closer to the sun makes you better than everyone else, naturally. Dyer, of course, sets this up to be questioned and undercut as Unar progresses through her story and learns more of life and her world. There’s little historical background about how this society became so (literally) stratified – just some teasers – so I’m looking forward to seeing that develop. But/And it’s not all as simple as it might appear…
Throughout, Dyer sets up delightfully complex relationships: parent and child, siblings, friends, acquaintances, enemies-who-work-together, lovers (straight and queer), slave and owner. Very few of them exist or progress in expected patterns, with betrayals likely, loyalty in unexpected places, and the odd bit of casual cruelty that makes the humanity ring just that bit more true. Sometimes people have a reason to be angry, and sometimes they Just Are – also adding to their humanity; sometimes people fall in love with completely unexpected people; sometimes bad things happen for no reason.
Something else that I loved and that really struck me in reading the description of the rainforest is the Australian nature of it. Non-Aussies will probably suspect that Dyer is just making up names of all the trees (some of them she has, I think). But blue quandongs are real, as are bloodwoods, as are ironbarks and tallowwood. Some of the nasty critters suggest that she’s taken a good long look at goannas and other monitors. I fully expect a demented cassowary to feature in some future book, and Dyer will barely have to change them at all to make them amongst the most terrifying creatures ever.
This is the start of a series, which is great because I look forward to seeing where Unar goes. But, happily, it also stands all by itself – so if publishing falls over in February (may that not be so) we won’t be stuck wondering about really serious issues. Of course, Dyer COULD pull a Carmody/Obernewtyn on us, but I’m pretty sure she wouldn’t do that to us. PRETTY sure.
I have two slight gripes: I don’t love the title – I don’t hate it, but I don’t feel it’s the most explanatory or gripping. There’s also a point towards the end that I felt was too rushed, where Unar very quickly grasped something that was not at all obvious to me, so it felt too hurried. But those are pretty minor quibbles.
Get this book when you can. You really want to.
Revenger
I received this book from the publisher, Hachette, at no cost. It’s out in September; RRP $32.99.
It’s hard to really talk about this book without massive spoilers that completely take away from the gripping revelations that come as the story unfolds. So I’ll do that below the cut. But firstly: I really like this cover! The flat picture doesn’t do it justice. The stark black with pinprick stars and a black silhouette of a spaceship in the middle – it’s lovely. The title font is a bit Alien, although without a narrative connection, and the silver does cool things in the light. I’m interested that the title is larger than Reynolds’ name, since on his last (solo) novel, Poseidon’s Wake, it wasn’t (nor on the novella Slow Bullets). Must be a deliberate decision but I couldn’t speak to why.
Anyway. It gets a lot darker than I was expecting, it’s fair to say – not in a bad way but in an intriguing way. Adrana and Fura are sisters from a sheltered little world and a sheltered little family who decide to run away to sea – well, to space. The crew they join is welcoming if a bit dubious, as you would be, but things generally go well… until they don’t. And then things go quite bad.
Fura is the narrator, and when the action opens she’s not yet reached her majority. It’s unclear how old that is on her world, but one of the early tensions is the question of whether Fura is capable of making decisions for herself, or if she’s just being pulled along by Adrana. Of course, as the story progresses she develops and grows and – no spoilers – shows that she can indeed be responsible. Ish. There are some really interesting relationships that develop, but they really take back seat to the development of Fura herself.
A note on language: Reynolds hasn’t gone all Andrew Macrae Trucksong and re-invented language to represent the immense span of time; neither is he insisting that this is English – it’s just some universal language. But it’s not just transliterated (as it were). The spaceship crew, like sailors of the 18th or 19th centuries, have their own patois: people are coves, there’s lots of abbreviation and slang. More generally there are some words that are different – lungstuff, for instance, for oxygen; my favourite is quoins, for money. It doesn’t always work – it doesn’t always feel completely natural – but I especially like that the different social groups are clearly differentiated by their language, which is very real.
I love the narrative but I am really, really intrigued by the universe that Reynolds has created here. It is – I am almost certain – our solar system, but it’s an unimaginable time in the future. There’s an enormous number of worlds called the Congregation, most of which are not worlds as we know them, but small and many clearly artificial. There have been many collapses and resurgences of humanity, with concomitant loss of memory and history and mysterious rubbish left behind. The ship Fura and Adrana head out on are, brutally, junk connoisseurs – what can they find in places that might have been picked over several times in the last few centuries? But there’s a trick there, since the places with good junk are protected and dangerous. And there are alien races, too. I would really, REALLY like to see more stories set in this world.
A couple spoilery thoughts below… but the long shot is, this is a great fun novel and I’m super excited to see yet what else comes out of Reynolds’ brain.
Stealing Snow
I received this book from the publisher, Bloomsbury, at no cost as an uncorrected proof. It comes out in October; RRP $16.99.
I abandoned this book, after reading just over half. It’s a hard thing to do, but it really wasn’t working for me and there are SO many books I want to read that I just don’t have time for books that don’t work.
Firstly, the press release says it’s for children 12+. I’m not sure I’d be happy with a 12 year old reading this: the protagonist has spent eleven years in a mental institute – since she was six – and there are some bits that I think may be a little scary for less mature readers. Anyway, that’s not a reason for me abandoning it.
The protagonist is part of the reason. I did not at any point feel any empathy towards Snow. There’s a bit too much repetition about her immediate woes (not being able to see the boy she really likes, who’s also in the institution), and a serious lack of development about either her history (she walked into a mirror and that was enough to get her committed?) or her personality more generally.
This is symptomatic of the book as a whole, actually: there is so little development of anything. Characters and places and events all occur in a vague world, sometimes with connections spelled out and sometimes not. Things happen far too fast – strange dreams! strange boy appearing! lover boy disappears!! a Tree!!! – and I was left completely bewildered, and not in a shivery-anticipation kinda way; in a ‘what the heck just happened?’ kinda way. It’s a portal fantasy, eventually, but whereas Foz Meadows deals nicely with the sort of confusion this would produce, Danielle Paige has Snow being confused for about ten seconds and then basically comfortable, with no explanation for how this is possible (i.e. treating it as a fantasy or whatever).
Also, the writing does not help the reading process. It’s not actively bad, but I was aware of reading – rather than being sucked into a world and ignoring the process, which really awesome writing enables.
I’m sad that this didn’t work out. I think the Snow Queen story has a lot of potential for reworking. In fact the day I received this my mother was visiting, and she had just started Michael Cunningham’s retelling of the story (very different from this), and I’d seen Frozen only about a week before. So there definitely is potential. And this version had potential… it just wasn’t achieved.
Randomly Yours, Alex 