I never thought I’d say it but this debut needed to be the first of *at least* a duology, if not a trilogy, to really work. Georgia S2.5* rounded up.
I never thought I’d say it but this debut needed to be the first of *at least* a duology, if not a trilogy, to really work. Georgia Summers can write; the world building has lots of promise; there are some interesting characters (albeit not the central ones unfortunately) and the story made me nostalgic for all the portal fantasies I’ve read before. However, the execution is haphazard and truncated, squashed into less than 350 pages, which leaves some huge gaping holes in the logic of the plot and the motivations of the characters. Most of the secondary actors are barely sketched - although the book treats them like we should know them better. Big dramatic moments are portentously built up and then dismissed in a couple of pages. Important things happen off the page and are explained in a single sentence. It reads, especially towards the end, like someone’s worked up outline for a story rather than a finished novel. There is enough to keep stringing the reader along on the basic plot but if you start probing the fundamentals it all falls apart. Summers paints a grand world but without a grand vision. Plus the ending didn’t make any sense to me - it felt like it was solving a set of problems rather than resolving the arc of the story.
In other words, an incredibly frustrating reading experience. Probably with better editing and more time, it could have been much more than it is. I read that it sold for six figures - oof - so perhaps that brought its own kind of pressure? Anyway, I’m sufficiently interested in Summers development that I’ll try their next book, just to see. ...more
I have never come so close to DNF-ing a KJ Charles book. This was just *not it* for me, in a big way. The cloying niceness of the MMCs and their lacklI have never come so close to DNF-ing a KJ Charles book. This was just *not it* for me, in a big way. The cloying niceness of the MMCs and their lacklustre chemistry; the centring of the ‘pain of privilege’; the poverty of secondary characters, especially women (who aren’t just plot bunnies); the absolutely bananas plot that is 50% ridiculous coincidences and melodrama and 50% boring too-ing and fro-ing around the midlands; but most of all, the takeaways about the positive good of power and privilege in the hands of the right Duke.
I’m starting to feel panicked that I’m falling out with KJC, having not liked the last three of her mainstream published titles. What is going on? Two stars only because of 1. The surprisingly kinky sex scenes, which made no sense in the context of this story but which I nevertheless enjoyed and 2. That scene where they go looking at churches and Shakespeare sites in Stratford, because it was legitimately lovely....more
I feel like I have been for a swim in a torrent of lava but the lava was made of words.
First of all, thank god I decided to catch up on this series bI feel like I have been for a swim in a torrent of lava but the lava was made of words.
First of all, thank god I decided to catch up on this series back to back, because you need to exercise every brain cell in remembering and making connections to Gideon the Ninth. But at the same time, Harrow has such a different tone - the narrative voice is confused, because the protagonist herself is (quite literally, at times) out of her mind - that even knowing what you know from the first book is no help at all. In other words, expect to feel fucked around for at least the first half of the story.
It’s just a good job that Tamsyn Muir is very very good at fucking with us. The way she makes is possible to re-know characters that we lost or disdained in the first book, in ways that make them utterly lovable? Chef’s kiss. The way she takes the found family trope and warps it around 10,000 years of toxic back stabbing? Perfection. The way she writes monsters and ghosts and fights like she’s taken LSD and then sat straight down to draft the action scenes? I love it.
A powerful and thought-provoking book in so many ways, but the execution of the history never quite hit its stride for me.
The central focus on AshleyA powerful and thought-provoking book in so many ways, but the execution of the history never quite hit its stride for me.
The central focus on Ashley’s sack is a brilliant way in to talking about the experiences of Black women as mothers, daughters, ancestors and descendants in the American South in the 19th and 20th centuries. As an emotional object it’s a classic starting point for Miles to work up a narrative through the sparse archival sources, using the tools of microhistory and critical fabulation. This works well when she takes an element of it - like the three handfuls of pecans Ashley’s mother loaded into the sack - and spins it into a chapter about Black and Indigenous food cultures, pecan cultivation and the harsh limitations of plantation diets. Throughout you can tell that Miles is a deeply read, methodological reflective scholar - the footnotes are legion and they are fascinating. But this is partly the problem - so much of the ideas, tools and techniques that underpin the book get siphoned into the tiny font of the notes (which are almost a quarter of the paperback edition), that the main text is strangely denuded. Without the scaffolding that justifies the constant return to the sack, the narrative becomes repetitive - I was frustrated that the same sentences, same assertions were made over and over at the front of the book, while the nuance of interpretation got parked at the back. It felt like an example of an academic text made accessible for a wider audience and losing something essential to its historical practice in the process....more
2.5*, most of which are for the first third of this debut from Emily Henry’s screenwriter. I went into it with super high expectations - the premise i2.5*, most of which are for the first third of this debut from Emily Henry’s screenwriter. I went into it with super high expectations - the premise is so angsty and the early reviews looked good. And for the first 125 pages or so things were going great. Our two protagonists have every reason to avoid each other, given their difficult shared history. Helen’s younger sister Michelle died by suicide when she ran in front of Grant’s car just before they graduated high school. Now, 13 years later, they’re thrown back into each other’s lives to work on a screenplay of Helen’s highly successful YA series - a scenario that brings their past experiences to the surface in painful, antagonistic ways. Nevertheless, they’re also drawn to each other and feelings start to develop, despite their doubts and resistance. There are some lovely early moments of tenderness and dawning connection. You see what I mean about angsty? I fully expected to bawl my eyes out.
But then, the middle gets bogged down in repetitive sex scene after sex scene, and the final third completely jettisons the deep emotional challenge of the premise and parachutes in an external conflict that rewrites the arc of the novel. Everything that made it subtle and interesting to me gets exploded. By the final chapter I had lost all sense of nuance and I didn’t believe in the characters or their HEA. It was such a deflating reading experience, made all the more frustrating by seeing the potential of the beginning. Kuang can write; she knows how to hook in the reader; her dialogue - perhaps unsuprisingly - is sharp and quick. Argh. I wish I liked it better! I’ll still be interested to see what she writes next. ...more
Judith Butler is an absolute legend and I find their insights into the ‘anti-gender ideology’ movement incredibly valuable. Here they develop an analyJudith Butler is an absolute legend and I find their insights into the ‘anti-gender ideology’ movement incredibly valuable. Here they develop an analysis of current discourse that shows how gender has become a ‘phantasm’, a site onto which the fears and insecurities that arise out of neoliberalism, capitalism and climate crisis can be displaced. They take on the principle arguments of the anti-gender movement - ‘sex is real’; gender hurts kids etc - but really the contribution of this book is in showing why the Left should be really concerned about the phenomenon of anti-gender/transphobic/critical feminist movements more generally. We need to understand how attacks on the notion of gender are connected to a constellation of regressive and oppressive ideas.
That said, this isn’t a perfect book: Butler is repetitive at times; there are moments where the text gets off-topic; and, even though it’s more accessible than their earlier work, the writing is still opaque. It’s not necessarily a good place to start with combatting anti-gender thinking, that’s for sure (or even a good place to start with Butler). If you don’t want to read the whole thing though - or want a crash course before committing - Butler has some fabulous shorter pieces that explicate their thesis. I recommend their Guardian article ‘Why is the idea of gender provoking backlash the world over?’ from 2021, as well as their recent interview appearance on Novara Media, which you can find on YouTube....more
I started reading this for work but finished for pleasure, which says something about how much I enjoyed it. A collection of incisive and thought-provI started reading this for work but finished for pleasure, which says something about how much I enjoyed it. A collection of incisive and thought-provoking essays on feminism and sex that would serve anyone looking to put their understanding of current debates and controversies on a more intersectional and abolitionist footing. But there were times when I really wanted more from it, in terms of connecting personal experience and contemporary commentary to theory. This was most effective in ‘On not sleeping with your students,’ which I found a super useful insight that went beyond popular analyses of power. ...more
I started this 15 days ago but I read most of it in the last 48 hours, amidst gales and hailstorms on holiday. It’s a delicious bit of writing, about I started this 15 days ago but I read most of it in the last 48 hours, amidst gales and hailstorms on holiday. It’s a delicious bit of writing, about both the magic of writing and the magic (both good and bad) of family. I loved the four characters at the centre of the story - and Emma Torzs even gave me a sniggle of romance at the end. It’s a very assured debut and I look forward to whatever she writes next. ...more
She did it again! Kate Clayborn has never missed for me; and her seventh novel is no different. What gets me every time is the way the characters - inShe did it again! Kate Clayborn has never missed for me; and her seventh novel is no different. What gets me every time is the way the characters - in this case, emotional lockbox Jess and earnest, gentle Adam - exist in each other’s space with such intensity. They don’t just have chemistry, it’s like their bodies are electrically charged by being in proximity. It makes every scene feel hugely significant, because you’re hyperaware of the physical and emotional storm between these two people. Add on top of that the care Clayborn takes with secondary characters - and making sure Jess and Adam have meaningful important relationships outside of each other - plus a surprisingly tense plot, and you have a propulsive, compulsive book.
This debut novel is such a masterclass in yearning and desire, of lots of different kinds. I’m feeling pretty torn up about it - it’s the kind of bookThis debut novel is such a masterclass in yearning and desire, of lots of different kinds. I’m feeling pretty torn up about it - it’s the kind of book that stretches your empathy muscles to the limit and then makes you go a little further. I realise this review is saying basically nothing at all; it’s just feelings. But if you want queer historical that’s serious and unflinching, while also deeply poignant, this might be for you. ...more
The operative word in most reviews of this seems to be ‘cute’, and that tracks. For the most part, this is a very lovely coming**spoiler alert** 3.5*
The operative word in most reviews of this seems to be ‘cute’, and that tracks. For the most part, this is a very lovely coming-of-age story about Hollis, a nerdy fat girl with anxiety who, in trying to impress her absolute douche of a boyfriend, joins a table top gaming group and unexpectedly finds her people. And also discovers new and confusing feelings about Aini, a fellow player and out-and-proud lesbian, at the same time.
There was a lot to like here. While their respective characters get closer and closer in the game, Hollis and Aini do too, dodging around naming their feelings. I really enjoyed the slow burn of their friendship and the little moments when it tips over into something more: the arms around waists; the holding hands; the thoughtful gifts. It reflected my own first forays into exploring my sexuality at around the same age. I mean, who hasn’t ‘pretended’ to be girlfriends with someone ‘because it would be funny’? *whistles* The support and solidarity of their gaming friends is great - Gloria, Maggie, Iffy and (most of all) FRAN (if you know, you know) were a joy.
However, the situation with Hollis’ boyfriend was over-the-top infuriating - did Chris have to be such a gaslighting villain for the story to work? At times it felt less like Hollis was finding herself and more like she was escaping an abusive relationship. Chris treats her terribly - and facilitates persistent bullying by his friends. He is jealous of her friendships; he likes her meek and anxious; he excludes her from his social life. When they argue, Hollis is always the first and only one to apologise, even though she knows she did nothing wrong. And all the while, she believes that he’s her closest and most comfortable friend. It was so blatantly wrong that I couldn’t believe no one was saying anything about it, to the point where I wanted to reach through the pages and start shouting myself. In the end I wasn’t satisfied with how this was handled and how little Chris was held to account for being The Worst Apart from Landon (who is such an asshole that I have no words). I wanted Hollis to really go for his jugular! I wanted someone to call him out for his behaviour, not only for the sake of the characters but for the readers. I needed that catharsis.
But, my desire to see violence aside, I’d recommend this - it’s a strong debut ff contemporary and I’ll look forward to what the author writes next....more
Anita Kelly did it again! They wrote a book that made me feel all the potential for queer joy and love in this world, amidst a cast of characters thatAnita Kelly did it again! They wrote a book that made me feel all the potential for queer joy and love in this world, amidst a cast of characters that I adore with all my heart. ❤️ this is an incredible end to the trilogy, except I hope it isn’t the end, because we need more Hank amiright?!? ...more
Loading...
