"A daring post-apocalyptic novel from a powerful rising literary voice. With winter looming, a small …
Moon of the Crusted Snow
4 stars
Content warning
plot discussion
This reads like a parable of the european takeover of the americas, except that the natives realized their mistake (just) in time this time around.
There wasn't much scifi or fantasy, except for the implied apocalypse that happened out of frame.
I was constantly frustrated with the characters for not being more proactive about stuff like: checking what happened with the power, being suspicious of Scott, following up on Scott after multiple red flags, etc. - but maybe I'm having unrealistic expectations about characters who don't know they're in a story.
I liked the strong themes of community and mutual support, even in the face of (imo realistic) uneven participation.
"A daring post-apocalyptic novel from a powerful rising literary voice. With winter looming, a small …
Moon of the Crusted Snow
5 stars
Moon of the Crusted Snow is a story about a small, remote Anishinaabe community surviving through the beginning of an apocalypse. Power goes out, communication is down, and they turn inward to try to take care of their community, through leadership struggles, limited food, and the chaos of taking in strangers. I read this as a part of July's #SFFBookClub book.
I quite enjoyed the smaller focused story of survival here, where the outside world is at the margins. It centers a small Anishinaabe community, and about its dread and uncertainty and adaptation as everything starts to slowly unravel when winter sets in.
For me, the part that set the tone of the entire story was the conversation that Evan Whitesky has with the elder Aileen Jones, about halfway through the book. She says that there's no word for apocalypse in Ojibwe. But more than that, she says that their …
Moon of the Crusted Snow is a story about a small, remote Anishinaabe community surviving through the beginning of an apocalypse. Power goes out, communication is down, and they turn inward to try to take care of their community, through leadership struggles, limited food, and the chaos of taking in strangers. I read this as a part of July's #SFFBookClub book.
I quite enjoyed the smaller focused story of survival here, where the outside world is at the margins. It centers a small Anishinaabe community, and about its dread and uncertainty and adaptation as everything starts to slowly unravel when winter sets in.
For me, the part that set the tone of the entire story was the conversation that Evan Whitesky has with the elder Aileen Jones, about halfway through the book. She says that there's no word for apocalypse in Ojibwe. But more than that, she says that their world already ended much earlier when they were forced out of their original land, and ended again when their children were stolen. That they've seen disaster over and over and have always been resilient and survived.
To me, that conversation feels directly juxtaposed with Evan's musing a few pages later about the phrase the moon of the crusted snow--he remembers teachers having a disagreement about whether that phrase referred to the month at the peak of winter or a month where it alternated between freezing and mild temperatures. In the context of Aileen's conversation, it feels like the title itself is about ambivalent ways of looking at disaster--one perception of it being the worst thing that's ever happened, and another saying that this is not the first time this has happened, and providing some future-looking hope for milder times.
Nigerian God-Punk - a powerful and atmospheric urban fantasy set in Lagos.
Since the Orisha …
Strong start, couldn't quite stay the course but still a good read
4 stars
This book is in three parts, the first of which would have made a satisfying short story on its own, the second feels like a solid continuation, but the third started to feel a bit formulaic even as it escalated things.
The parts I enjoyed the most were Lagos-as-character, the idea that there are multiple pantheons which know each other but have limited power over each other, and the way David's character evolved. Though he does get distinctly less likable over the course of the story, which feels right in terms of the world building but made me feel less engaged.
I did feel like some of the plot mechanisms did get repetitive, though. For example, one of his enemies defeating him in battle, then holding him prisoner until he could be rescued. Or thinking somebody he cared about had been killed only to find out they were ok, actually.
Nigerian God-Punk - a powerful and atmospheric urban fantasy set in Lagos.
Since the Orisha …
David Mogo: Godhunter
4 stars
In a lot of ways, this reminds me of the Akata series, but for adults - Nigerian setting, making friends and enemies with supernatural entities, Nsibidi script as magic writing, etc. (This is not a criticism of the Akata series, I love them.)
The setting was the best part of this for me - I enjoyed postapocalyptic, god-ravaged Lagos.
I appreciate that David is imperfect and fallible - he makes mistakes, fails, etc., and it has real consequences for him.
The first section (book? sub-book?) was my favorite, followed by the second - as the story progressed, I felt like it kept getting progressively more frantic and less coherent.
Overall, I enjoyed it, though, and I'm looking forward to more.
It was magic. In every world, it was a kind of magic. "No maids, no …
Didn't quite work for me
3 stars
There's an interesting world here, enough so that I did enjoy reading this book, but I never ended up caring much what happened to the characters. So it was pleasant enough but never really reeled me in.
I think this is just how I feel about Vo's writing in general, because I remember having a pretty similar reaction to The Empress Of Salt And Fortune. I can see what people who love her writing see in it, but it just isn't for me.
It was magic. In every world, it was a kind of magic. "No maids, no …
Siren Queen
5 stars
I suggested this for #SFFBookClub, and so I gave this a reread so I could enjoy it again. I love the way this novel takes Hollywood and its obsession with stars and all of its racism and homophobia, and mixes it with fey magical realism. Overall, it's definitely a book whose strengths are in its setting and its writing, rather than in a tight plot, but I still love the characters.
In particular, probably my favorite part of this book are the constant turns of phrase that bring in fey elements at unexpected times. You're just reading along and then you get hit with a line like "The cameras were better now, I told myself. They had tamed them down, fed them better." Silent movies steal people's voices. Film stars are (ambiguously but also maybe literally) stars in the sky and wield their star power. Names are sacrificed, or …
I suggested this for #SFFBookClub, and so I gave this a reread so I could enjoy it again. I love the way this novel takes Hollywood and its obsession with stars and all of its racism and homophobia, and mixes it with fey magical realism. Overall, it's definitely a book whose strengths are in its setting and its writing, rather than in a tight plot, but I still love the characters.
In particular, probably my favorite part of this book are the constant turns of phrase that bring in fey elements at unexpected times. You're just reading along and then you get hit with a line like "The cameras were better now, I told myself. They had tamed them down, fed them better." Silent movies steal people's voices. Film stars are (ambiguously but also maybe literally) stars in the sky and wield their star power. Names are sacrificed, or hidden for protection. These pieces give the story some extra teeth and a darker edge of danger that always feels present at the margins. The extra ambiguity over what's real in a story about movie magic is delicious.
I have mixed feelings about parts of the end, especially with the trip to San Francisco. I think this is probably the part where the novel loses me a little bit. The pieces work well, but the pacing is a little jarring. It's nice to have a moment to come full circle to Luli's sister, the reveal of art outside of Hollywood that Luli has been too tunnel-visioned to see, and the continuing contrast of the realness of Tara and other places with the fey world of movies. I like the depth that this journey adds, and I'm not sure where else arguably in the novel that it would go.
"What so great about being seen?" Tara demanded. "What's so important about that?"
She might have had the words for it, but I didn't. They locked up in my throat, about being invisible, about being alien and foreign and strange even in the place where I was born, and about the immortality that wove through my parents' lives but ultimately would fail them. Their immortality belonged to other people, and I hated that.
One thing I saw in this reread was how much the book played with "being seen": fey bargains to get seen in pictures; pressure about being seen in "wrong" ways; being mis-seen as Mexican instead of Venezuelan; being asked to make do things to be seen as straight and married; the fear of being seen as crossing class lines or being seen as queer and butch.
It was magic. In every world, it was a kind of magic. "No maids, no …
Siren Queen
3 stars
This one just wasn't for me. I feel like it was one of those books that's all setting and no plot - and the setting was great, but I just couldn't engage with it.
It was magic. In every world, it was a kind of magic. "No maids, no …
Razor Sharp Magic Realism
4 stars
I generally enjoyed this, but not as much as I hoped I would gives how much I love Nghi Vo. That’s not to say this was bad compared to their other works, just that the characters didn’t grab me nearly as much. I felt the true strengths here were the setting, an early 20th century Hollywood where the magical realism is so honed in, most of the time it almost feels like poetic analogies of reality. I think this time period is under represented in fiction, at least in my sampling, and I found it refreshing; especially with queer representation, we were always here, just beyond the sight of society.
The main character was well developed, I could sympathize with their motives, and their decisions followed their persona. I just don’t relate to people that are reckless while having it all, which of course is an oversimplification because at what …
I generally enjoyed this, but not as much as I hoped I would gives how much I love Nghi Vo. That’s not to say this was bad compared to their other works, just that the characters didn’t grab me nearly as much. I felt the true strengths here were the setting, an early 20th century Hollywood where the magical realism is so honed in, most of the time it almost feels like poetic analogies of reality. I think this time period is under represented in fiction, at least in my sampling, and I found it refreshing; especially with queer representation, we were always here, just beyond the sight of society.
The main character was well developed, I could sympathize with their motives, and their decisions followed their persona. I just don’t relate to people that are reckless while having it all, which of course is an oversimplification because at what cost does having it all come at? I think it revealed to me how much more I will prefer safety to recklessness (or rather expressing your true self in the face of oppression), so I learned more about myself, albeit in an uncomfortable way. The rest of the cast didn’t do it for me and were there to support the MCs narrative, which I believe was intentional, it was always about the MC.
I think the real draw here is the setting and how it’s in conversation with historical (and modern) social power structures and the cost not only existing as a marginalized person of society, but what success looks like and at what costs does it come?