Many Months of Books: April, May & June

I’ve lumped April, May, and June together in one post, partly because each month’s offerings were a little slim due to beta-reading, partly because I haven’t been able to dredge the motivation to write anything more complex than a daily To Do list in weeks.

This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone: Another recommendation from a friend who’s reading tastes often fall in line with my own after I’d asked for the names of some speculative fiction with F/F romantic pairings that didn’t end in tragedy or break-ups (I wanted a HEA people!). Anyway, this novella’s prose is, frankly, gorgeous. The words, the sound of them, the sounds of them strung together, the richness of the metaphors, the similes, the poetry of the prose, all of it had me reading and re-reading lines to enjoy their impact more than once. The romance’s build-up is slow and the approach of two individuals falling in love through letters alone was both brilliant and ambitious and it worked so, so well. The characters themselves are fascinating, and both are products of their individual futures, most times relatably human but other times, almost alien in their perception of the world(s). I did lose track of potential timelines and upthread/downthread a bit, and by nature of the execution, the mental “image” as it were tends to be vague, but that had little impact whatsoever on my enjoyment and appreciation. The texture of it is more short story than novel (a bit like my experience with The Tea Master and the Detective), so the world-building tends to be more snippets and snatches to create atmosphere and immersion as opposed to explaining things (an approach which I enjoy, but I know that not everyone does). The story, the structure, the prose-style, the world-building, all ask for this to be a book read slowly and savored, and I managed that—until the last 40 pages, which I consumed like a vacuum hose.

Half a King by Joe Abercrombie: I’ll admit, I wasn’t planning on reading this. It had been on my shelf for years, but I hadn’t gelled well with The Blade Itself when I read it years ago, and expected Half a King to be much the same. I was wrong. Half a King has echoes of the brutality of The Blade Itself but with characters I actively rooted for, and I enjoyed the central theme of the danger of oaths sworn. I enjoyed it so much, I read the book in a day, something I haven’t done since…er, undergrad (part of this might be due to me being furloughed). I caught two out of the three major twists: one from the start seeing that it was strikingly similar to a plot twist from a Disney movie, one on page 188 because of a seemingly small throw-away line, but the third took me by surprise, yet, I appreciated the subtle layering of hints. I also enjoyed that twist’s structure, the echo-/full-circle nature it lent to the narrative. It was intriguing to me to draw parallels between the myth and legend the characters have for the world, the little snippets that made me fairly convinced that it was a far flung post-apocalyptic earth (some of the elf architecture sounded a heck of a lot like concrete with steel rebar supports, there’s a reference that sounds a lot like radiation sickness, and there’s a bit about a green chip with gold lines made into a necklace that seemed…hmm), and the cyclical nature of Ragnarok, since much of this has a Vikings-esque texture to it.

The Physicians of Vilnoc by Lois McMaster Bujold: More Pen and Des! Yee! I’ve been looking forward to this one since I read a teaser sample of the first third-ish, and then somehow managed to completely miss the release date until I happened to listen to an interview with Bujold conducted by Baen Books, where the release was mentioned. The novella is rather prescient, given that this was released during a real-world pandemic, and is dealing with a fictional one. In that aforementioned interview, Bujold explained that it wasn’t based on Covid 19, but on other historical pandemics (there’s a reference that looks a lot like the Bubonic Plague, plus a few others). Which makes sense, since in order for this to be released in May, the actual drafting would’ve had to occur before the beginning of Covid. Which just means the release of this story coincides with real-world events, which adds another layer to an already excellent tale. As always, highly recommended. Please read these because, truly, they are fantastic and, even when dealing with material as dark as a spreading pandemic, nevertheless uplifting, and I tend to devour them within a day. Also, the idea of a demon gaining its first personality impression from a dog, and how easily that demon is then to 1. train, 2. entertain with the same activity repeated over and over, and 3. communicate with made a great deal of sense. Also appreciated seeing what a more usual method of transferring a demon from one rider to the next, since Pen and Des’ was a bit unorthodox, and most of the demon-ridden sorcerers in The Paladin of Souls are not all that willing to have a demon in the first place.

A Lady’s Guide to Celestial Mechanics by Olivia Waite: This was an utterly delightful read. I’m a secret fan of regency romance, though incredibly picky since the time period and adherence to prescribed gender roles can be a bit “er, no thanks” for me, but this is the first regency F/F romance I’ve come across (though not by chance; it was recommended during a panel at the online Nebula Conference). Lucy and Catherine’s relationship, as Catherine learns she can embrace her attraction to women and Lucy heals from the heartbreak of her longtime lover marrying someone else, was sweet, passionate, and well-paced (though I quibble a little on what drives them apart for the traditional “lovers are driven apart” stage of a romance—the reunion and climax of the external plot was more engaging for me, though I recognize that without that step, the end wouldn’t have had the cohesion it did). I also loved the budding science field aspect, the combination of hopefulness and sense of discovery with the infuriating dark flip-side of the suppression of women scientists. It does end rather neatly and positively on that point, but this is a romance novel, and the expectation of an HEA precludes defeat. So while real-world history was often far grimmer, this parallel version fits the story it’s telling. And I see the author has another in this series coming out toward the end of July, so guess what one of my August reads will be?


May all of you stay safe and healthy and please, for the love of the all, wear a mask if you go out.

A Month of Books: March

Ancillary Justice by Ann Leckie: This is my second attempt on Ancillary Justice. The first one, I hadn’t been in the right mood to enjoy it, and the shifting between timelines frustrated me more than it enticed me. Second attempt, and I devoured it in a few days. The world-building in this is spectacular, though there is a bit of a learning curve. You’re dropped in the middle of things and the story just goes, filling in the world-building as it becomes necessary and, even then, not all of it. Some things remain vague, some things go unexplained, and I personally delighted in having a world (well, worlds) that I could puzzle over. However, that “drop you in the middle” is honestly why my first attempt at this book didn’t go much beyond the first flashback. Which brings up the other potential hurdle: it’s told in a split-timeline structure with the past and the present trading off chapters between them. In some ways, it helped make the past (and betrayals of the past) more immediate; in others, I’m fairly certain that structure is the reason it took me almost a week to read to the point that the past timeline falls off and the narrative remains entirely in the present. Once it narrowed down to one timeline, the rest of the book zipped by (true, there’s also the investment element in there; by that point, I needed to know what happened next). Now, I’m not sure if I truly called the betrayal, or if I’d somehow absorbed knowledge of it when it’d been nominated, but I didn’t find the past storyline as compelling since I knew where it was going, though I didn’t see the why behind the betrayal. The eventual payoff is worth the wait, though.

Ancillary Sword by Ann Leckie: The scope narrows here, going from a massive quest for revenge across an empire to a single space station in orbit around a single planet, though with a much larger cast of characters than the first book. I will be entirely honest, this review isn’t much of a review because I read this one weeks ago and failed to write a review immediately upon finishing, and then COVID-19 happened and my perception of time has turned into dripping molasses, while simultaneously making everything that happened prior to two weeks ago feel like it happened last year. The thing I remember most clearly in this was how so many of the secondary characters on the ship go by title/rank rather than by name and yet, I could tell them apart so easily, the characterization of them was so strong. More and more, however, I do wonder if, perhaps, the guessing of the characters’ gender/sex might be the wrong approach; the more I read, the more I started to feel that the singular pronoun freed characters to act in stereotypical gendered ways without it being a reflection (or subversion) of gender, and the more I read, the more my mental image of the characters flowed. It was an intriguing experience, and though it took me two books to get used to it, I appreciate the approach.

Ancillary Mercy by Ann Leckie: Ah, and the conclusion. One highlight was definitely Seivarden’s outrage over the suppurating cuticles oath. That, and how brilliant Station is and its way of leveraging Anaander in order to keep its citizens safe. Spoilers perhaps, but the end is a bit more open-ended than I’d prefer for a trilogy. The main conflict set up in Ancillary Justice doesn’t, precisely, get resolved. The civil war is still waging. Hypothetically, it might become more difficult for said civil war to continue quite the same way as it did before a certain event at the end of Ancillary Mercy, but it isn’t resolved. I was also a bit surprised that the concept of cloning ancillaries didn’t come up before the very end and it was…not so much dealt with as tabled for later discussion…except, this is the final book, so I suppose it’s up to us, the readers, to decide how that turns out?

A Conjuring of Assassins by Cate Glass: Oooooh, I’ve been waiting for this one for months! And then, when it arrived, I was in the middle of reading a trilogy, so set it aside to finish the Ancillary series first, ’cause I’m not blessed with one of those minds that does well with multiple immersive speculative novels being read at once. Much like the first book, A Conjuring of Assassins takes a little bit to get going, and there is some recap sections that if you’re reading the two back-to-back, might tempt one to skim, but once the mystery of Cinque is answered, the pace picks up and it’s spies and magic and grand con games in order to get closer to the Chimera’s target (the Assassins List). There is also more of a hint of the epic in this one. In the first book, there’s an unanswered mystery that could lend itself to epic fantasy, but here, it’s more overt, and the introduction of Teo (and Teo’s mystery) feels very much reminiscent (and pleasantly so) of the writer’s other epic fantasy series under the name Carol Berg (that hint of the epic, of the almost divine, of magic being otherworldly and beyond human understanding, of parallel worlds, of mind-speech). I look forward to seeing where things go in the next book, and what exactly is magic, and how does it tie in with the long-vanished gods? As a side note, it was both weird and unnerving to read a book so heavily based on Renaissance Italy while simultaneously watching news of the epidemic in Italy as it unfolded.

How to Stop Time by Matt Haig: Confession: one trope that I absolutely adore is the one of the old and possibly world-weary immortal/near immortal with centuries of memory interacting with the modern (or near modern) world*–bonus points if there’s a love story (not necessarily romantic love; found family love or platonic love are under-explored with this trope, in my opinion). How to Stop Time somehow managed to slip by under my radar until now, and it’s an exemplar of the trope. I did find the major twist somewhat predictable, but didn’t mind it so much. The romance angle is a great deal more downplayed than what the back cover blurb promised (which was fine). It’s more a story of Tim engaging with the world, realizing that his pattern of isolation and being a recluse isn’t working for him anymore, and that his will to live is slowly, but surely, becoming walled in by fear (of discovery, of death, of change), stoked by Henrich, another alba (or very long lived individual). Much like Ancillary Justice, How to Stop Time uses a dual-timeline structure, though this one is aided by the time period being firmly set in Earth historical past. There is, as a note, far more “past” flashback chapters than “present,” and much of the present is quieter, more introspective. The final resolution of the book’s external conflict is a little ho-hum, but then, it wasn’t really about the external conflict, but the internal one. A small warning, but much of the book has a low-key hum of depression throughout, even though it ends on a rather hopeful note. I, personally, found this resonated with me, but others might find it triggering.


* As much as I claim to be a vampire-junky, it’s not the vampire that engages me, necessarily, but rather this trope of immortal/near immortal, and it just so happens that the most common subgenre containing it is the vampire one, which is why I don’t like all vampire stories, but a very particular subset.

A Month of Books: February

Phoenix Unbound by Grace Draven: I will be honest, I was a bit conflicted about reading this book. I love Grace Draven’s other fantasy-romance series, but the Goodreads reviews on this one were sharply split between high stars and low stars, with few in between. After having read it, I’d say I’m still a bit conflicted, but I think I know why. It’s mostly a pacing thing. For the first 100 pages, events happen in a tight chronological order, which lends it a fast-paced, almost claustrophobic opener. The next 200-something pages, the pacing shifts; there’s long stretches that are covered with a short time-passing transition, and months go by rather quickly. Firstly, once you’re past the first 100 pages, it becomes clearly a Grace Draven novel, so if you’re reading and, like me, felt unsure about the beginning, stick with it. For me at least, this choice of pacing and presentation had a fascinating emotional impact. Because of that fast-paced, intense first 100 pages, for a long while after, I found myself braced for it to slip back into that style, and it took me time before I realized that…it wasn’t going to. Which seemed to echo Gilene’s emotional state as she slowly comes to trust Azarion. You brace, ready for the situation to get worse, so much worse…but over time, you come to trust that it won’t. Even when things escalate at the end, it’s a different kind of escalation than in the beginning, and it almost feels safely epic. I will, however, warn that there is a lot of allusions to rape, physical and mental abuse, and slavery, especially at the beginning. It’s a hell of a dark start for what will, eventually, become a rather sweet romance built on trust and friendship, so if this is a concern, then I recommend steering clear of Phoenix Unbound and pick up Radiance instead. That said, for all my initial uncertainty, I enjoyed it.

Paladin’s Grace by T. Kingfisher: As always, T. Kingfisher’s fantasy-romance adventure tales are an absolute delight. This one came as a wonderful and unexpected surprise (I totally was going to read something else but…this was releasing in a week so…). While similar to Swordheart, the tone is more solemn, more somber, a bit more like Clockwork Boys (Paladin’s Grace, for more reason than one, felt a bit like a merging of Swordheart and Clockwork Boys, which, I might note, is certainly not a strike against it), though it has it’s moments of outrageous hilarity. Like Clockwork Boys, we have angsty guilt-ridden paladins yet, like Swordheart, they’re more militant types and, like Swordheart, the romance is pretty front-and-center (well, there’s also the poisoning thing. And the court-room drama. And the, er, heads—it’s a brilliant blend of a lot of different subgenres that work together, though on the surface, they shouldn’t). Like much of Kingfisher’s work, there’s this underlying note of darkness (in this case, someone is murdering people and, er, leaving only the decapitated head around—the answer to that little mystery is a bit disturbing). But Stephen is delightfully outraged that people are not taking this threat seriously! Honestly, this combination of weird and wondrous and tinged with a slight shadow of horror reminds me a lot of Doctor Who (both classic and reboot). Grace, with her sense of smell superpower (it isn’t really, she’s a perfumer so her sense of smell is a bit…keener than the rest of the world, but she also has training to identify smells), and Stephen, with his hobby of knitting,  fit so wonderfully together. And I still love the idea of solicitors sacrosanct and the White Rat, and I was thrilled to see Zale again.

Clockwork Boys and The Wonder Engine by T. Kingfisher: I’m reading these all out of order. I started with Swordheart, moved on to Paladin’s Grace, and am now doubling back for what was originally the start (not quite of a series, but perhaps more of the world) but I just never quite managed to read it. So! Finally reading Clockwork Boys and I must ask myself why it has taken me so long. I am also going to review these two as one, since they’re very much structured as one novel broken in two, rather than two stand-alones (though, hypothetically, I suppose you could read The Wonder Engine without having read Clockwork Boys). I’m a bit torn on the end. While it’s ostensibly what I wanted, at the same time, I feel a little conflicted about how things resolved (and while I recognize that one character’s death was, emotionally, resonant, I feel I would’ve appreciated the twist being a little less sudden, particularly since I’d grown quite attached to that character). I also felt there were two rather large plot threads that didn’t get addressed all that much, and I’d have appreciated another touch or two, since everything else was bundled quite neatly (Boss Horsehead and the removal of the tattoos, namely; I would’ve really liked things to have come full-circle with a short epilogue addressing the tattoos, seeing that it isn’t explicitly stated that they’re, er, moot). The romance in these two, by the way, is not quite the same sort of fluffy of Swordpoint or Paladin’s Grace, and I appreciated that. The tone here is darker, and the two love interests are so clearly broken people, and certain events lead to a period of grieving which the narrative doesn’t shy from. There’s also so many bits that so brilliantly characterizes the characters in a line or two, making them both complicated and utterly fascinating. While the duology is probably not my favorite, it’s still a damn good read.

A Month of Books: December

The Tea Master and the Detective by Aliette de Bodard: I would argue that this is less a novella and more of a long novelette. It is very short, and because of that shortness, it had more of the texture of a short story—of language, sparseness of description, precise but possibly a little linear plotting—than it did a novella, and I admit, I went into it expecting more of a novella approach. That said, the world is absolutely fascinating and I loved the concept of sentient ships (and their names!), especially the idea that since the central core of the ships are born of humans (it’s questionable if they are humanoid, since the description of a ship’s core is vague) they have human blood-relations. The Tea Master and the Detective utilizes the Sherlock Holmes and Watson archetype, with Sherlock as Long Chau, an incredibly drugged but brilliant deductionist (honestly, this interpretation of Sherlock Holmes is the most true to the original source material’s personality and presence I think I’ve seen yet) and Watson as The Shadow’s Child, a sentient ship who brews specially crafted teas to help humans acclimate to “deep spaces.” The cultural world-building is absolutely fascinating, but because of the novella’s short length, it’s much more a story of character and culture than it is about solving the mystery. My only quibble was the sparseness of description when it came to the ships. I had little idea what The Shadow’s Child‘s avatar looked like most of the time, and I’m still unsure if a ship’s core is a humanoid being grafted into the ship or a biological mass of brain and heart.

Pumpkin Heads by Rainbow Rowell and Faith Erin Hicks: Oh! Look! Graphic novel! And an adorable little romance story about figuring out the person who’s your person is sometimes your best friend. It’s refreshing to read a story with a bi/pan character where their sexuality and dating history is not considered weird or something to make noise about! Meredith has dated most of her coworkers and it isn’t treated as either, 1. a joke or 2. something reprehensible. Plus! Josiah has never dated anyone, and again, that’s treated as totally valid and not the butt-end of a joke. It is also refreshing to read a graphic novel/comic where the female/fem characters have a wide array of body types! Admittedly, it’s still limited when it comes to heavier body shapes, but it’s better than it usually is. And the art is wonderfully expressive and cute and fits the feel of the story quite well.


And so, we get to half of the reason why I haven’t read all that much this month: TV. Oh, there’s just so much good TV being released. The other half is that I’m currently reading/editing a novel to get it ready for betas, thus, much of my reading brain-space is claimed already. Also, holidays.

First one up: Star Trek: Discovery, Season 2, which I have been waiting for the DVD release for months because I don’t have CBS All Access (this will become a point later).

Star Trek: Discovery, Season 2: Definitely more ‘Trek than the first season. It’s doing it’s own thing, but has callbacks to the Original Series, and with that cliffhanger end, I’m starting to wonder if every season is an almost homage to each of the individual series within the great blanket of Star Trek. First season almost felt like a gritty Enterprise. Season 2 is more Original Series, and not just because of Captain Pike and Spock. Next season seems to be setting up an almost Voyager-esque season. We’ll see if my theory pans out.

My one, major quibble with this season was the events of episode 6: “The Sound of Thunder”, where the Discovery is summoned/led to Saru’s home planet. The setup was intriguing, and I was sure this was going to lead into a two-parter, but then the end happened and I was left feeling very blah. I mean, really? Discovery? You’re just going to leave? You basically set fire to this planet’s (very oppressive, highly morally questionable) society, culture, and political sphere, and then you just…leave and say, “Oh, they’ll sort it out.” Ah, no. I don’t care how much the Kelpiens believe in balance, the Ba’ul were fully prepared to launch a species-wide genocide after thousands of years of oppression and “culling” the Kelpien population for control. You don’t just leave. They are not going to sort this out. I’d be better with this if there was a mention of passing this particular thorny mess to the Star Fleet Diplomatic Corps. That would make sense, where Discovery backs out because they’re not trained for this. But…to leave in silence, then have the Kelpiens swoop in at the end using Ba’ul ships…seriously makes me question if Kaminar has two species any longer, or if the Kelpiens wiped out the Ba’ul and got their tech.

Now, my other quibble is with the series as a whole or, at least, how CBS is making it almost impossible not to pay for their All Access option. See, there’s a moment right at the end of the season that relies entirely on a previously established relationship between two characters…that wasn’t introduced in Discovery. Nope, this was actually in the Short Treks spin-off series, something I hadn’t even realized was a thing. Because I hadn’t known that this was going to be a semi-requirement in order to understand, I then spent an inordinate amount of time switching discs, looking for the episode I missed, then, when I couldn’t find it, assumed it was something I’d forgotten from season 1, so went back to my bingeing. It wasn’t until after watching the two-parter season finale that I found out that one character was introduced in a Short Treks episode, and that’s why I couldn’t find it. *grumble grumble grumble* I may, may, break down and get the All Access subscription when the third season releases, just so I can binge-watch Season 3 and all the Short Treks episodes I missed.

I sobbed at a character’s death. This is not unusual, I sob fairly easily at character deaths, particularly if that character then has a moving funeral (this one did). Favorite scene, by far, was Michael asking Spock if he really thinks the beard is working. *sigh* Highlight of the season.

The WitcherOh, I’ve been waiting for this for months. Months and months and months.

I liked the split focus between the three central characters. That said, I have the benefit of having read some of the books quite a few years ago, which might’ve been for the best. While I was familiar with who was important and why they were in the story, my memory has gone fuzzy on the details, so I wasn’t actively comparing the adaptation with the source material (which I think a few reviewers were, whether consciously or unconsciously). That said, the, er, multiple timeline structure is confusing as all hell, and I can only assume it’s even more confusing for those who have neither read the books or played the games (I’m more recent on the games; I binge-played The Witcher III about two years ago and did a story/craft analysis on it). For the first two episodes and much of the third, I was holding two possibilities in mind: either it’s a multi-timeline story where they didn’t mark the timelines as being separate OR they decided to make everything happen concurrently…which would’ve been odd, but it is an adaptation, so…

It wasn’t until the third episode where there’s some overlap with royals’ ages that I figured out it was the former not the latter, and things started making sense. So my one bit of advice for those who haven’t seen it and haven’t read the books, know that Geralt’s and Yennifer’s timelines are occurring decades before Ciri is even born. Geralt’s timeline is mostly the short stories (most of which can be found in The Last Wish), Yennifer’s is backstory that’s referenced (as far as I remember), and Ciri’s is a lead-up to the events of the first book. In a way, it embodied my frustrations when I read the novels (I clearly remember throwing the first book down with an exasperated cry of, “It’s just a PROLOGUE?”).

Which probably explains the tonal conflict and the occasional sudden shifts in emotional tone between episodes. Geralt’s timeline isn’t running as chronologically as Ciri’s, so there’s gaps and spaces of unspoken years between events (and it’s easy to miss when there’s been a time-skip). While I enjoyed this, I can see how this would definitely rub people wrong.

There were some choices with Yen’s backstory that I was a bit iffy on, but I realize that much of it is drawn from the books (it just hasn’t aged well, in my opinion), and there was a point where I was certain there was a blatant contradiction; they might end up addressing that in the next season, so *shrug*. I also question, if a viewer doesn’t know who Ciri is and who she becomes, whether or not her story would feel as vital/compelling as it does to someone who does know.

Much like with Carnival Row, I await season 2 to see where they take this. I also feel the strong urge to replay The Witcher III: Wild Hunt*.

Other shows binge-watched this month:

  • Shakespeare & Hathaway: Private Investigators, Season 2
  • Death in Paradise, Season 8

Shows that I anticipate binge-watching:

  • Murdoch Mysteries, Season 13**
  • Brokenwood Mysteries, Season 6**

* However! I did just fix Skyrim and I’m happily binge-playing that while working on edits, so…it might be awhile.
** Acorn TV is doing a slow-release schedule for both of these of one episode a week. Which curtails my binge-plans.

A Month of Books: November

A Memory Called Empire by Arkady Martine: Okay, I love this book. It is such a delicious, rich, flavorful book, and it touches on so many things that I, personally, find fascinating. Culture and cultural exchange across cultures. Language and how language changes. The idea of being in love with a culture not your own, and equally being afraid of that culture subsuming yours. The question of what it means to be human. The whole concept of memory and personality, and the effect each has on the other, plus the fascinating question of, if you have two sets of memories, one present and one past, are they the same person? Are they different? And where, when memories of two different people are combined into one brain, we become I and I become we? And what it would be like to experience memories that aren’t yours? (True, I’m biased, since that’s one of the major elements I’ve been exploring in my own novel, so it’s wonderful to see someone else tackling the same questions that I am, but with a different lens and perspective*). I am also excited to learn that this is only book 1, and that all those dangling plot threads at the end might be answered in the next installment (and it’s saying something that I didn’t even notice there were unanswered questions till I started writing this, the end was so satisfying). True, I will now have to wait until 2020 to read A Desolation Called Peace, but will mean that future-me will have the satisfaction of a good read.

Gideon the Ninth by Tamsyn Muir: Irreverently giggle-inducing, often gruesome, and occasionally downright weird. The combination of magic and space ships is both different and pleasantly jarring—those shouldn’t work together, and every so often, don’t seem to work together, BUT the mixture is unique and unexpected, and I felt that outweighed the odd hiccup. In a way, the plot’s structure reminded me of Agatha Christie’s And Then There Were None, with a cast of characters with dubious morals trapped on/in an inescapable location, being murdered one by one, the only suspects each other. And that end. All I will say about that end is “Hm. Now that is interesting.” However, just as a note, the beginning can be a bit tricky; there’s a lot of jargon and quite a few sentences that I needed to read a second time to get their meaning. But once they’re at Canaan House, I found things either smoothed out or I gelled with the writing style, and it became easier, and once a certain conversation happened late in the book, the relationship between the main characters sat better with me. It also has a tendency to leave things visually vague, which calls for the reader to do some imagination legwork. Unrelated to the actual content of the book, the hardcover with the black side-trim is absolutely gorgeous, a total work of art. It’s such a pretty book. Harrow the Ninth looks like it’ll be just as pretty (and maybe answer some of my blasted questions!).

The Warrior’s Apprentice by Lois McMaster Bujold: So. This year at Windycon, I was on a panel devoted entirely to discussing the works of Lois McMaster Bujold, in particular The Vorkosigan Saga (the theme this year was Space Opera), and I realized it’d been awhile since I’d reread the earlier books in the series, seeing that with this latest reread, I was for some unfathomable reason reading the books backwards. So I jumped back and realized…I’d conflated a lot of the events in The Warrior’s Apprentice with events in The Vor Game. Anyway, it’s interesting to go back to young Miles, and to see what’s being setup for later books.

The Vor Game by Lois McMaster Bujold: Continuing my reread in preparation for the panel. Not much to say other than, still vastly enjoyable, four rereads later. Seriously, The Vorkosigan Saga is one of those where I can read and reread and not be bored, even though I know how everything turns out. Instead, I get to look forward to the parts I know are coming, and it’s with giddy anticipation that I read. The Vor Game is still a delightful romp, pre-Miles-as-professional-deep-cover-agent, so it’s just so much fun to see him mess up and save it, and somehow make it look like he was planning for that eventuality the entire time.

Cetaganda by Lois McMaster Bujold: Cetaganda can be a bit…odd, compared to the others. Tonally, in some ways, it’s almost more in line with the later books after Miles is medically forced to retire from his double life as Admiral Naismith. This one is, in a way, an early precursor to Miles Vorkosigan, the Imperial Auditor, since he gets to investigate and do his hero-ing under his own name. Only thing is, all his heroics end up swept under the rug of “so classified, the classification is classified” due to him…saving? what is, ostensibly, the enemy. However, the thing I so love, absolutely love, about this one is the humanizing of the Cetagandans. Up until this point, they were more of bogeymen wearing terrifying face paint; there’s a brief moment of screen-time for them in The Warrior’s Apprentice, but for the most part in the first few books, they’re either a threat in the past or faceless ships. It’s in Cetaganda that we get to see them as individuals…and they are simultaneously characterized as both incredibly alien and incredibly human.

The Best American Science Fiction and Fantasy 2019 edited by Carmen Maria Machado (series editor: John Joseph Adams): This one was intriguing to analyze from the perspective of a writer writing and submitting short stories. While the majority of my reading tends to be novels, I do enjoy a good short story, particularly during my lunch break. Anyway, the majority of stories included in this year’s The Best American Science Fiction and Fantasy leaned heavily into unusual/nontraditional story structures, often riffing on other forms not usually used for fiction (such as “Poor Unfortunate Fools” by Sylvia Park, which is told as an academic paper, “STET” by Sarah Gailey, which is told through editing notes and notations, and “Dead Air” by Nino Capri, which is an audio transcription), but had its fair share of traditional narratives as well (and an interesting use of second person right off the bat in “Pitcher Plant” by Adam-Troy Castro).

Godblind by Anna Stephens: Hrm. I’m conflicted on this one. On the one hand, I devoured this book in two days, and it’s not a small book. It was compelling and kept me turning pages. On the other, it didn’t feel quite…deep enough for what I was wanting. I like to be entirely immersed in my fantasy, and Godblind seemed more keen on fast pacing than immersion. Yes, it moves at a very quick clip; things start spiraling out of control for the main characters practically from the get-go and don’t let up. But that fast pace is at the expense of the world- and character-building (more so world than character). It also has a lot of viewpoint characters (ten, count them, ten!), which can give you a bit of whiplash when you go from one end of the country to the other in the space of three pages (though if I remember right, Mark Lawrence did something very similar with Red Sister, so it might just be a mark of the subgenre). These two things combined in such a way that the book didn’t—hm—have the chewiness I like in my fantasy. Still, if you’re a fan of fast-paced grimdark, Godblind is a good addition to the genre. It just wasn’t my cup of tea.


* I also have found a new comp title for when I start querying the new novel. Am pleased. Am very pleased.