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1616964200
| 9781616964207
| 1616964200
| 3.98
| 131
| Aug 13, 2024
| Aug 13, 2024
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really liked it
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Years and years ago, I said that my love for space opera was dimming. Space opera has always been one step away from science fantasy, of course, but I
Years and years ago, I said that my love for space opera was dimming. Space opera has always been one step away from science fantasy, of course, but I was getting bored with how same same all the nanotech-fuelled, AI-high stories seemed to feel. In the last couple of years, something has changed. I don’t know if it is me or the field or both, but I have been loving space opera again! When I opened my eARC of New Adventures in Space Opera, provided by Tachyon Publications in exchange for this review, I was pleasantly surprised by how many of the names I recognized among the contributors. The book lifts off with Jonathan Strahan’s introduction, which provides escape velocity. He puts into words a lot of what I was feeling, described above, crystallizing how it feels like we are definitely in a new vogue of this subgenre. The military science fiction of the nineties and early 2000s is metamorphosing into a decolonial, or at least postcolonial, attempt at deconstructing the imperialist sides of space opera. I think that is what most fascinates me about the subgenre. Beyond that, however, I think the way authors are exploring how advanced tech and a sprawling, galactic humanity might reshape our understanding of personhood and autonomy has changed for the better. The Big Ideas are becoming more complex, more nuanced, than in decades previous. That isn’t to trash science fiction or space opera from before—but like any genre, science fiction must be responsive to its times. These new adventures feel different in the right way for the world in which we currently live. The anthology opens with a banger, “Zen and the Art of Starship Maintenance,” by Tobias S. Buckell. It ends with an astrophysical twist which is clever but doesn’t exactly feel all that original, so your mileage may vary. What actually intrigued me more about the story is its handling of the idea of free will. The main character is a maintenance intelligence that is basically a copy of an uploaded human; when they uploaded themself, they signed a contract that removed their free will. At the same time, they seem to have plenty of autonomy, which is an intriguing paradox. These meditations on personhood continue in “Belladonna Nights,” by Alastair Reynolds; “Metal Like Blood in the Dark,” by T. Kingfisher; and “A Good Heretic,” by Becky Chambers. These stories all variously have either nonhuman or transhuman protagonists and, as such, truly stretch one’s imagination when it comes to understanding how such protagonists navigate and learn concepts—like deceit—we humans take for granted. Some of the stories are more prosaic. “Extracurricular Activities,” by Yoon Ha Lee, follows a young Shuos Jedao (one of the main characters from Lee’s Machineries of Empire series) on a special op. “A Temporary Embarrassment in Spacetime” by Charlie Jane Anders feels very season 3 Star Trek, if you know what I mean, and I can’t say I loved it, but I understand what she’s going for. “Planetstuck,” by Sam J. Miller, is a little melancholy and haunting. I bounced off a few of the stories hard. Lavie Tidhar continues to be an author who I think is just not for me, nor did I really follow “Morrigan in the Sunglare,” by Seth Dickinson. I liked Arkady Martine’s “All the Colors You Thought Were Kings”—it was interesting reading this as a contrast to her Teixcalaan duology that I just recently finished. That being said, I think the theme I got from the story—that we are doomed to be assimilated into oppressive, imperalist institutions if we think we can change them from within—isn’t sufficiently explored, even for a short story. Similarly, “The Last Voyage of Skidbladnir,” while rich in pathos and imagination, didn’t intrigue me or excite me that much. All of this is to say: this is a varied collection. It’s unlikely you will enjoy them all, but you will probably enjoy some (hopefully most) of these stories—maybe the ones I didn’t like as much are the ones you’ll love! That there is probably something for every science-fiction reader in this anthology is a testament not only to Strahan and Tachyon’s curatorial skills but also to the cornucopia of space opera available these days, especially in shorter forms. And as much as I am less enamoured by slower stories like “The Last Voyage of Skidbladnir,” I really want to emphasize that I don’t think those stories are any less worthy of celebration or inclusion—space opera should not just be bang-bang-big-shoot-em-up-in-space! There is room for and value in stories that focus more on inner lives, on relationships, on giant space crabs! Anthologies are always hit-or-miss for me, yet I had a feeling New Adventures in Space Opera would be more hit than miss. Maybe I just read it at the right time. Whatever the case, I was right. This book is just fuelling the fire stoked by my recent reads in the subgenre and leaving me hungry for more, more, more. Originally posted on Kara.Reviews. [image] ...more |
Notes are private!
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1
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Aug 08, 2024
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Aug 11, 2024
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Aug 14, 2024
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Paperback
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164567956X
| 9781645679561
| 164567956X
| 3.97
| 541
| Oct 10, 2023
| Oct 10, 2023
|
really liked it
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Asexuality is everywhere, yet because it is classically the absence of something, its presence can be difficult to see. Being Ace: An Anthology of Que
Asexuality is everywhere, yet because it is classically the absence of something, its presence can be difficult to see. Being Ace: An Anthology of Queer, Trans, Femme, and Disabled Stories of Asexual Love and Connection is an attempt to foreground asexuality within a variety of environments. Madeline Dyer has assembled an ace team (oh, you know the puns are just starting) of authors to contribute stories and even a poem that get you thinking. Cody Daigle-Orians, who wrote
I Am Ace
, offers a heartfelt introduction to the collection. I received an eARC of this book from NetGalley and Page Street. Some of these authors are familiar to me, either from other books of theirs I have read or simply from following them on social media. Although I’ve pretty much always known I am asexual, it wasn’t until around university that I started to learn more about that label, and it wasn’t until later than that—2012 or thereabouts—that I started to find online community and realize that my sexuality falls under the umbrella of queerness. Following acespec authors and finding acespec stories was very important to me. The same goes for arospec authors and stories (as I am in fact aroace). Indeed, Being Ace serves as a comfortable companion text to Common Bonds: An Aromantic Speculative Fiction Anthology (and the two anthologies share contributors). The stories take place everywhere and everywhen, from fairytale-inspired fantasy worlds to science-fictional settings on asteroids to vaguely contemporary tales in the here and now. Aces are witches; aces are asteroid miners taking on moon goddesses; aces are patients in eating disorder clinics; aces are monster hunters. The potpourri of settings seems to emphasize the anthology’s message: aces are everywhere, deal with it. Stand-out stories in this collection for me include “Across the Stars,” by Akemi Dawn Bowman; “Give Up the Ghost,” by Linsey Miller; “Smells Like Teen Virgin,” by S.E. Anderson; and “The Mermaid’s Sister,” by Moniza Hossain. However, I would like to emphasize that this is a remarkably consistent collection, in my opinion, as far as enjoyment of its stories goes. The hit ratio is high with this one. “Across the Stars” is really just an adorable story about finding friendship while trying to preserve one’s connection to family. I like that it is less about the protagonist needing to navigate coming out or finding acceptance and more simply about them existing as asexual in this universe. (I would also read more set in this universe.) “Give Up the Ghost” is poignant in a really kind of sad, devastating way, as ghost stories and murder mysteries often are. “Smells Like Teen Virgin” is a fun send-up of purity culture as well as monster-hunting schlock. The family and sibling dynamics are very compelling. “The Mermaid’s Sister” is a quaint reimagining of The Little Mermaid told from the perspective of Ariel’s ace sister; I like that the prince was not a dick in this one. I do think allosexual people should read this anthology and will find a lot in it that helps them better understand ace experiences. That being said, I can only review this book from my perspective as a fellow ace gal … and I didn’t expect this book to make me feel so sad at times. So emotional. I am largely having a very happy life as a single ace person, especially now in my thirties—but compulsory sexuality is a trip, and sometimes our society is not kind to single people or people who live alone. Being Ace certainly offers hope and compassion, but there are moments when it really does hold up a mirror to that toughness. Which is, I suppose, a testament to how powerful its stories are. I’m not surprised I enjoyed this anthology, and I highly recommend it. But more than that, I hope that it encourages readers to check out other work by authors in this collection. The more ace voices we hear and read, the better we are able to question what we think of as normal or the default when it comes to our experiences of sex, love, desire, companionship, and belonging in our society. Originally posted on Kara.Reviews, where you can easily browse all my reviews and subscribe to my newsletter. [image] ...more |
Notes are private!
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1
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Oct 02, 2023
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Oct 07, 2023
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Oct 23, 2023
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Hardcover
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1786187280
| 9781786187284
| 1786187280
| 4.26
| 80
| unknown
| Dec 06, 2022
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it was amazing
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As I’ve said in the past, I am very selective about the anthologies I read. Novels are my jam when it comes to fiction, short stories and novelettes a
As I’ve said in the past, I am very selective about the anthologies I read. Novels are my jam when it comes to fiction, short stories and novelettes and novellas much less so. Nevertheless, when Derek Künsken’s collection Flight from the Ages And Other Stories came up on NetGalley, I couldn’t pass up the opportunity to request an eARC for review. Künsken might fast become one of my favourite living science-fiction authors. Ever since I read
The Quantum Magician
, I’ve enjoyed his ability to balance the novum of science fiction with the need to tell human stories. This collection is no exception—if anything, it showcases that ability even more prominently. I know it’s customary to review the individual stories in a collection, especially one this small, but I don’t want to, and this is my book review, so you can’t make me! Instead, I want to talk about how all of these stories form a unified view of science fiction and why that works for me. Each story takes place within the shared universe of Künsken’s imagination, the same one that his Quantum Evolution and Venus Ascendant series are set in (though most of these stories, it should be noted, were written and published prior to those novels being written). So if you have read Künsken’s novels, you will recognize many of the settings, species, and even a few of the characters. I do love when an author returns to the same universe over and over, and it’s clear Künsken has put a lot of thought into developing this one. Künsken cites Alastair Reynolds and Stephen Baxter as among his influences and even drops Galactic North by the former as an inspiration and recommendation in the preface to this collection. Now, I read a lot of Baxter when I was a teenager, just before I started reviewing every book, so I don’t have many reviews up for his works. But his writing always left me cold. Kind of like Greg Egan, his attitude towards humanity in his science fiction was so unbearably distant and utilitarian—he had zoomed the camera so far out (or so far in, to the quantum level) that as impressive as his ideas might have been, I couldn’t get behind his characters. Reynolds, on the other hand, is definitely up there on my list of great living SF authors—and I would happily compare Künsken to him. There was a time when we might have said that these authors write what we call hard science fiction, though I think that term has blissfully outlived its usefulness in this day and age. Suffice it to say, Künsken and Reynolds both come from scientific backgrounds, and their SF is indeed quite embedded within a scientific framework, albeit one that relies on an artistic interpretation of quantum mechanical theory that is far more forgiving and flexible than our current understanding of the universe. Sometimes authors push that flexibility too far, verging into Clarkian “sufficiently advanced science” science-fantasy territory—and indeed, it can be really difficult to see where we draw the line. I think what allows authors like Künsken and Reynolds to avoid that pitfall, however, is their need to focus on the humanity of their storytelling. This isn’t always obvious at first glance—“Schools of Clay” has no human beings in it, and “Beneath Sunlit Shallows” is about a protagonist who is literally condemning his ancestors for tinkering with his genome to the point where he is no longer recognizably human. Yet each of these stories is poignantly, perhaps even painfully, about very human traits: desiring, yearning, needing to belong and be a part of something bigger. The ensoulled skates, Homo eridanus, a Venusian Quebecoise engineer, a grieving military auditor, a traumatized artificial intelligence, a group of near-future Miao people in provincial China … through all of these characters, Künsken reflects on what it is that makes us human. And that is the ultimate goal of science fiction. If an author manages to do that, they usually have me hooked. But there’s more to it still. See, a lot of our science fiction at the moment is quite dystopian. This doesn’t surprise me, given the state of our world. These trends tend to move in cycles, reflecting the optimism or pessimism of an era. And some dystopian or post-apocalyptic fiction can be painfully good—but it’s still all so depressing, and I don’t know if you’ve noticed, but we are going into like the third year of a pandemic that most of the governments of the world seem to have decided to pretend is over, and it’s … it’s all rather a lot right now, and I want to read happy things. Or, you know, if not happy, then at least not terminally sad. Take artificial intelligence, for example. Present in most of these stories to one degree or another, it is in Tool Use By Humans of Danzhai County that we come to its most salient usage vis-à-vis contemporary AI. I was half-expecting, as I read the story, for the AIs being developed by the main characters to go rogue and, you know, take us over in a sinister and dystopian way. And they kind of do—go rogue, that is, and perhaps even take over, but in a much more utopian way. And I needed that. Here I am, doomscrolling on a Musk-infested Twitter far more often than I care to admit, watching people discuss the pros and cons of GPT-fuelled text-generating AIs and Stable Diffusion image-generating AIs and thinking about whether we’re entering the post-truth era, an era of chaotic pornographic deepfakes and undetectably plagiarized student essays and everything in between. For all that the hawkers of modern AI services proclaim them to be revolutionary, they certainly seem underwhelming at best and dangerous at worst—and so much of our modern science fiction seems determined to emphasize the dangers. Along comes Derek Künsken, who has the sheer, unmitigated gall not only to write stories where AIs are helpful and benevolent but to explore how humans can develop them to be that way. Seriously, the nerve of this man. See, that’s the kicker: we have to choose this future. Künsken has hit on the crux of the matter when it comes to AI—or really any technology—a truth that many science-fiction authors explore but few truly succeed at examining so cleanly. We build our future through the choices we make. AI is not the end of the world any more than fossil fuel use or nuclear weapons have to be. It isn’t our tools but our tool use (oh there’s that title of the novella now) that defines us. This theme, so elegantly presented in the final story of this collection, reverberates backwards through the earlier stories much like Künsken’s protagonists so often seem to be involved in anachronistic, atemporal shenanigans. That is the value of reading these stories collected rather than in isolation across various magazines: once you finish this collection, you could easily go back to the start and read it again, and you’ll come away changed once more, iteratively so, because these stories form of a feedback loop of a kind. They pose tough questions about what it means to be human, about the choices we should make as individuals and as a species, asking us what we want our future to be. The stories also go further, reminding us that although there is indeed something quite special about humanity, ours is not the sole inheritor of this universe; the stories challenge the Eurocentric, colonial arrogance that we are the most superior form of life there could ever be. Maybe humans don’t make it to the end of the universe—and beyond—but life will go on. And Künsken dares to dream of a future where, sure, there is still conflict and war and betrayal and sadness … but there is also a hell of a lot of compassion and empathy and love and hope, and that is a message I feel a lot of contemporary science fiction has buried. Again, I’m not yucking your yum if the dark, gritty stories are your cup of tea. But Künsken is steeping my tea the way I like it: big and bold, brash even, with some very Canadian humour and some difficult ideas and just a dash of quantum weirdness. Originally posted on Kara.Reviews, where you can easily browse all my reviews and subscribe to my newsletter. [image] ...more |
Notes are private!
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1
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Dec 09, 2022
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Dec 11, 2022
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Dec 15, 2022
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Paperback
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0063070871
| 9780063070875
| 0063070871
| 3.76
| 4,975
| Apr 14, 2022
| Apr 19, 2022
|
really liked it
|
When I heard Janelle Monáe had a book coming out, of course I was going to read it! My public library even had a copy right away. The Memory Librarian
When I heard Janelle Monáe had a book coming out, of course I was going to read it! My public library even had a copy right away. The Memory Librarian is an anthology of science-fiction stories set in the world Monáe created for her Dirty Computer album and emotion picture. Jane 57821, the protagonist from those pieces, returns in one novelette (Nevermind). Other stories explore more corners of this world in which memories have been weaponized in white supremacy’s war to maintain its grip on our society. I cracked open this book on one of our first sunny days of spring on my deck. The first story, also called The Memory Librarian, is one of the longest. It follows Seshet, who is essentially a collaborator: she is the Director-Librarian for a town called Little Delta. She has risen to a position of great responsibility in a racist organization, New Dawn, that has acquired great power and convinced people they should surrender “unclean” thoughts or be branded “dirty computers” and taken in for cleaning. In this story, Monáe continues to explore some of the ideas of conformity that she brings up in her album. This novella was fascinating for the romance that Seshet embarks on and the conflict of interest that lies at the heart of the story. I also really enjoyed the next story, Nevermind, for its commentary on gender identity and roles. Though Jane 57821 is one protagonist, the story actually revolves around a friend, Neer, who is a non-binary woman. Another member of the Pynk Hotel community objects to the presence of people like Neer; she believes that Neer and others dilute the definition of womanhood to the point where the hotel might open itself up as a space to (gasp) men. This is such a powerful story—Monáe, of course, recently came out as non-binary, and this (and all the other stories) display a nuanced grasp of the gender identity issues rocking our society today. (It’s worth noting that the co-author of this story, Danny Lore, is non-binary as well.) This is the one of the types of queer stories I think we need more of. So many of our queer stories focus on things like coming out, but I want to read about the messiness within queer communities. I feel like Monáe and Lore are channelling Audre Lorde in this story, the way they interrogate how members of marginalized communities will further marginalize one another. “Timebox” was an intriguing story, but I confess I don’t get the ending. (I’m not sure if I am just missing something, but my understanding of how the timebox dilates time for the user means that what happens at the end … doesn’t matter? I feel like I’m missing something.) Nevertheless, the theme is a good one. I am all on board with questioning how we use our time under our capitalist system. The other stories I could take or leave. That’s not to say that they weren’t good, but I just wasn’t as enraptured with them as I was with the ones I have highlighted. Overall, though, The Memory Librarian is a great collection, and I just love its whole vibe. From the talented Black and Latinx and queer writers Monáe chose to collaborate with all the way to the way that the stories interrogate the intersections of Blackness and queerness in a near-future society that highlights our own society’s shortcomings … yes. Just yes. This is a book that really exemplifies what science fiction can be: painful and beautiful and inspirational and hopeful, all at once and in various times. Originally posted on Kara.Reviews, where you can easily browse all my reviews and subscribe to my newsletter. [image] ...more |
Notes are private!
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1
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May 14, 2022
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May 18, 2022
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May 31, 2022
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Hardcover
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1775312976
| 9781775312970
| 1775312976
| 3.81
| 254
| Jan 12, 2021
| Jan 12, 2021
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really liked it
|
Full disclosure: I was a Kickstarter backer for this book. I was very excited for Common Bonds, because I am aromantic, but that’s an identity that is
Full disclosure: I was a Kickstarter backer for this book. I was very excited for Common Bonds, because I am aromantic, but that’s an identity that isn’t well-represented in mainstream media (and when it is, it’s usually conflated with/paired with asexuality—I am also asexual, but I like the split attraction model because it helps me discuss my experiences with nuance). A great deal of this review will be me talking about the importance of books like this. But first, stories! Honestly, none of these stories jumped out at me as stand-out entries. This is fine and something I’ve come to expect from anthologies—or rather, from how I experience anthologies. I find short stories challenging at the best of times, and the start of this year has been challenging for me in terms of reading in general. So I’m not surprised that I can’t pick out any one or two stories as the best of this collection. What I can say, however, is that these stories are incredibly varied and diverse in all senses—structure, plot, representation, theme. The editors of this collection did a great job selecting submissions that not only portray a wide range of aromantic experiences but also a wide range of speculative fiction. While I would say most of the stories tend towards fantasy, there is some science fiction—and beyond genre, we also have some poetry! Some of my favourite stories were the shorter, calmer ones that were a small number of scenes—but there are also longer, more adventurous stories here as well. Aromanticism is prominent in many of the stories and less so in others. For example, in “A Full Deck,” by Avi Silver, the antihero protagonist’s aromanticism is pivotal to taking on an incubus. In other stories, like “Shift,” by Mika Standard, the protagonist’s aromanticism is mentioned and important but not central to the story, which is mostly about trying to figure out how to tell your roommate you know she’s a werewolf. That’s the other thing I like about this anthology: the stories are just good in general at modelling excellent use of pronouns, of consent, of respecting boundaries and talking about relationships. This anthology is so much more than a collection of stories and poems about aromanticism. But it is definitely that too. And this is perhaps what surprised me about Common Bonds: despite the individual stories not making much impression on me, overall they … added up, I guess? About two thirds of the way through this collection, I began to feel a kind of weight settle on me, in a good way. It was a weight of recognition, or of feeling recognized. I realized that, while I have read a few books here and there with aro characters, the concentrated dose of aro experiences here was powerful for me. I’ll blog more about this next month when it is Aromantic Awareness Week, but I have been thinking lately about how being aro in a society that privileges romance over friendship stunted my making of adult friends until quite recently. The stories here in Common Bonds made me feel seen and filled me with joy, because they reflect back a life I recognize. These are stories of people with partners despite not desiring romance, of people who live by themselves because that is what they prefer. It made me think about how I have one platonic friendship that is, above others, so important and essential to me, a relationship that others could mistake as romantic because of its intensity but is, to its core, not. I appreciated the stories, like “Cinder,” by Jennifer Lee Rossman, that articulate the heady feelings of meeting your platonic soulmate. This anthology is important because we need to talk about how our society portrays romance as a higher good. I have nothing against romance, either as a concept or as a genre—but friendship, companionship, family (chosen or otherwise), and one’s own individual selfhood—those things are important too. This is a collection of stories and experiences that ask, “What if romance were not the end goal?” I think we should ask that more often. I hope this is not the last anthology of aromantic speculative fiction. Would back again. Originally posted on Kara.Reviews, where you can easily browse all my reviews and subscribe to my newsletter. [image] ...more |
Notes are private!
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1
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Jan 17, 2021
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Jan 20, 2021
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Jan 17, 2021
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Paperback
| |||||||||||||||
1787753395
| B081PJNN9B
| 4.22
| 369
| Apr 21, 2020
| Apr 21, 2020
|
liked it
|
You’d think the pandemic would mean I have more time to read rather than less, right? But for some reason my reading speed has decreased rather than i
You’d think the pandemic would mean I have more time to read rather than less, right? But for some reason my reading speed has decreased rather than increased. I’m making more of a comeback, but it still took me a long time to read and review Non-Binary Lives: An Anthology of Intersecting Identities. That shouldn’t reflect on the quality of this book. Similarly, I’m going to explain later that I’m kind of over these massive anthologies on subjects like this, but that isn’t a problem with this book specifically. This is a great anthology if indeed you want an anthology of this kind. If you had asked me why I requested this from NetGalley and Jessica Kingsley Publishers, I would have said at the time, “Because it’s everyone’s responsibility to learn more about the diversity of gender identity, but it’s especially the responsibility of us cisgender people.” Haha. Oops. Since then I’ve realized that transgender better fits me as a label, and I’ve transitioned … yet I still think this was a good and important read. In particular, I identify firmly with a binary label of trans woman. Therefore, while I can definitely identify with some of the experiences of the contributors to this book, I really don’t know what it’s like to be a non-binary person. So this book was helpful both in terms of educating me about that experience and also in terms of helping me explore my quickly evolving gender identity. This book has a lengthy roster of contributors and chapters, so I can’t possibly review them all. The editors in their foreword claim they’ve tried to bring in voices from around the world but correctly identify an overall bias towards UK writers. I don’t see that as a negative, but it’s something to be aware of. The editors also warn the reader that they’ve tried not to be too prescriptive in the language and ideas that their contributors use to discuss their experiences, so we might encounter languages or ideas that we find uncomfortable. Honestly, I didn’t see much of that—maybe my reading wasn’t as thorough as it could have been? But it definitely didn’t make me grimace the way To My Trans Sisters did with regards to the inclusion of certain contributors. Non-Binary Lives lives up to its subtitle: it definitely focuses stories about intersections of identity. I was most fascinated by the chapters where people discuss how being non-binary related to their religion. I’m an atheist, so I haven’t had to consider my transition within the scope of any organized religious beliefs. While I didn’t naively believe that religions are always closed to trans and gender-noncomforming people, I’m glad that this book helped me understand the complexity of this experience. Some religious communities are very progressive and open-minded; others are predictably less so. The struggles that some of these contributors relate, and the joys that they or other contributors eventually reaped, make this book worthwhile for trans and cis readers alike. I struggled with this book for so long less because of the quality of book and more because of my own waning interest in massive anthologies of trans voices. I see the appeal, the logic behind wanting to boost more than one voice, especially from people who don’t have the desire or platform to publish an entire book of their own. Nevertheless, I think what this book helped me discover is that I’m burnt out on these soundbite-style explorations of identity. I crave meaty memoirs of trans experiences, even if that means I’ll be self-selecting for trans people who have the education and opportunity and desire to write such things. I need the deep dive rather than the survey of the field. For now. [image] ...more |
Notes are private!
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1
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Apr 24, 2020
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May 19, 2020
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Apr 24, 2020
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Kindle Edition
| ||||||||||||||||
B076H63TY3
| 4.19
| 360
| 2017
| Oct 19, 2017
|
liked it
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So I guess this is my coming out review? I actually have a blog post for that, but of course, some of my transition experiences thus far will be inter
So I guess this is my coming out review? I actually have a blog post for that, but of course, some of my transition experiences thus far will be interspersed throughout this review. Hello, world. I’m Kara now. (That’s pronounced Car-uh.) I’m a trans woman. My pronouns are she/her. To My Trans Sisters seemed like a perfect book to read and then review on the day I came out online. It’s a collection of letters from trans women to trans women—so, if you had asked me back when I read For the Love of Men, I wouldn’t have considered myself the target audience. Now I most definitely am! Oh, how time makes fools of us all. Charlie Craggs has engaged a very diverse set of voices, which is commendable. These women are from all sorts of places—UK and US, predominantly, but there are other voices here too. They are a variety of ages and have followed many career trajectories (strangely high proportion of military or ex-military women though!). This is the anthology’s principal strength: it accepts and highlights that there is no such thing as a monolithic trans(feminine) experience. As someone who is coming to womanhood towards her middle age, I find that extremely reassuring and helpful. The letters in this collection are varied yet also similar. Many are written in the form of a letter to one’s younger self, dispensing wisdom the author wish she had known then. Some are written to the hypothetical trans reader. Others are poems, or extremely short tidbits of ideas. As with any collection of this size, the quality of the writing is extremely varied. Not every letter is going to be a hit; indeed, it’s possible most letters won’t be a hit. I found myself agreeing with some, disagreeing with others, and even agreeing/disagreeing within the same letter! And that’s pretty neat. I basically was looking for two things with this book. The first was confirmation/validation of my personal trans journey. The second was advice or wisdom from women looking back after years, decades even, of being out as transgender and their perspective, which is of course so different from mine as a trans woman in her first year of this whole process. I am a baby! I really liked Laura Jane Grace’s admonition to “Live as fully as you can, always without apology” (10). That’s definitely a motto I’ve always followed my whole life and is likely why I’ve so abruptly and publicly decided to come out: it’s how I operate. I cannot compartmentalize. I decided it was time to acknowledge I’m trans; I started telling the people most important to me; and then I laid the ground work to come out to everyone else. Today I came out to my colleagues at work; on Monday, when my new classes start, I will come out to my students. Similar to the above motto, Andrea James says, “transition can liberate you from fear. As much as we might hope and dream and plan, transition is ultimately a leap of faith, an act of courage” (117). I like this. It acknowledges the immensity of this journey while congratulating us and celebrating us for who we truly are: courageous. You know, a lot of my friends have commented, as part of their reaction when I told them, that I’m brave. And I see it. But I’m also super privileged: I’m white, able-bodied, have secure employment and housing … I have a lot of privilege that many trans women don’t have when they consider coming out (and hence, why some never do). So I’m not sure I’m courageous so much as savvy! Nevertheless, I won’t lie. This is a huge thing, and I feel brave for admitting this to myself, firstly, and then for deciding to make it a reality. Jen Richards also gave me a poignant reminder that “Being trans does not make you special, it just makes you trans.” By this she means that, if one fixates and obsesses over one’s transness at the expense of cultivating other hobbies, interests, and relationships, then of course one’s trans journey will be more daunting. I find this very important to keep in mind. This is all so new to me, so fresh, and I feel an incredible euphoria—after all, I’ve just reframed my entire existence in a way that makes me more comfortable! Yet, at the end of the day … yeah, I’m trans, but I’m so many other things. I’m a best friend. I’m a teacher. I’m a knitter. I’m a reader. Being trans is as much a part of me now as any other aspect of my identity, but it doesn’t make me special. It’s my unique combination of all these attributes that makes me special. Obviously, for a little while, I’m going to be obsessed with my transness. This is a huge adjustment and learning curve! But eventually, I’ll heed Richards’ words and settle down. I also really identified with Martine Rose’s perspective on acknowledging one’s trans identity: From a very young age I have always had the wish that I had been born female and this wish only go stronger with time. But I have not felt this wish arose out of the way I was born; I just felt intensely jealous of females for their freedom to wear beautiful clothes, make-up, etc., and I thought that being a painfully shy person, life would have been so much easier for me if I were female in a world that still largely expected men to take the lead in those early days. This perspective coincides much more with mine than some of the more stereotypical narratives about being “born in the wrong body” or “always knowing” one is trans (which are great if they apply to you, but they don’t apply to me). I’m still sorting through my past, re-evaluating my actions in hindsight, uncovering things that might be indications earlier of how I felt. It was just so nice to hear another trans woman express this sentiment. Then Rose goes and ruins it by adding, in her conclusion, “please don’t lose your femininity (if you are M>F) after you have had the op. I see so many who used to enjoy ‘dressing up’ as attractive women before but seem to lose interest after the op.” Ugh. Who cares what you wear?? Clothes do not make the woman; makeup does not make the woman. I’m going to dress exactly as feminine or masculine as I want regardless of the status of my genitals, and in every single outfit, I’m still going to be a cute girl. And I’m really sorry that Rose doesn’t have the freedom to see the world that way. Because Charlie Craggs, the editor, closes out the anthology with her letter, and I also really agree with this point: … but without even poppin’ a single ’mone, without any surgery or laser, without eve presenting as female, my perception of myself totally changed because I finally accepted myself. YES. SAY IT LOUDER FOR THE TRANS WOMEN AT THE BACK. That’s exactly how I felt during the sleepless night I had my epiphany. Like, yeah, new glasses and a new hairstyle and new clothes are going to help. Hormones might help one day. But none of that stuff matters as much as this enormous sense of rightness that I felt in the days that followed. As I talked to my friends and family, as I tried out my new name, I kept experiencing that euphoria rather than the dysphoria that so many of us face. I loved it. There were definitely some viewpoints I didn’t appreciate. For instance, Amazon Eve says, “If this isn’t something that manifested in you from a when [sic] you were little, it’s probably not legitimate.” What the actual fuck. The only thing worse than doubt and shaming is doubt and shaming coming from within the house. I went out and checked Eve’s Twitter feed after this, and I probably shouldn’t have. I didn’t even have to read past the first line of her bio: “Intersectionality is nothing more than a loser matrix for terminal self-pity.” Nope. Nope nope nope nope nope. Every. Single. Tweet. Is problematic. Oh my. This kind of toxicity within the trans community (within any community) is awful, and I don’t want it around. And, honestly, it’s making it harder for me to recommend To My Trans Sisters wholeheartedly to … well, my trans sisters. It’s one thing to welcome diverse and even contradictory views in an anthology like this. Nevertheless, it is still very important when creating an anthology directed at marginalized people that one considers the overall ethos one wants to foster. An anthology can be open and still have minimum standards, and I don’t think people like Amazon Eve meet those standards. (Also, the actual editing? Not great. There are typos and grammatical errors, and it doesn’t seem like Craggs or any other people who copy-edited the book took the time to work with the various contributors.) I wish I could unreservedly recommend this book to my trans sisters. I don’t know. I liked elements of this book, certain letters and certain people and certain sentiments. I disagreed civilly with others and less civilly with a few. It’s worth mentioning that, for all I sought validation from older trans women in this book, I went into it with an extremely firm and confident grasp on my newfound identity—that is, I was easily able to shake off the doubt or dismissiveness I felt from people like Eve. So consider that too. You know what would be great? If we had more of these books. Because then we could pick and choose which trans-focused, trans-targeted books we read! (Yes, I know there are others out there, and maybe I will even get to them soon—but we need more, more, more!) Until then … like many other collections of writing by marginalized people, To My Trans Sisters is uneven, enjoyable, questionable, and all right. But I … I am much more than all right. [image] ...more |
Notes are private!
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1
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Feb 20, 2020
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Feb 28, 2020
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Feb 28, 2020
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Kindle Edition
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1096166151
| 9781096166153
| 1096166151
| 3.70
| 235
| Apr 15, 2019
| Apr 28, 2019
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liked it
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I backed this on Kickstarter, but of course, then it sat on my shelf for a bit. Recently Gwen Benaway has been a prominent voice against Toronto Publi
I backed this on Kickstarter, but of course, then it sat on my shelf for a bit. Recently Gwen Benaway has been a prominent voice against Toronto Public Library allowing Meghan Murphy to host a talk at one of their branches. In following that news, I decided this was a good time to get to Maiden, Mother, Crone: Fantastical Trans Femmes. I really wish I could gush about this book and say I loved it, because it’s so important to support trans voices and get more #ownvoices stories with trans rep out there. Alas, I did not love this book. It’s not bad, but the stories and the writing in it are largely not my style. Also, it could have used another copyediting pass. Some of the stories had typos and duplicated lines. Benaway’s opening story, “Mountain God” and Kylie Ariel Bemis’ “Dreamborn” were probably my favourite stories in this collection. The former is a take on sword-and-sorcery style fiction but with a more romantic twist, and despite being a very short story, it features a lot of character development and worldbuilding. I’d read a whole novel set in that world. The latter is an interesting take on “the humans are the invading aliens” trope, highlighting the plight of Indigenous peoples by casting invading humans as the Other, and I appreciated the emotional arc of this story. The other stories are, to Benaway’s credit as editor and curator of this collection, quite varied in style and substance. There are vampires, witches, healers, dwarves … there are transdimensional beings as well as transgender beings, and the level of imagination and creativity on display is high quality. The ways in which trans women are represented, voiced, depicted, are diverse. In these respects, this is a great collection, and I don’t want my lukewarm praise to dissuade you from this book should you think it’s more your speed. Short stories are hard sells for me at the best of time, short story collections from different authors even more so. [image] ...more |
Notes are private!
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1
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Nov 05, 2019
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Nov 13, 2019
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Nov 05, 2019
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Paperback
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0316491349
| 9780316491341
| 0316491349
| 4.28
| 17,346
| Nov 27, 2018
| Nov 27, 2018
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really liked it
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It seems like every time I review a short story anthology I always start with a disclaimer about how short stories, and by extension, their anthologie
It seems like every time I review a short story anthology I always start with a disclaimer about how short stories, and by extension, their anthologies, are not really “for me.” In this case I need to say it because How Long ’Til Black Future Month? is one of those rare exceptions where I … I actually liked pretty much every story in here. Not equally, of course. But there were only one or two stories that left me scratching me head and shrugging and saying, “Eh, I didn’t get the one.” The rest were … wow. I’m doubly surprised, because my foray into N.K. Jemisin’s The Hundred Thousand Kingdoms was less successful. It put me off reading her much-acclaimed Broken Earth books for a long time (I’m still on the fence). To be clear, it’s not a question of her writing skill but just my particular tastes. What this short story collection does that her novel did not do for me is throw so many amazing ideas in my face. Some short story anthologies have the obvious superstars along with one or two duds and then a handful of mediocre material that’s all right but not really anything special. That’s not the case here. Every short story in this collection is a revelation of storytelling. The one thing in the back of my mind reading this was, “Damn, this is like Ursula K. Le Guin–level good.” Jemisin deserves a long and celebrated career in speculative fiction and grandmaster status, because she has got it. It’s really difficult to single out any stories for praise. Firstly, because there are a lot of them—you get your money’s worth for this collection, or in my case, my library certainly did. Secondly, because they do blur together, in the best way. Emergent AI consciousnesses downloading into meatspace from a futuristic descendant of the Internet. Singing to cities as they become sentient. Cooks challenged to create impossible meals. Dragons adapting to a new life. Epistolary evidence of a parasitical threat to humankind from contact with another alien species. The personification of Death wandering a post-apocalyptic Earth. The list goes on. Jemisin’s imagination crystallizes here with breathtaking results. And yes, the stories are full of Black and brown characters and queer characters but regardless of the representation they are also just so good I didn’t want this collection to end and I also kind of did because it was hurting me that they were so good. The last story, “Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters,” shouldn’t have worked for me. I didn’t like it at first. But the oddball friendship between Tookie and the lizard just … it’s just good, okay? This whole book is good. How Long ’Til Black Future Month? has reignited hope that maybe I’ll enjoy some of Jemisin’s other novels. Or maybe not. Maybe I’ll only ever enjoy her short stories, ironically, since we share in common a hesitation to embrace the form. That’s okay too. [image] ...more |
Notes are private!
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1
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Jul 17, 2019
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Jul 21, 2019
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Jul 17, 2019
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Hardcover
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0756415187
| 9780756415181
| 0756415187
| 4.04
| 6,482
| Feb 05, 2019
| Feb 05, 2019
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really liked it
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Ever since the first Binti novella came out, I’ve been hearing all about it. I jumped at this collection when I saw it at the bookstore, then, because
Ever since the first Binti novella came out, I’ve been hearing all about it. I jumped at this collection when I saw it at the bookstore, then, because I find it difficult to grab hold of novellas otherwise. I don’t care if Tor.com pushes them on me for free sometimes: I need it in my hands or on my device or else I just … read other things. And I’m glad I read Binti and its startling, heartbreaking, daring vision of a future in which an African girl aspires to learn and grow beyond the village life she knows. Binti is Himba, an ethnic group in a future Africa in a world parched by climate change. The Himba coexist in uneasy tension with the more dominant Khoush people, who had previously been at war with an alien species known as the Meduse. When Binti leaves home as the first Himba student admitted to the famous off-world Oomza University, she inadvertently winds up in the middle of an interstellar conflict. Her actions propel her into a role of increasing significance and danger, even as her experiences unmake and remake her into someone she never anticipated she could become. Nnedi Okorafor herself gives a brief TED Talk explaining Afrofuturism, including an excerpt from the beginning of Binti. I encourage you to check it out, as I’m definitely not qualified to dive deeper into the question of what Afrofuturism is. All I can do is share my perspective and interpretation of what I saw in Binti. The story here captivated me from the very beginning. Okorafor wastes no time throwing Binti her first challenge. Her interactions with the Meduse remind me somewhat of the ooloi from Butler’s Lilith’s Brood. There’s something so incredibly uncomfortable about swapping DNA in such a way (I suppose this is probably speciesist of me). Indeed, one of my favourite things about this series is the way in which Okorafor consistently challenges us to consider what Otherness means in the context of science fiction. The species Binti encounters are often non-humanoid. Even the humans she meets are extremely different, coming as they do from various cultures. The [Desert People] are particularly fascinating with their use of an alien biotech communications net. None of those would matter, though, were it not for Binti herself. This is very much, as the titles imply, her story. She is crucial not because of some special talent she has (despite her abilities as a harmonizer) but for an openness, a willingness that others might lack. She has the technological aptitude of the Himba yet lacks the conservative streak of her people. As her story progresses, she acquires different and new artifacts of the various cultures she encounters. She is an envoy, yet an envoy of whom or indeed what is the question. While I found the arc of Binti’s story, up to and including the twist at the end, very predictable, that didn’t make it less enjoyable. Okorafor executes it flawlessly, building up Binti into a character who regrets everything and nothing, whose choices have led her to precisely where she needs to be, even if it isn’t where she wants to be. I also love that Okorafor feels no need to explain how we got to here from where humanity is right now. There are some general allusions to the past, of course, but beyond that, we don’t have a clear sense of how far into the future it is, or indeed, what life is like elsewhere on Earth. We can try to read between the lines—that the Khoush and Meduse could be involved in a war while other parts of Earth aren’t seem to imply a fractured government, or a planet otherwise uninterested in contact with other species. Ultimately, though, none of this is important. None of it matters compared to Binti’s story and the lives that intersect hers. One of the most interesting, most thought-provoking ideas in this story is that individual actions might resonate throughout history, yet always they only matter to a point. Consider how Oomza University’s administration reacts, first to Binti and the Meduse, then later to the story that Binti and friends tell of what happened in Binti’s homeland. In both cases, the administration doesn’t seem all that shaken by the loss of life, for instance. It recognizes that these are constants in our existence, and that there is only so much any one person can do to alter such events. This is an effective foil to Binti’s idealistic burden that she is responsible for igniting hostilities and also somehow capable of resolving them. I could go on. I could discuss how Binti explores the conflict between wanting to be something more and wanting to respect and honour your family and people’s traditions. I could praise Okorafor’s descriptions and depictions of technology: living ships, nanites, mathematical fugue states. This isn’t hard or soft SF; it’s a truly delicious, squishiest sandwich or smorgasbord of SF tropes, and it works so very well. Binti is an example of the glorious storytelling that you can let into your life if you reach out and look for science fiction that isn’t part of the classic white, male canon. Women and people of colour have always been writing badass SF stories. Okorafor is yet another member of both these groups demonstrating the value of diverse storytelling and the ways in which it can truly blow your mind. [image] ...more |
Notes are private!
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1
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May 06, 2019
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May 07, 2019
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May 06, 2019
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Hardcover
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0993997074
| 9780993997075
| 0993997074
| 3.91
| 1,467
| Oct 01, 2016
| Sep 30, 2016
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it was amazing
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First, huge shout-out to the Oxford comma lurking in this title. Yeah, it’s kind of a big deal. Love Beyond Body, Space, and Time is an anthology of qu First, huge shout-out to the Oxford comma lurking in this title. Yeah, it’s kind of a big deal. Love Beyond Body, Space, and Time is an anthology of queer Indigenous science fiction and fantasy by Indigenous authors. That’s it, and yet it is so much more. I really liked Hope Nicholson’s comment in her foreword about how some stories aren’t meant to be told, or at least, do not need to be shared with just anyone. This is something I've become more aware of as I learn more about the traditions of the Anishnaabeg on whose traditional territory I reside. As a teacher, there is the well-meaning temptation to just grab any old story from another culture and use it in the classroom because diversity! Yet as Nicholson reminds us, there’s more to it. In many Indigenous traditions, stories are associated with particular times and places for the telling, or they are passed on from elders and other knowledge-keepers—you earn the privilege of getting to tell certain stories. So now I’m trying to be more mindful of how I bring stories from various cultures into my classroom. It’s tempting as a reviewer to remark first on the Indigeneity of these stories and then on the queerness, as if these dimensions can be teased apart and separated. That’s not possible. These are not queer stories that are also Indigenous, or vice versa; they are queer Indigenous (or Indigenous queer, whatever order you choose) stories. As Niigaan Sinclair points out in his piece, two-spirit concepts of gender identity and expression are distinct constructs of various Indigenous cultures and don’t easily fit within any Eurocentric models of gender, even ones that recognize queerness. As far as I can tell, from my perspective as an outsider, to be Indigenous and queer is a journey to decolonize oneself, and it’s really something. I can’t say what this book would mean to someone who fits those labels. What I can say is that this book represents so much creativity. It’s science fiction, but many of the stories are subtle in their speculation. I quite liked Richard Van Camp’s “Aliens,” in which the aliens are present but don’t actually figure much in the story (and indeed, if you read the story, you might reach the conclusion that the title doesn’t refer to those extraterrestrials at all). Or “Transitions,” which could probably exist in our present day universe. And then you have more explicitly science-fictional tales, like “Imposter Syndrome,” which I could so see being a very moving short film. It positions Indigenous people in the here and now, or in the future even, which is a very bold thing to do in a present that still very much likes genocide and white supremacy. I love finding stories about Indigenous people that don’t locate them in the past. Moreover, so many of these stories lack intense central conflicts. I’m pretty sure it was Le Guin who turned me on to the idea that conflict is not necessary for a story to work. It’s easy, but it isn’t necessary. These are stories about loving or being loved, either loving others or loving oneself, about acceptance and discovery and healing. There are moments of sadness and joy, downs and ups. But they are universally euphoric in the assertion that they are about people who live and breathe and eat and sleep and shit and love. And it’s this no-nonsense approach to the storytelling, this refusal to capitulate to the settler gaze’s voracious hunger for trauma porn and wise old Indigenous people, that is so exceptional. I’ll conclude with a shout-out to my library, which shelved this book as YA. I don’t know if I agree that it’s young adult. Most of the stories are about adults. Nevertheless, I really do think the YA section is where this book belongs. I hope teens who are trying to find themselves stumble across this slim, approachable volume—or are directed there by a well-meaning, supportive librarian or other trusted voice—and have their minds open to the possibilities that they can be who they are, or who they want to be, on terms of their own making. [image] ...more |
Notes are private!
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1
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Jul 06, 2019
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Jul 06, 2019
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Nov 14, 2018
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Paperback
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0307907171
| 9780307907172
| 0307907171
| 3.63
| 2,832
| Jul 24, 2012
| Jul 24, 2012
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it was ok
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Charles Yu’s characters are not very happy. I wasn’t enthusiastic reading Sorry Please Thank You: Stories, for I wasn’t much of a fan of How to Live Sa Charles Yu’s characters are not very happy. I wasn’t enthusiastic reading Sorry Please Thank You: Stories, for I wasn’t much of a fan of How to Live Safely in a Science Fictional Universe. Nevertheless, I’d acquired this collection prior to reading that novel, from a library sale, so I wanted to give Yu a second chance. I don’t think there will be a third. The stories in here aren’t particularly bad. They just don’t appeal to me. For one thing, as I mention at the top of this review, his characters are often these sad-sack men who are stuck in dead-end jobs (or lives) and chasing some kind of love interest. It’s … emotionally flaccid. Moreover, as much as I like meta-fiction and self-insert stuff, it shows up again and again here, and I’m just kind of over it now. Sure, some of the stories and narrative devices here are fun and fresh the way Yu uses them … but there is not a single story in this collection that made me go, “Whoa.” Probably the only story that comes close is “Hero Absorbs Major Damage”. I like the conceits there, the way Yu uses the trope of self-aware game characters. It’s pretty fun (though it still hews too closely to some of the issues I identified above). Even that story, though, didn’t make me go “whoa”. So overall … disappointed, for suresies. This is not a book I can recommend. It’s not something I’m telling you to avoid either, of course. But there’s just better ways for me to spend my afternoon than reading short story collections that don’t speak to me. [image] ...more |
Notes are private!
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1
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Jul 02, 2018
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Jul 02, 2018
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Jul 02, 2018
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Hardcover
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0763694258
| 9780763694258
| 0763694258
| 3.75
| 1,022
| Mar 13, 2018
| Mar 13, 2018
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really liked it
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Last year I reviewed
A Tyranny of Petticoats
, which came on my radar because I received it in a Book Mail box from Book Riot. When I saw The Radic
Last year I reviewed
A Tyranny of Petticoats
, which came on my radar because I received it in a Book Mail box from Book Riot. When I saw The Radical Element on NetGalley, I wanted to see how the second volume of this anthology series compared. Thanks to NetGalley and Candlewick Press for the eARC! I adored this book for what it is, and while I didn’t love every story, it was a great end-of-the-week read. The Radical Element is also edited by Jessica Spotswood, but you don’t need to have read A Tyranny of Petticoats to read this book. All of the short stories are self-contained and separate from the stories of the first book. The concept is much the same, however: the 12 stories herein are all about girls who are in some way “radical” for their time and place, and they typically follow a structure of the girl taking agency over her life and choosing, whether by striking out or striking back or some combination, to stand against society’s constraining expectations for her. I’m not going to review each story individually, as I did last time. Honestly, the first few stories were OK but didn’t enthrall me. Part of that was just the settings—I have little interest in nineteenth century America, in the so-called “wild west” milieu, so those stories were already at a disadvantage with me. I know it had an effect, because I became much better-disposed towards the stories by the time we hit 1943. And I think the last story, “Take Me With U”, by Sara Farizan and set in 1984 Boston, was my favourite, both because of the time and the plot. That being said, whatever your mileage on the various stories and their periods, the concept as a whole is well done here. By showcasing a different setting in each story, Spotswood reminds us that women have always fought. Women didn’t suddenly become scrappy, strong, liberation-minded people in the 1920s or 1930s or 1940s or whichever decade you personally want to stick a pin as the “start” of feminism or whatever. Women and girls have always fought for recognition, independence, autonomy, and we do them a disservice if we generalize our history to say, “Back in the ____, women had no power”. It is always, always more complicated than that. In a similar vein, different stories feature different ways of fighting back. Some of the protagonists are physically combative; they defend themselves and use force, if necessary, to get their way. Some use wit, charm, or reasoning. Others find allies and escape, or simply slip away, an apologetic note all they leave as a trace of their presence. The Radical Element reminds us not to reduce “strong women” down to a single phrase or single idea. There are so many ways to be strong. Also, this is a very diverse book, both in terms of its authors and its characters. There are Jewish, Mormon, Christian, and Muslim protagonists. There are white girls and Black girls and Mexican girls. There are abled and disabled girls. It’s a refreshing pantheon. My critiques for the book aren’t really of the book itself, just areas where it doesn’t align with my own particular interests. Like I said above, not huge on some of the historical periods. Not huge on the focus on the United States (but again, that’s just the premise of the whole anthology, so I’m not here to criticize that). I really liked the one or two stories that include a little bit of magic in them, because I found that interesting. Magic always improves my historical fiction! Again, these are all just personal preferences, so if yours differ, you might love this book to bits. Or hate it entirely! Still, if you at all are interested in 12 dynamic stories featuring 12 diverse girls in 12 different time periods in the United States, then really, you should give The Radical Element a shot. I want to see more books like this, more stories like these ones. Even if they aren’t always to my tastes, I know there are readers out there who will find these stories inspiring and entertaining. These are stories that should be told, and I am here for that. [image] ...more |
Notes are private!
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1
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Mar 07, 2018
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Mar 10, 2018
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Mar 07, 2018
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Hardcover
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0843959061
| 9780843959062
| 0843959061
| 3.58
| 64
| 2007
| Jan 01, 2007
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it was ok
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“Best of” collections can be fun, sometimes, because they might introduce you to authors you might not otherwise have encountered. I found Fantasy: Th
“Best of” collections can be fun, sometimes, because they might introduce you to authors you might not otherwise have encountered. I found Fantasy: The Best of the Year, 2007 Edition in a library sale and decided to give it a shot. Other Goodreads reviewers have already pointed this out, but I’ll echo them: rather disappointing to see Neil Gaiman and Gene Wolfe’s names on the cover but no stories from them in the collection. WTF? At least one out of three is … well, bad. And I didn’t even particularly like Peter S. Beagle’s story. In fact, my overall impression of this collection is rather less than favourable. One or two of the individual stories are pretty good (I’ll talk about those later). For the most part, though, I just wasn’t interested. Indeed, I’ll own up to skimming and even skipping in a few places (I feel like this is a prerogative, particularly with anthologies—if a story isn’t working for me, I don’t need to read all of it). There’s a preface by the editor discussing his views on the year in fantasy and how he went about choosing the work. He talks about an upswing in superhero fiction—but then says he didn’t choose any superhero stories. He says there were more fairy tales and fairy tale–retellings—but then says he didn’t put any of those in here, although there are stories he considers fairy tale–esque in their “lyricism”. This volume contains 16 stories but only 5 by women. Also—and this is just something that struck me, not something I necessarily look for when I’m reading these anthologies—these stories seem overwhelmingly heteronormative. I mean, I know that 2007 was a decade ago (dear god) and therefore A Different Time and all that. But so many of these stories involve romance and love (requited or unrequited) and desire and pursuit of happiness, and it always seems to be happening between a man and a woman. Where are my gay couples, my polyamorous groups, my aro/ace heroes, or my knight/dragon who live happily ever after instead of killing each other? My point here is that there is very little in these stories that strike me as overly subversive, and not just when it comes to romantic and sexual orientation, and that’s a disappointment. If this is truly a representative pick of 2006’s fantasy offerings (and I by no means assume it is), then 2006 was a shit year. I suspect, though, that this is more a function of the editor’s choices. One can only hope that in the elapsed decade more “best of” anthologies have started thinking about diversity and representation in the stories they choose to feature. None of the stories in this book jumped out at me as favourites that will sit with me for years to come. However, there were one or two that I genuinely liked, and I should probably mention them. “The Water Poet and the Four Seasons”, by David J. Schwartz, is the kind of fantastical personification experiment that I like. It actually reminds me of some of Gaiman’s stuff. Geoff Ryman’s “Pol Pot’s Beautiful Daughter (Fantasy)” is weird as all get-out but also very interesting. “Irregular Verbs”, by Matthew Johnson, is another one of those neat thought experiments reified into a story, this time focusing on the nature of language and the way people form their own private little worlds. Alas, I just wish I had been able to latch on to something in this volume, even just one story that could have made me go “wow”. If you read this and do, then all the more power to you. As far as I’m concerned, though, Fantasy: The Best of the Year, 2007 Edition was a bit of a bust. I’m going back to being a little more selective with my anthologies, I think, because there’s certain types of stories I want and certain types that won’t do much for me. [image] ...more |
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Jan 22, 2018
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Jan 23, 2018
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Jan 22, 2018
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Mass Market Paperback
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1596067217
| 9781596067219
| 1596067217
| 4.28
| 155
| Sep 30, 2015
| Sep 30, 2015
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really liked it
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Wow did I write really long reviews back in the day! I was just reading back over some of my Nancy Kress reviews to remind myself what I thought of he
Wow did I write really long reviews back in the day! I was just reading back over some of my Nancy Kress reviews to remind myself what I thought of her other works. I went into a lot of detail with my Sleepless trilogy reviews. I guess that was the privilege of having more time in third-year university. Now I’m an adult, with a job, and a house for just over a week as of this writing. Ain’t nobody got time to review no books now. First off, shout out to Subterranean Press for their usual high standard of production on The Best of Nancy Kress. I doubt I would have bought this if it were just an ordinary collection in a bookstore—I like Kress, but I don’t like her that much. But Subterranean Press only gives you the best. The endpapers on this thing have this cool quilted texture going on … … but enough about the book; let’s talk about the book, shall we? Nancy Kress is a writer with a lot of fascinating ideas. I’ve sometimes been critical of her characters and her plotting, but at the end of the day, she writes great science fiction. Her focus on near-future advances in medicine and biotechnology really intrigue me. Biology is the “squishy” science, and so, science fiction with biological nova often seems to be treated like softer SF than science fiction with flashy physics conceits. Nevertheless, sometimes Kress’ stories often seem like the hardest and most realistic science fiction out there. I won’t go story-by-story here. A few general comments, first. I like the author afterwords. I prefer afterwords to forewords, because then I get to read the story without any preconceptions. Kress keeps her afterwords short, which is a mixed blessing. Some of the stories are self-evident. Others are provocative, and I could have sat down with her for a long conversation afterwards. Similarly, Kress nails it in her introduction when she says, “I think that stories are usually good in parts” and explains that “the stories in this book try to do different things”. The Best of Nancy Kress doesn’t mean that every story in this collection is amazing, for your particular definition of amazing; nor does it mean you will enjoy every single one (I certainly didn’t). But this is the best Nancy Kress has to offer (within the limitations of space), and boy, is it an impressive selection. The collection opens with “And Wild For to Hold”, a story about stealing Anne Boleyn out of time. It is bonkers, in such a compassionate way. It’s time travel, yet it’s not; it’s a story of love and deceit; yet it’s not. I don’t actually know if I liked it (I get this a lot with time travel stories), but I was moved by it. Kress basically sits down and explains how Anne would react if she were kidnapped by “demons”, demonstrating, in the process, that it doesn’t matter whether you understand the technology around you: if you find the right fulcrum, you can still bend the world to your will. I was surprised by how much I liked “Dancing on Air”, given that I’m not all that fascinated by ballet or professional dancing. Yet this is parallel to more commonly-discussed issues like doping in sports: as science improves our ability to enhance the abilities of athletes and performers, where do we start drawing lines? I love how Kress portrays the dog in this story, using simple sentence structures to remind us that his intelligence is limited compared to the human characters. It’s really well done. “The Price of Oranges” is another good use of time travel, this case in the form of a stable wormhole (aka a time closet) to explore differences in generations. I’d already read “Shiva in Shadow” elsewhere (don’t remember quite where), and it is just as good a second time around. I love the idea of a science mission to Sagittarius A* and the use of “analogues” to explore nearer to the black hole. Also, there’s a lot of commentary on gender roles going on, some of which I have mixed feelings about. As captain, Tirzah acts as both a surrogate mother and a sexual partner to Ajit and Kane. And Kress doesn’t seem to interrogate critically these dual expectations. The idea that women who sleep with men should also have to nurture them and “manage” their fragile egos seems to me to be a symptom of patriarchy rather than a clever response to it. Indeed, Kress is really good at diverse representations in her fiction, but some of her conceptions of gender feel very binary and biologically-determined. This comes up in many of her stories, not just this one. Overall, The Best of Nancy Kress is a beautiful collection of Kress’ stories. It was a great thing to crack open in the summer, to delve into once or twice a day, time permitting. I wouldn’t say any of the stories particularly changed my appreciation for Kress, none of them stood out to me as a story that stopped me in my tracks. But the collection, as a whole, has reminded me how much I enjoy Kress’ ideas, and the time she puts into crafting believable societies that result from them. [image] ...more |
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Jul 08, 2017
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Jul 26, 2017
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Jul 08, 2017
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Hardcover
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0763678481
| 9780763678487
| 0763678481
| 3.72
| 4,236
| Mar 08, 2016
| Mar 08, 2016
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it was amazing
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Women don’t need me to say this, because they know this, and many have said this themselves, but I’ll boost it: the thing about representation is that
Women don’t need me to say this, because they know this, and many have said this themselves, but I’ll boost it: the thing about representation is that it isn’t enough to give people one character, one story, one thing and say, “There, you’ve representation, job done.” So I was excited when I received A Tyranny of Petticoats in a Book Riot Book Mail box. Those of you who have read my reviews for a while (thank you, reader, no matter how poorly you’ve chosen to use your time) know that I’m not that enthusiastic about anthologies. Short stories are not my jam the way novels are. So it means a lot when I’m saying that I loved this anthology. You want to talk about representation? A Tyranny of Petticoats spans from 1710 to 1968 and features a diverse group of authors writing about a diverse group of women who embody the idea of a “strong” female character in so many ways. It’s not just stories about white girls having adventures. If I remember correctly, 9 of the 15 stories in this collection feature protagonists who are Black, Indigenous, Chinese, mixed-race, or otherwise non-white. Although not all of these stories are #ownvoices, many of the authors are also, as far as I can tell, non-white. Additionally, several of the protagonists are queer or questioning their sexuality. These are 15 stories about young women who are different and who are literally refusing to conform to what their world, their time, expects of them. It is, in my opinion, quite empowering, though obviously my opinion here isn’t the one that counts. I’m a fairly empowered, privileged person already. I don’t usually like to review story-by-story, but I want to do that here. I love these stories so much. “Mother Carey’s Table” by J. Anderson Coats Set in 1710, Jocasta “Joe” is a Black girl who must dress as a boy while she and her father work aboard a pirate vessel. I appreciate how this story does not sugarcoat or romanticize what it means to be a pirate or the kind of life sailors lead. “The Journey” by Marie Lu Set in 1723, Yakone is an Inupiat girl whose world is rocked by the invasion of European settlers. After losing her father and then mother in short succession, Yakone finds herself stranded on the tundra with only her dog and her people’s stories to guide her and help her to survive. I don’t know enough about Inuit stories to know if Lu has done the culture justice; as far as I can tell, she highlights many of the elements of Inuit culture, such as the reverence for and reliance upon dogs, that are important to remember given how much Europeans tried to suppress them. “Madeline’s Choice” by Jessica Spotswood By the editor, this story is set in 1826. Madeline is Black, although of mixed blood in an era and setting (Louisiana) where this was a huge deal. She falls in love with a dandy who often passes as white and wants to marry him in defiance of her parents. Spotswood highlights both the folly of youth and the constrictive ways in which parents behave with their children while also keeping the mother figure sympathetic. I really enjoyed the nuance here. Trigger warning for historical language and terms that may nowadays be offensive. “El Destinos” by Leslye Walton Set in 1848, the protagonists of this story are incarnations of the Three Fates from Greek and Norse mythology. This is a very creative and fun take on these mythical creatures—in this time period, they are teenage Mexican girls living in Texas shortly after the end of the Mexican—American War. Despite liking the premise, I didn’t enjoy this story quite as much. Most of the plot and character development was predictable. “High Stakes” by Andrea Cremer As with the previous story, this tale set in 1861 Massachusetts and Mississippi features more overt supernatural elements than most of the other stories in this book. Klio herself has a supernatural heritage, though Cremer skillfully only drops hints until the very end. You’ll figure it out, but it’s very artfully done. And that’s about how I feel here: the story itself is good, just not great. “The Red Raven Ball” by Caroline Tung Richmond Lizzie is a debutante living in 1862 Washington, D.C. Charged by her uncle to help him identify a Confederate spy in D.C. who only goes by the name the “Red Raven”, Lizzie sleuths around her Grandmama’s ball until she discovers the shocking truth. The spy thriller aspect of this story wasn’t as exciting as it wants to be, but the characters are excellent. Lizzie, her sister, and her Grandmama are all so believable in their motivations. Richmond reminds us why some women internalize and accept their role in a patriarchal society because of how they have grown up and what they believe. “Pearls” by Beth Revis It’s 1876 and Helen is fleeing Chicago for the wild west of Cheyenne, Wyoming. She takes a position as a schoolteacher rather than marry her rapist in disgrace. The rape itself is neither depicted nor described; it happened before the start of the story. I loved this story! Helen grows into herself, makes decisions based on her needs, and her relationship with her charges is interesting and deep. I love, love the ending. “Gold in the Roots of the Grass” by Marissa Meyer Another more supernatural story, set in 1877, Deadwood. The protagonist, Sun Fei-Yen, is Chinese (or of Chinese descendant) and has inherited the gift (or curse) of seeing ghosts. She turns this into a trade, albeit not always a safe or reliable one, until her desire to help a recently-made ghost puts her into even more danger. Like many of the other stories in this book, this one goes beyond depicting a great female character and challenges other tropes of American storytelling—it acknowledges that the United States is on stolen land and does not shy away from depicting the calculated racism with which people grabbed for power in frontier times. “The Legendary Garrett Girls” by Y.S. Lee Set in 1898, this is Alaska during the gold rush and settlement. The Garrett girls are being muscled out of their bar. I didn’t love this one, but I like that it didn’t necessarily go the way I expected. It just felt a little more frivolous—because it was kind of like a legend—so I didn’t get to enjoy the protagonists as much as people. “The Color of the Sky” by Elizabeth Wein It should come as no surprise that I loved this story, because I love Wein’s books. She has written about female pilots before, albeit not Black pilots. In 1926, Tony sees her idol, Bessie Coleman, die in a horrible test-flight accident. Tony has always wanted to be a pilot, and despite the additional challenges placed upon her by being both female and Black, she takes the first steps towards forging this path. The story is inspirational and moving. “Bonnie and Clyde” by Saundra Mitchell Set in 1934, this story has more introspection and narration from the protagonist. She leads a very fascinating double life. I love how Mitchell uses the backdrop and setting of the Great Depression to provide the protagonist with this motivation to pull off such dangerous acts in order to help her family. “Hard Times” by Katherine Longshore Set in 1934, Washington State this time instead of Indiana like the last book, this follows two … urchins? Homeless children. And an older boy, just barely a man, trying to prove himself at his father’s newspaper by writing about the dispossessed, homeless youth who don’t have a job. It’s interesting, because it’s a perspective on this part of the Depression I haven’t read much myself. The story itself didn’t grab me as much. “City of Angels” by Lindsay Smith Set in 1945, the protagonist (who is I believe of Native American heritage) is a riveter and falls in love with a female coworker. This relationship exposes her to a side of Los Angeles living she never otherwise would have discovered. Both women have beaus overseas, however—one in Europe and one in the Pacific—and the spectre of what they will do when these men return, if they return, looms large in this story. Smith manages to shows us how women worked and lived independently during war while also showing young readers a lesbian relationship that is full of as much happiness, doubt, and pain as any other relationship. “Pulse of the Panthers” by Kekla Magoon Set in 1967, in rural California, the protagonist tells us about a weekend in which her father hosts young members of the Black Panthers on his farm. She watches as he teaches them how to use firearms to defend their communities, and she flirts with a young Panther who tries to convince her to come to the city and join the movement. This one felt very slow, plot-wise, but was a great, different look at the Black Panther movement from what you might typically see. “The Whole World is Watching” by Robin Talley Closing out this book, Talley’s story takes place in Grant Park, Chicago, in 1968, during anti-war protests. The protagonist a Black (though, being from the south, she has grown up thinking of herself as “Negro”) woman questioning her sexuality—she has embraced what she calls “radical lesbian feminism”, and although she pretended to date a male friend when her father came up to visit, she has been seeing a mutual female friend on the side. I’m ambivalent about how this relationship is depicted and the terms here. I don’t think Talley is trying to portray lesbianism as a deliberate, feminist, or misandrist choice but is rather trying to show how the climate of the late 1960s gave a lot of women who experienced these types of attractions the opportunity and vocabulary to act upon these attractions rather than repress them or see them as shameful. There’s an intense mixture of action in this book, stemming from political, racial, or feminist conflicts. It’s an interesting, if a bit heavy, story. So there you have it. A Tyranny of Petticoats is well worth reading, or worth giving to a young woman who wants to read about more young women like her throughout American history. I love the idea of a tyranny being the collective noun for a group of women in petticoats. Rock on. [image] ...more |
Notes are private!
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1
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Jun 06, 2017
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Jun 08, 2017
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Jun 06, 2017
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Hardcover
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034581214X
| 9780345812148
| 034581214X
| 3.77
| 1,083
| Jan 01, 2015
| Oct 04, 2016
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liked it
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Here Douglas Coupland goes again, trying to break our brains and our library cataloguing systems. Is Bit Rot fiction or non-fiction? It’s a collection
Here Douglas Coupland goes again, trying to break our brains and our library cataloguing systems. Is Bit Rot fiction or non-fiction? It’s a collection of both! Oh noes! It contains short stories, including some previously published in
Generation A
(which I read almost 7 years ago, so I have zero recollection of any of it), and essays and assorted musings. In general, this is Coupland’s most up-to-date published writing on how we’re dealing with the rapid pace of technological progress. I’m not going to talk about many of the specific entries in this collection, because there are so many. And, to be honest, they tend to blur together. As anyone who is familiar with Coupland’s work knows, his writing has a smooth quality to it: a little bit of prognostication, a little bit of paranoia, a little sideways weirdness. His voice and his ideas are always compelling. I think where he and I part ways, and where I often find myself disappointed, especially in his fiction, is our viewpoints on what constitutes a story or a novel. Coupland has a much looser, much more experimental attitude towards narrative—and that’s fine and valid if that’s what he likes. But it means that when his stories depart from the more conventional modes of storytelling that I enjoy, my brain has to work harder. And we wouldn’t want that, would we? Before I talk about a few of the high points, I’ll take issue with one particular contention. This is quoted on the back of the Random House hardcover I read and comes from the essay “3 1/2 Fingers” (read it here). Coupland describes his feelings and sensations around having to rewire a handwritten-trained brain to first type on keyboards and then use touchscreen, smartphone keyboards: But I can see that our species’ entire relationship with words, and their mode of construction, is clearly undergoing a massive rewiring. I bridge an era straddling handwriting and heavy smartphone usage. Young people like my friend’s daughter with her emoticons and rampant acronyms are blessed in having no cursive script to unlearn – with the bonus of having no sense of something having been lost. That’s a kind of freedom, and I’m jealous. Part of accepting the future is acknowledging that some things must be forgotten, and it’s always an insult because it’s always the things you love. We lost handwriting and got Comic Sans in return. That’s a very bad deal. Although I understand the sensation he’s identify, I have to disagree with the assertion that exchanging handwriting for Comic Sans is in any way a “bad deal”. Yes, I know it is cool to hate on Comic Sans, and I used to be one of those people. But I’ve learned that a lot of people anecdotally like Comic Sans for its readability. And more broadly, what we have gained is not just Comic Sans per se but the ability, with the touch of a button, to alter the display of any piece of writing on our screen—to change its typeface, its size, its line-, letter-, and word-spacing, etc. That’s a superpower! And to do that, all we had to exchange was handwriting? My handwriting sucks! I’m down with that. Fortunately, there is plenty in this book that doesn’t cause typographical arguments with the reader. One of my favourite stories is the longer entry “Temp”, quite understandably about a temp, Shannon, and her involvement with a company under negotiations to be bought by Chinese investors. I just love Coupland’s portrayal of Shannon, as well as the other characters. It reminded me a lot of his novels like JPod, and it has some great lines in it, such as, “It was a Quentin Tarantino standoff, where everyone holds a gun on everyone else, except there weren’t guns, just words and emotions.” Plus, it has a genuinely upbeat ending. Many of the essays and stories in this collection, while interesting, are not things I’d like to reread. “Temp”, on the other hand, is something I could see myself revisiting. I also very much enjoyed Coupland’s musings on the economic angle of technology. Some of his writing about paper money and “flushing out” old money is a little absurd. But “World War $”, which you can read in its original form on the Financial Times website, is a succinct summary of how digital capitalism has broken money: How is money damaged? It is damaged because me having photons faster than yours by a few millionths of a second is enough to make me appallingly rich – again, for doing absolutely nothing except hacking into money itself. It’s hard to have respect for this kind of system. Often the latency issue is presented to the public as a “Wow, isn’t this cool!” moment when, in fact, it’s sickening, and is partially why the world began to feel one-percent-ish five years ago. Reasonably smart people inhabiting the Age of Latency are milking those still stuck in the pre-latent era. Coupland is talking with reference to the 2008 financial crisis, and he is absolutely right here. Traders have hacked money to make more … well, money … and now this house of cards is crashing down. We shored it up 8 years ago, but that doesn’t mean we made the structure any less fragile. In at least two instances, Coupland also belies our desire to perceive technology as alien or Other. He reminds us that technology, being by definition a creation of humans, is itself an expression of our humanity—all of it, the good and the bad qualities. So technology is not alien but instead one of the most human things in existence. I really like this perspective and this reminder, since it is very tempting to view technology as a black box or a dehumanizing force. This is perhaps why I continue to return to Coupland as a writer despite occasionally finding his novels bizarre or less than enjoyable. Unlike some technology writers, Coupland does not evangelize, nor does his condemn. Coupland is not sounding the warning bells, but he hasn’t drunk the Kool-Aid either. He is just a tourist in the 21st century—like a man woken from cryogenic sleep being introduced to new ideas far ahead of his time. Coupland possesses a refreshing mixture of cynicism and optimism that makes his analysis feel very genuine and thought-provoking. I received access to a copy of this from NetGalley, because apparently Blue Rider Press is publishing this on March 7. However, it has been out in hardcover already (in Canada, at least) for a while, and I received a physical copy for Christmas (thanks, Dad!). So I actually read the physical copy. But I appreciate the ARC, if that’s what you would call it, as well! [image] ...more |
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Feb 26, 2017
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Feb 28, 2017
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Feb 26, 2017
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Hardcover
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0802189644
| 9780802189646
| B01LFQ3KWM
| 3.96
| 29,713
| Jan 03, 2017
| Nov 11, 2017
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it was amazing
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I still haven’t read Bad Feminist. But when I saw Roxane Gay’s new collection of short stories up for request on NetGalley, I leapt at the chance to r
I still haven’t read Bad Feminist. But when I saw Roxane Gay’s new collection of short stories up for request on NetGalley, I leapt at the chance to read them. So thanks, NetGalley and Grove Press, for this opportunity. Trigger warning in this review and book for discussions of rape and assault. In many ways, Difficult Women seems like a kind of spiritual successor to Bad Feminist. Again, I haven’t read the essay collection, so I can’t draw direct comparisons. However, in general it seems like Gay’s short stories here are echoing what her essays say about the fraught and flawed nature of existing as a woman, or indeed, as a human, in our society. These are stories full of characters who are bad feminists! Some of the protagonists are likeable, some aren’t, but at every turn they are complex and conflicted and full of nuance. These are short stories beautiful both in their writing and in what they have to say about how we live our lives. If I had to choose one word to describe this collection, it would be charged, or maybe raw. All of these stories concern, to one degree or another, the act of sex. Women having sex with their boyfriends, husbands, lovers, or even against their will. Gay’s writing surfaces problematic tropes. Many of her protagonists sleep with bad boys or men who are otherwise unhealthy for them. Moreover, quite often Gay has them describe their enjoyment of rough sex, of being made to feel “sore”, of being used for the man’s pleasure. This is far from the second-wave feminist ideal of sex as a liberating act in which the woman takes back control over her body and seeks pleasure on her terms rather than a man’s—this is bad feminist stuff! Yet these descriptions are co-located with an intense focus of the reader’s gaze on the embodiment of the characters and how they are acutely aware of their bodies at all times. From “Florida”: Marcy enjoyed the pleasant soreness as she drove the five blocks home after each class. She liked how for an hour, there was a precise set of instructions she was meant to follow, a clear sense of direction. I don’t know if it’s intentional, but this phrase reverberates through later stories, sometimes in an association with sexual activity, as in “Baby Arm” below: A couple of months later, he comes over to my apartment in the middle of the night because we’ve long abandoned any pretense of a mutual interest in anything but dirty sex…. and “Bone Density”: Bennett is not romantic and we don'>t delude ourselves about the state of our affair. He is, however, intense and always leaves me sore in uncomfortable places. and “The Sacrifice of Darkness”: She gave in to the weight of him. He held her face between his hands like he might crush her skull. The pressure of his hands made her head throb, almost pleasantly. When Hiram kiss Mara that morning, her lips swelled and bruised, threatened to split open and spill. Her lips felt pulpy against his, beautifully misshapen. The whole of her body felt that way by the time he was done, as if every muscle, every part of her skin, had been worked through his hands and his mouth and his eyes until was broken all the way down. Sometimes the phrasing refers to non-sexual activity, as in “Florida” above or here, in “Requiem for a Glass Heart”: After her afternoons in the park, the stone thrower’s wife finds herself sweaty and pleasantly sore. She walks home slowly, breathing deeply. She revels. Then she takes a cold shower, emerges, wraps herself in a soft cotton robe. This focus on embodiment appears in other ways as well. Some of the stories involve twins: in one, a woman loves her husband’s twin more than him, pretends not to notice how they switch places constantly; in another, a woman has delayed leaving an abusive situation because she does not want to leave her twin. Others, such as “Requiem for a Glass Heart”, take a more magical realist turn, wherein the paradox of fragility and resilience manifests literally in the form of a glass woman. In every story, the protagonists are hyperaware of their bodies, how they move, how they are perceived by others. This transcends class or race. In “La Negra Blanca”, which might be my favourite story of the collection, Gay shows both the woman’s hyperawareness of the male gaze and the man’s gaze itself. Sarah/Sierra, a biracial stripper stereotypically putting herself through school, uses her body to make money and has conflicted feelings about it. As William becomes obsessed with Sierra, with all that she represents in body and soul, we see him entertain—and then act on—increasingly depraved fantasies. We see the reality disappoint in contrast to the fantasy, and the cost this has for Sarah. William can walk away, dismiss his role in the rape as a mistake, an action in the past that he can forget. Sarah cannot let that go. (Gay explores this idea, that abuse is so traumatic in part because it exists outside of time for the victim, that it is not merely the abuse-in-the-moment that is harmful but the fact that the victim is forever anchored to that moment in time, in some of the other stories, including “I Will Follow You”. It is quite powerful, and I think people who have not experienced such abuse will find these stories very helpful in understanding why it is so harmful and its effects so long-lasting.) “North Country” plays off this motif of hyperawareness in a different way. In Kate, female readers will recognize the tightrope between professional life and personal life that women are asked to walk by the patriarchy: I teach a section of Design of Concrete Structures and a section of Structural Dynamics. I have no female students in either class. The boys stare at me after class, they linger in the hallway just outside the classroom. They try to flirt. I remind them I will assess their final grades. They made inappropriate comments about extra credit. For men like myself, Gay’s exquisite prose and descriptions help us understand this experience from “the other side”, if you will. Most men don’t have to constantly wonder whether the attention they receive is the result of their looks or their activities. Most men don’t have to fend off the continual, almost automatic advances of colleagues simply because they are young, unattached, and attractive. And while I know this, intellectually, from my reading and my conversations with female friends, there is something very emotionally intense about Gay’s writing. I like to read because I like putting myself in other characters’ shoes, to build empathy for experiences I cannot (or am lucky enough not) to have myself. Difficult Women does this for me. Beyond considerations of race, class, and gender, Gay’s emphasis on embodiment fascinates me on a personal level because I don’t feel very in touch with my body. I don’t pay much attention to it, and I even find it fairly awkward at times. So there is something very intriguing about the different facets of embodiment that Gay explores throughout this anthology, from sexual intercourse to combat to the gaze of others. What Gay depicts in these stories is life at its messiest, life in the liminal spaces. The women of this collection are difficult because, like any woman, they do not fit neatly in the boxes and labels that anyone—on any part of the political or social spectra—ascribes to them. They are not always entirely happy with this or with themselves—but that is part of the theme here. And Gay brings this out through a diverse set of stories, each one unique and intriguing in tone and style. It’s not too hard to write stories that are enjoyable to read; it’s not too hard to write stories that are meaningful and thought-provoking. Gay has managed to combine these two feats—no small order—and I’m always delighted when that happens. [image] ...more |
Notes are private!
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1
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Dec 18, 2016
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Dec 19, 2016
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Dec 18, 2016
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Kindle Edition
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1481451391
| 9781481451390
| 1481451391
| 4.43
| 1,727
| Oct 18, 2016
| Oct 18, 2016
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it was amazing
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At least one book’s length, if not a whole library of, encomia of Ursula K. Le Guin has already been written by people far more learned than me. It’s
At least one book’s length, if not a whole library of, encomia of Ursula K. Le Guin has already been written by people far more learned than me. It’s so tempting to take this collection of her novellas and use it as an excuse to praise Le Guin as an author in general. Yet there isn’t much I can hope to add to that conversation. Yet The Found and the Lost, as a collection of some of Le Guin’s novellas, is itself commentary on Le Guin as an author: her ideas, her choices, her voice. Collections are always curious things, particularly of novellas that were not necessarily meant to be together in the first place. It’s fortunate that Le Guin was able to curate this prior to her death. I’m not sure anyone else would have pulled together her works in the way she would have wanted. As it is, this is a collection of Hainish/Ekumen novellas and Earthsea works. I think I had read one or two of them elsewhere—they felt vaguely familiar—but otherwise I enjoyed that many of these were new to me. I started this in the summer of 2018, hoping to read it over a few weeks on my deck. Life had other plans, so here I am only finishing it now. But it was worth it. All of Le Guin’s works, whether they are set in a future of worlds scattered amongst the stars or in an alternate world of islands scattered across an ocean, are deeply considered with ideas of power, gender, and class. These novellas showcase how she uses science fiction and fantasy to interrogate the extent to which injustice seems to be an artifact of the human condition and how much our social constructs influence it. The novellas set on Werel feature a slave-owning caste eventually overthrown during a long, bloody civil war. Le Guin examines this society from multiple points of view: slaves, owners or privileged people, and the supposedly-neutral Ekumen observers. She interrogates the intersections of class, race, and gender. Notably, Le Guin’s protagonists, and indeed the majority of the characters in books, often have brown skin tones. Le Guin is careful to subvert the “whiteness by default” trope, to remark on the skin colours of black, brown, and white characters. These are the subtle ways in which she challenges our privileges and assumptions as readers. Le Guin has less subtle ways of challenging us too. The Earthsea stories focus mainly on the role of wizards within the kyriarchy. The novellas take place at very different times in Earthsea’s history. One concerns the founding of Roke and foreshadows the establishment of wizardry as a male-only trade, which is reprised and expanded upon in Dragonfly. These stories remind me a lot of the main Earthsea cycle and its protagonists, Ged and Tenar: one of Le Guin’s trademark moves, in my opinion, is her stubborn refusal to give us heroes. These novellas really emphasize that people who have more power don’t always use that power in sensible ways. In addition to the truism that power corrupts, Le Guin points out that people are flawed in general. The most famous Archmage is no less fallible than a fisherman or fisherwoman, despite our yearning as readers for larger-than-life heroic mages who can beat back the forces of darkness. In the end, Le Guin refuses to give us comfort. Her stories are unrelenting in their realism, despite being works of speculative fiction. The last story in this collection, Paradises Lost, exemplifies this approach. Le Guin’s take on a generation ship story feels very realistic in the way it deals with the emergence of a new religion and the gradual disinterest in the ship’s original purpose. If this review has slipped back into discussing Le Guin’s work in a more general way, that’s only because The Found and the Lost is itself a comprehensive celebration of Le Guin’s work. She is a first-class author because she possesses those twin talents of both theme and storytelling ability. Reading a Le Guin story is to wrap oneself in another world for a time; this is the ultimate aim of almost any storytelling experience. Not every story of Le Guin’s is 5 stars and golden, of course. Some will resonate with you more than others. Yet even at her least engaging, Ursula K. Le Guin holds her own—and then some. [image] ...more |
Notes are private!
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1
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Jul 07, 2018
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May 04, 2019
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Aug 23, 2016
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Hardcover
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0062330268
| 9780062330260
| 0062330268
| 3.92
| 62,459
| Feb 03, 2015
| Feb 03, 2015
|
liked it
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I am slowly but surely running out of ways to review anthologies. It’s maddening, let me tell you. #firstworldproblems What can I say about Trigger War I am slowly but surely running out of ways to review anthologies. It’s maddening, let me tell you. #firstworldproblems What can I say about Trigger Warning? It’s another anthology. It’s another Neil Gaiman anthology. Much like Smoke and Mirrors and Fragile Things , Trigger Warning has its moments, its trademark Gaimanesque departures into clever flights of fantasy—but it’s just not the form for me. Gaiman waxes poetic about short stories in his introduction; it is clear he loves this form and quite enjoys writing them. Indeed, there are many short stories I appreciate (you might say I have “plenty of friends who are short stories”), but at the end of the day, I like to sink my teeth into a nice, juicy novel. None of this rabbit reading. Did I mix enough metaphors in that last paragraph? I’m not going to delve into the controversy around the title or his introductory remarks on it, because it has all been hashed out pretty well (just Google it). I will point out that it’s an interesting continuation on the trajectory begun with his first collection. Illusions, and then the suggestion of disruption and disturbance. Gaiman’s fiction has always been, to some extent, about the way magic and surreal experiences go hand-in-hand with the broken parts of our psyches. Just look at any of his protagonists, even the non-human ones like Morpheus. Gaiman is fascinated by the way our flaws and foibles define us, as a kind of negative space, but he also likes subverting our commonly-held perceptions of those flaws. Thus the hero becomes the villain, the god a monster, the monster a god, etc. While Gaiman is far from the only one to do this, he is quite good at it. I also enjoy his introductions to these collections. Like Gaiman, I enjoy reading what an author has to say about the origin, inspiration for, meaning behind a story. I feel free to disagree, such as I can, if I want to—but I like having that background. It makes me feel more connected, and in turn I tend to enjoy the stories more. Most of the stories in Trigger Warning have been published elsewhere. It includes The Truth is a Cave in the Black Mountains and The Sleeper and the Spindle . While I highly recommend reading the illustrated editions of those stories if you can find them, it is nice to have them collected here as well. This collection also contains “Nothing O’Clock”, Gaiman’s Eleventh Doctor story from Doctor Who: Eleven Doctors, Eleven Stories . Although I recalled not being particularly impressed with it when I first read it, I liked reading it again. None of the stories new to me in the collection stood out for me, however. None of them grabbed me, shook me, said, “This is what a Neil Gaiman short story is all about!” Each is interesting or has a cool premise, in its own way, although that doesn’t always translate to a wonderful story. Each showcases Gaiman’s skills with setting and character and narrative, and maybe others will find the stories speak to them more clearly and emotionally than they do me. If, like me, you’re just an unabashed Gaiman fanboy, then this is a collection worth getting. It just doesn’t have much to distinguish it, beyond perhaps a couple of stories available elsewhere in even better illustrated forms, so don’t expect too much from this. [image] ...more |
Notes are private!
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1
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Aug 22, 2016
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Aug 23, 2016
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Aug 22, 2016
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Hardcover
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my rating |
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3.98
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really liked it
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Aug 11, 2024
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Aug 14, 2024
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3.97
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really liked it
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Oct 07, 2023
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Oct 23, 2023
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4.26
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it was amazing
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Dec 11, 2022
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Dec 15, 2022
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3.76
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really liked it
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May 18, 2022
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May 31, 2022
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3.81
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really liked it
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Jan 20, 2021
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Jan 17, 2021
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4.22
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liked it
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May 19, 2020
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Apr 24, 2020
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4.19
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liked it
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Feb 28, 2020
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Feb 28, 2020
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3.70
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liked it
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Nov 13, 2019
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Nov 05, 2019
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4.28
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really liked it
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Jul 21, 2019
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Jul 17, 2019
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4.04
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really liked it
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May 07, 2019
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May 06, 2019
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3.91
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it was amazing
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Jul 06, 2019
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Nov 14, 2018
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3.63
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it was ok
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Jul 02, 2018
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Jul 02, 2018
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3.75
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really liked it
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Mar 10, 2018
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Mar 07, 2018
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3.58
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it was ok
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Jan 23, 2018
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Jan 22, 2018
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4.28
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really liked it
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Jul 26, 2017
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Jul 08, 2017
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3.72
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it was amazing
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Jun 08, 2017
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Jun 06, 2017
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3.77
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liked it
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Feb 28, 2017
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Feb 26, 2017
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3.96
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it was amazing
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Dec 19, 2016
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Dec 18, 2016
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4.43
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it was amazing
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May 04, 2019
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Aug 23, 2016
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3.92
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liked it
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Aug 23, 2016
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Aug 22, 2016
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