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I started reading this with a group of friends, taking turns to read chapters aloud. For the first 5-10 chapters I was enthralled, finding it an utterly charming satire of essentially the same genre that Monty Python and the Holy Grail sends up. But after that it felt like it kept repeating the same jokes, and started to wear thin enough that I didn't actually finish it.

This was a fun light read, engaging enough to get me turning the pages and worrying that one of the characters I liked would turn out to be the culprit. But it was also sort of formulaic, and could really have done with an editor. The love interest was telegraphed about 15 times before the narrator admitted it, and several important details seemed to be introduced 3 times in 3 consecutive paragraphs.

A lovely amuse bouche for Clark's steampunk Cairo stories, which has certainly left me wanting more of Fatma and of this world.

I was quite charmed by The Conference of the Birds for some time, but eventually it became rather repetitive. The basic theme is delightful: the hoopoe painstakingly convincing all the other birds to join it on a spiritual quest, which they keep making excuses to cover up their cowardice about. But I was hoping a work of this length would have more breadth of discussion, without which it starts to feel like the same argument over and over again.

I'm not usually all that excited about either really martial fantasy or mob stories, because both tend to rely on either very flatly good/evil dichotomies, or just telling the reader that one set of characters are the good ones and should be sympathised with.

At first, this book felt like it was going down that road, since our introduction to some of the core characters is them dispensing a lot of violence for profit, against some thieves who I found myself sympathising with. But by about 1/4 of the way I was getting reeled in by the Kauls' charm even as I was never convinced by their goodness. I think that ambiguity is one of the great strengths of Lee's writing. She could so easily have brought the world another set of Atreides/Skywalkers/Gandalf-and-the-hobbits, and instead we got some much more interesting, real and complex characters fighting a much smaller war.

Along with that, Janloon feels like a living breathing city, the combination magic/technology/martial arts system strikes a good balance between epic powers and finite, human limitations, and the geopolitical background adds a little grounding without intruding too much.

Some criticisms: aesthetically I don't like magic systems being described as discrete Abilities--that can make a fight feel a bit like narration of a video game--and some of the world-building is a bit front-loaded. But overall I loved this book and I'm looking forward to the rest of the series.

I first read Dune when I was about 11 or 12, and I absolutely adored it. This year's movie was excellent, and it made me want to reread the book, albeit with trepidation from all the critiques I've heard as an adult.

Re-reading as an adult was kind of painful. The elements I liked were all still there, but there's so much about the book that is just horrible. A few:

• The intense homophobia, fatphobia and just outright fucking Puritan pleasure-negativity in the portrayal of Baron Harkonnen.
• The cartoonish evil of the Harkonnens, which seems intended to make the reader take the Atreides' side, but...
• The Atreides just being colonisers obsessed with their own position and legacy, but somehow the author wants us to see them as Teh Good Guyz because they're not the Harkonnens.
• Herbert's weird feudalism fixation while he's ostensibly writing about an amazing future.
• How deeply orientalist his portrayal of the Fremen is, when they're potentially his most interesting invention but he won't quite let them be.

I love the Fremen and the ideas about geoengineering the desert planet, but by the end they were just barely enough to keep me reading.

I don't think I've ever said this about any book before, but I strongly recommend just watching the movie and forgetting about the book.

A lovely third instalment of the Earthsea series, and a good handoff from it being all Ged's story to broadening out. A few off notes though:

• I found the emphasis on restoring the King to bring back order off-putting and at odds with the gentle daoism infusing everything else about these books.
• Arren seems to go awfully quickly from doubting naif to ready to be crowned. I liked how much Ged's ascendancy was about time, effort and learning from his own mistakes, and Arren's feels rushed by comparison.
• This may be the most extreme of the Earthsea books so far for just lacking female characters.

I gather that the later books were in part a deliberate effort by an older Le Guin to fix some of the deficiencies of the first 3, especially around gender (even in Tombs of Atuan, I found Tenar more a captive who has things happen to her than a full actor). As much as I did enjoy this one, it's made me look forward to those even more.

This book is in a lot of ways more of everything that Three Body Problem was. It's a huger sweep, a pretty intense exploration of how getting thrown into responsibility can break people, and it builds on a lot of the ideas of the first book about how ununified people would be in response to a threat like this - stuff that now looks rather prescient after a year and a half of covid. It does also suffer from the same weaknesses, perhaps even intensified. In particular there's not much dialogue that is really characters being theirselves as opposed to Liu exploring an idea through his characters. But the good parts were so compelling that this was far from ruining the book for me.

I was left with a few questions, two of which seem like weaknesses of the book: 1) Why did Ye pick Luo to have the conversation with that she does in the preface? 2) How did any other humans know that Luo would be important? (that conversation with Ye explains Trisolaris's interest - clearly they'd have been surveilling her intensely) 3) How is there a third book? Three Body Problem left the story with an obvious lead in for a sequel, but the ending to this book could have been a series ending. I am now intrigued and want to see where Liu takes this next.

First things first, some content warnings about the book: it contains a lot of violence, a narrator who uses ableist language and ideas repeatedly, and a sort of sensory-illusion body horror that I thought was one of the book's strong points but could be deeply disturbing for the wrong reader.

I want to like this book. It does a great job of imagining aliens who are very deeply alien and in unsettling ways. And at it's best it's a tautly narrated story of the terrifying encounter with them. It also plays some amusing games with vampire tropes, and poses interesting questions about what counts as life, sentience, intelligence, etc.

But I found some of the author's tics grating enough to really put me off. The voice is irritatingly macho-male, to the extent that it makes me, a cis man, want to yell at the author to shut up and cede the mic. In the first half there's a really clunky tendency to do foreshadowing very explicitly, which intensifies the macho storytelling feel. And the narrator is consistently casually ableist, even though there are aspects of the overall story and the narrator's life history which push back hard on the same.

I'm glad I read it, but not sure I can really recommend it.

This is the sort of near-future sci-fi that's really just one fictional innovation away from the world it was written in, and clearly used as a lens to look at ourselves. It follows one very relatable family and their challenges in adapting--and in some ways being unable to adapt--to a wave of fast social change. I identified strongly enough with each of the main characters in some way that each of their crises broke my heart a little.

The ending wrapped things up a little too neatly and I found that particularly disappointing because it broke the easy belieavability of the rest of the book. But the rest was so good that I can't hold it against book or author.

Cresswell is a recovering academic geographer, whose poetry is deeply rooted in appreciation of places, particularly London where he lived at the time he wrote this collection. And yet some of the poems I found the most affecting were about the non-places of airports and travel. All in all a wonderful collection.

I read this book a few months ago with the #SFFBookClub. The setting and imagery are still haunting me, but I found the writing itself sort of clumsy, to the point that while actually reading it diminished the impact, much of which came later as I digested the ideas of the book.

I found it interesting how this book brought in some contemporary-world themes around refugees and their abusers, but that's not explored particularly deeply, it's just one more reason to cheer on Murderbot as it does its thing. Really this is just one more Murderbot instalment, and I am so very here for that.

This is a quick, fun read that's full of hackneyed themes but made a welcome palate cleanser between some quite heavy books.