This was quite a lovely read. Months after finishing the book, I still wonder if I missed something, because while I enjoyed it a lot, I'm not sure I'This was quite a lovely read. Months after finishing the book, I still wonder if I missed something, because while I enjoyed it a lot, I'm not sure I'd call it groundbreaking either; still, it was very well done. The novel mostly follows a conventional mystery plot, until the end, after the mystery has been solved, when it becomes a little more philosophical and thought-provoking in a lovely way. The setting itself was vivid and rather fascinating, though that's the part I still wonder about; it was very pretty, but felt slightly gimmicky, unless there was a level of symbolism I completely failed to see. Still a good novel!...more
A pleasant read, a coming-of-age story in a world inspired by the Chinese empire. The protagonist's journey feels leisurely but enjoyable, through a wA pleasant read, a coming-of-age story in a world inspired by the Chinese empire. The protagonist's journey feels leisurely but enjoyable, through a world in the process of being conquered, partly for its resources and partly for is magic. The hero himself is from a conquered land, and much of his conflicts arise from that. There are some very clever moments, and the whole novel is quite entertaining. ...more
This was an excellent book, dark and cruel and compassionate at the same time. Put me in mind of a film by Kusturica, with its wacky, out-of-touch chaThis was an excellent book, dark and cruel and compassionate at the same time. Put me in mind of a film by Kusturica, with its wacky, out-of-touch characters. Every member of the houseboat community is a little lost in their own ways, each one feels stranded, except perhaps for the cynical, grounded children. There is humour throughout, of a dark variety, though it never really pokes fun at the characters themselves; rather it encourages compassion for their circumstances, and humanises them. The final image is terrific, too....more
Entertaining if not unforgettable. What I liked about this book was how it made the period come alive; the characters never sound like they were lifteEntertaining if not unforgettable. What I liked about this book was how it made the period come alive; the characters never sound like they were lifted straight from the present time and transported into the early Middle Ages. The hero is a traveller from Ireland who lands in Viking-occupied York and manages to become moderately successful there, and there's a fun part about a lady trader who's actually a witch stealing souls. The story is no longer very clear to me, but I remember the small details of the daily lives of the characters better (things like cutting pennies in half before paying, chewing an old man's food for him...). Felt like taking a trip to a cool location, snapping some pictures and going home....more
Very nicely written, in an almost oral language capturing the idiosyncrasies of the family members in a unique way. It's also amazing how it shows thaVery nicely written, in an almost oral language capturing the idiosyncrasies of the family members in a unique way. It's also amazing how it shows that the way history unfolds shows through minute changes in habits, friends, words... Made me reflect on how covid impacted our language as well, words toddlers know now that they wouldn't have ten years ago, like 'sanitiser' or 'curfew.' On how history intersects with daily life, as well, and changes it even when everything seems to be going on as normal. A great read, entertaining and thought-provoking....more
I'd enjoyed the first book a lot, but actually liked this one even better, which doesn't often happen. One good thing about it is that it works as a sI'd enjoyed the first book a lot, but actually liked this one even better, which doesn't often happen. One good thing about it is that it works as a standalone; it's a brand new story, set years after the first, with new characters, stakes and politics. So there's absolutely no sense of reading a more-or-less artificial sequel to a book that had a perfectly good ending.
Another good thing is that the world-building expand to include new people and cultures, and I reallyenjoyed that. In particular, this book does a very interesting thing with the position of women. There are three majorly different cultures, and the three have completely different conceptions of the role of women, yet all three perceive their women as having a high status, and all three could be argued to be right, in their ways. One gives women a high spiritual role, which makes them more respected than men (but prevents them from following the path they want in life), another lets women work like men do, and the third give them power over the entire economy of the community, though their role is strictly segregated from men's. Few authors attempt to explore how gender roles differ in various cultures, in this ind of nuanced, entirely non-judgemental way.
The plot is, as was the case with the first book, a classic fantasy one, though darker. Very much darker, in some parts. As in... maybe think carefully before reading that book if child abuse and incest are dealbreakers for you. These themes are explored sensitively, with compassion rather than sensationalism, which made the book work for me, though some scenes were really hard to read. Still, we have to talk about difficult subjects, and this novel completely avoided the pitfall of treating these as even midly sulphurous or titillating, which was great. ...more
Great world-building, inspired by both Ancient Egyptian mythology and psychoanalysis. The magic system is complex and original, and lends itself to beGreat world-building, inspired by both Ancient Egyptian mythology and psychoanalysis. The magic system is complex and original, and lends itself to beautiful descriptions, as it involves travelling in the 'dream world', a sort of collective unconscious.
The novel also explores the political and economic facets of the world, and focuses on the conflict between two city-states, and their own internal struggles. I greatly enjoyed the fact that neither state was represented as better than the other: they have very different cultures which are both represented in nuanced ways, and their struggles arise as much from ther cultural differences as from the requirements of politics and economy.
The plot itself is what you might expect from a commercial fantasy novel. It has a big bad villain (a compelling one, nonetheless), appropriately apocalyptic stakes, grandiose fights... The world-building is really what sets it apart, as well as the writing, which is excellent. The novel feels alive, the world layered, and it's a joy to travel through it, even if the journey sometimes takes you along somewhat conventional paths....more
As the title could lead you to expect... A lovely, bright, sunny read about three young women growing into adulthood, each in her own way. Not what I As the title could lead you to expect... A lovely, bright, sunny read about three young women growing into adulthood, each in her own way. Not what I would describe as a feel-good book either, quite: it's hopeful and joyous, but not for the sake of it, and it doesn't shy away from exploring anxiety and the sadness of collapsing dreams. It's not meant to give the reader the warm fuzzies, but rather to capture the ebullience and hunger of youth, the awakening of young women's sexual desires, away from guilt and constraints, the joy of the present and the transition away from childhood and towards maturity, though childhood is never completely left behind.
A gorgeous read, subtle and uniquely moving....more
Nghi Vo writes beautifully. It's a joy to follow her prose, which is both lush and precise; it makes her characters come alive in a unique way. I feltNghi Vo writes beautifully. It's a joy to follow her prose, which is both lush and precise; it makes her characters come alive in a unique way. I felt that this was where the real magic of the book lay.
The plot and world-building were fun and engaging, though I felt that some aspects of them felt a little rote. It was a lot of fun to read about a magical Hollywood, and certainly the metaphors are apt; it definitely feels like there's magic going on in these old films, and that the erratic rise and fall of starlets at the mercy of studios could be compared to human sacrifices. Beyond that, however, the core ideas developed by the book don't really feel new; but I didn't really mind. The writing was good enough to create a lovely reading experience....more
This was a thoroughly enjoyable read! I'm not a big reader of YA in general, but I'd definitely recommend this book to young adult readers. It feels lThis was a thoroughly enjoyable read! I'm not a big reader of YA in general, but I'd definitely recommend this book to young adult readers. It feels like more of a fun ride than a precise historical recreation; many aspects of the world feel pretty close to our own (in particular, women have almost as many opportunities as men but still have to contend with old-fashioned patriarchal attitudes at times, and use words like 'patriarchal' to convey their annoyance), but it was done smoothly enough so as not to be jarring. The world-building is vivid and doesn't feel like modern teenagers cosplaying, but rather like an authentic, coherent fantasy universe I could take pleasure in.
The beginning may feel slow to some, but this shouldn't put you off. Approximately a quarter of the way in, the story abruptly changes course, and what felt like a somewhat conventional start takes a darker, much more surprising turn. From then on the novel flowed quite effortlessly. I particularly enjoyed how closely the natural environment was intertwined with the story, making everything feel so much more alive. There's even an index of trees, which I think is a brilliant idea. Novels regularly attempt to make the setting matter as much as a character in its own right; this one actually succeeds, I think.
Definitely a book I'd recommend, either to high schoolers or to adults looking for an entertaining adventure novel with an endearing wisecracking heroine!...more
A readable, but precise and erudite account of Medieval medicine, its practitioners and its fundamental principles. This book is more geared towards uA readable, but precise and erudite account of Medieval medicine, its practitioners and its fundamental principles. This book is more geared towards underlying ideas than exotica or specific examples; there are relatively few recipes of Medieval cures, for instance, or precise descriptions of surgical procedures. Rather, it focuses on explaining how medical practitioners thought and were perceived in their times; for instance, it insists on the importance of the Galenic heritage, the theory of humours and complexions, as well as questions that might baffle us now (like the apparent divorce between well-oiled theory and how it worked out in practice, and how physicians tended to accept that theory was not always backed by practical evidence). This is a great resource for non-specialists seeking decent information about the fundamental differences between medieval and modern medicine, though for those seeking practical, concrete examples of the sorts of cures or procedures available at the time, a complement of research will be needed....more
Confusing if read from a traditional European perspective, with expectations of plot, development, build-up... However, the construction of this novelConfusing if read from a traditional European perspective, with expectations of plot, development, build-up... However, the construction of this novel is remarkable, building a world brick by brick before toppling it to the ground, as the title suggests.
The novel unfolds around the life of a man and his village, deploying the power of laws, customs, proverbs... and their use in the existence of one man, admired by his peers, but whose life nonetheless revolves around unquestioned brutality. Rules, social organisation, the intricacy of the traditional Igbo way of life are portrayed from the inside, without nostagia or complacency, but most of all without condescendence. The merciless treatment that way of life will get at the hands of the missionaries come to 'pacify' the country appears all the more violent for it....more
Now for the flaws I was mentioning. First, I did feel that both this book and the previous one could have afforded to be much shorter. It's not that nothing happens; they're both full of action, but my problem was, the thematic considerations don't progress much at all between the end of book 1 and halfway through book 3. We get that the civil war that's brewing in Daevabad is the result of centuries of vengeance, people hate each other and all have reasons that are both valid and invalid (and everyone has committed crimes at some point, so you can't really point to a bad guy at all). The problem is, every new revelation, every new conflict that arises just reiterates this statement, either by showing that this or that bad guy wasn't always so bad or by showing that the good ones could be just as murderously devious as the bad ones. After a while, I suppose I just felt that I'd got the point and I wanted things to be moving in a definite direction.
The other flaw was the language. I mean, this isn't a badly-written trilogy at all. It's very competent and vivid; but you shouldn't expect more than literal expression of what the author wants to say. The phrasing tends towards the repetitve; for instance, every garden is 'manicured' and every outfit is described using mostly the same descriptors and devices and characters just tend to have telltale gestures or ways of expressing themselves, rather than truly individual voices or perception. The problem with that sort of very straightforward language is that it doesn't always succeed at conveying what's unique in the book's worldview, and it's a shame, because the complex themes it addresses feel simplified as a result. For instance, the question of individual agency and choices felt considerably less layered and subtle than it could have, because it was discussed in those exact terms: 'robbed her of her choices,' 'removed her agency' and the like. Rather than letting the reader work out the implications of the narrative and adding unique layers specifically related to this world and these characters, the book just went on and delivered something that occasionally felt like an excerpt from a feminist textbook. It was a shame, because the underlying themes and discourses were among the highlights of the series, for me. I just wish they'd been exposed in more subtle or unique terms, showing that these considerations can naturally arise from an epic fantasy story, rather than framing the story as having been contrived as an illustration of these points.
Still, I had fun, and the worldbuilding was superb. So even if this wasn't a masterpiece, it would still go on my recommended list. ...more
This was a rather interesting read, in an unexpected way, with a core discourse hidden under a conventional outer layer; so conventional, in fact, thaThis was a rather interesting read, in an unexpected way, with a core discourse hidden under a conventional outer layer; so conventional, in fact, that I wondered from the start what it hid.
So while I wouldn't necessarily recommend this book to horror fans reading for entertainment, it was still a very worthwhile experience for the way it rejuvenated tropes and made their underlying discourses explicit. ...more
The last third of this book is more of a four star one, really, and I do intend to read until the end. It's a shame that the novel takes so long to geThe last third of this book is more of a four star one, really, and I do intend to read until the end. It's a shame that the novel takes so long to get started. It's not so much a matter of plot; things do happen, but I felt that the core of the story, what had made the first tome so interesting to read, had stopped evolving. Nahri is trapped in the palace of Daevabad, people are still wary of her because of her origins, the various groups in the city still hate one another, she's powerless but tries to reclaim a bit of power... it's great and layered and all, but for much of the book everything stays the same. There is no new theme introduced, no new idea. The developments on the ones already present in the first book are fine, but start feeling a little repetitive after a while.
Paradoxically, I'd say this tome is more plot-oriented than the first. The first two-thirds, while a little long, constitute a long build-up to the last one, in which the action truly unfolds. And it IS exciting, really. It becomes a page-turner all of a sudden, and you don't want to stop. And that's also where the story feels like it's starting to move forward again: a new villain is introduced for good, the heroine experiences drastic change again, relationships between the characters are forced to evolve... It did make me want to see what the third tome held in store.
So, on the whole, not a bad read at all, just one that feels a little like a transition between two stories....more
Both books in the Mosaic are remarkable, really. This one develops the themes laid out in book one, the role of artists in politics, their power in anBoth books in the Mosaic are remarkable, really. This one develops the themes laid out in book one, the role of artists in politics, their power in an imperialist society, the potentially inhuman and destructive effects of an idealistic artistic vision applied to government (when rulers start to push their vision of an ideal world over the daily realities of the people they rule, for instance). Like the first book, its structure can feel deceptive or surprising. It's very hard to tell what the main problems are going to be or what the thematic culmination of the story will be (which is very interesting, given that one of the main plot points is basically given away at the end of book one: (view spoiler)[when the narrator refers to Crispin in the future as a 'minor Rhodian artisan,' you know that he's never going to complete the great mosaic in the sanctuary, but that twist only happens near the end of book (hide spoiler)]), yet the plot moves on with a great fluidity, following one character after another, their failed connections and revelations, the way they navigate world-changing events.
This is the great success of the book: events of great magnitude are constantly pitted against daily reality, and both move together in a way that's both chaotic and very natural. It's a book about history, yes, but history as seen by the people who don't make it (or don't want to). Two movements are represented in parallel, the march of History-with-a-capital-letter, and the continuous flow of lives, going on or stopping without reason, finding their own significance as the plot moves on. ...more
This was actually good! I had misgivings in the first couple of chapters because the writing didn't feel very elaborate, and I just had the feeling thThis was actually good! I had misgivings in the first couple of chapters because the writing didn't feel very elaborate, and I just had the feeling that Nahri's position in the world was not a particularly complex or interesting one (she starts out as a plucky rebel who's going to stick it to all those rich people who think they can lord it over her). But this book soon developed a very nice habit of proving me wrong whenever I started to have bad feelings about things. (view spoiler)[For instance, I thought it would end up with a decent prince and a caricaturally evil minister, a trope I particularly loathe, but both characters ended up feeling much more nuanced than that. I also tried hard not to do a pre-emptive eye-roll at the love triangle I thought I saw looming (I very much dislike the way love triangles are handled in many books I've read so far, i.e. as a moralising way to reinforce the value of monogamy and fidelity by introducing temptation and then showing how fuitless it is), and no such thing happened. I was prepared to roll with the darkly handsome, tortured hero because at least it's an amusing trope (if not a very deep one), but even that turned out to be misleading, and the character in question grew much more complex as the book progressed. In short, a lot of good surprises, and no bad ones to speak of. (hide spoiler)]
Far from being centred on one plucky, Chosen One-like character finding her independence, the novel turned out to be about power, politics and the damage done when several sorts of fanaticism clash, especially when all of them have legitimate reasons for anger and grief. Every character who's introduced as the next good guy (or bad guy) ends up feeling more nuanced as soon as they're seen from the other side. There's a relative intricacy to the world-building and the history alluded to throughout the novel which I enjoyed. I say 'relative' because the core point of view (everybody is a little right and a little wrong, it all depends on your perspective) isn't, at heart, a very new or challenging one. But it's handled very well, and the trick of showing that nothing is ever truly what it seems is deployed with skill.
I bought the second book in the series right after finishing the first (and in spite of the massive spoilers delivered by the bonus chapters attached at the end of the novel, because the publisher somehow felt that it would be a good idea to offer the first two chapters of the THIRD book rather than the second, without warning!). This doesn't happen very often, including with books that end on cliffhangers of sorts. But this was definitely a cut above the lot....more
This book is amazing in discreet ways, refrains to hammer you on the head with its main points, although it makes them in intricate, carefully construThis book is amazing in discreet ways, refrains to hammer you on the head with its main points, although it makes them in intricate, carefully constructed ways. It's a story about art, the importance of the artist in the world, about imperialism and how the powerful shape the minds of the people, and to what extent artists can play their part to re-establish the balance.
The structure of the book is unusual. The title, Sailing to Sarantium, should be taken literally... aside from the fact that there's almost no sailing at all (the main characters travel by road). But most of the book is, indeed, devoted to the trip itself, a life-changing event for an ageing man (in a clear reference to the poem by WB Yeats the title references), and a moment of discovery. My favourite part is how, through a clever, nuanced subversion of the old 'civilised Western man rescues hapless maiden from human sacrifice' trope, the author questions the very notions of civilisation and savagery, what 'rescuing' itself means, and addresses the age-old arrogance of the would-be 'civilisers' of the world without glossing over the fact that religious practices across the ages have been... er, not always so enlightened either. The novel quietly addresses the question of faith, of living after a forced conversion, of the political importance of religious authorities, of realising that there is more to reality than what the authorities in question would have one believe, of reclaiming your self, physically and morally, after living in bondage. Although the Byzantine/Sarantine empire is described in its own context (rather than painted as a thinly-veiled metaphor for modern-day imperialism), many of these questions still ring very true and relevant today.
The story also addresses the question of art, what constitutes it, what it can do. It's interesting that several characters are depicted as artists in their own ways: there's an explicit parallel between a mosaicist and an emperor, for instance, a questioning of the role of actresses at the time (viewed as prostitutes, but engaging in subtle political work), and even a charioteer is described as an artist in hiw own right. All of them shape the life of the city, its aspirations, its reality, affect its politics on a deep level, and end up all carrying various levels of responsibility for the future of Sarantium.
Surprising as it is, the book spends comparatively little time in Sarantium itself, and the arcs that begin there are quickly solved. It still wraps up surprisingly well, showing that expectations set by the genre aren't necessarily what matters. ...more
I actually found this quite helpful. It's very prescriptivist, and makes a number of questionable assertions, in partiular the idea that Every Single I actually found this quite helpful. It's very prescriptivist, and makes a number of questionable assertions, in partiular the idea that Every Single Novel ever written follows the same pattern, with minor variations. But it's clear, offers an interesting (if limited) method that can be used to churn out outlines with relative ease. It also offers helpful concepts that can assist an author in understanding what they're trying to do with their book and how to achieve it.
Personal experience: I wrote a full outline following this method as closely as I could. Then... I just discarded half of it. In the end, the proposed techniques just felt like they would lead me to the very neat sort of result I tend to associate with competently-written novels, rather than truly memorable ones. (Not that I think I wrote something memorable in the end!) But it was a very helpful starting point.
In conclusion, I think this is a book I would recommend to aspiring writers, though with the same caveats I associate with all writing 'rules' out there: it's helpful to get you started, but will stop being helpful as soon as you start finding that remaining within its strict framework constrict the vision you have for your WIP....more
This was a magnificent read, and I wonder how I would have read it if I'd read it as a child; as an adult, I found this to be a disturbing and cathartThis was a magnificent read, and I wonder how I would have read it if I'd read it as a child; as an adult, I found this to be a disturbing and cathartic and extremely thought-provoking. It feels like the theatre of the absurd, only written by someone who wasn't posing, even a little bit. There's a sense of literary freedom, and also of intricacy, every image hiding a new layer of meaning.
Moominpappa reads like a wonderfully insightful portrait of a middle-aged man with depression, and the story weaves around the impact his condition has on those around him, as he fully intend to remain the head of the family. Moominmamma may be a nurturing figure, she doesn't lack individual yearnings and losses, and is explored in quite a bit more detail than many mother figures described at the time. Moomintroll, as a young man growing up in that environment, is both annoying and endearing, and very human in his failings; his relationship with the Groke (the cold monster who freezes the ground she stands on, but is attracted to light and life) is one of the best moments of the book. And of course there's Little My, who my adult sensitivities read as a personnification of pulsions and chaos, with all the bad, but also all the good that entails.
What is truly striking about this book is how the light ending (far more expected and fitting in a children's books) derives from the story in an organic way. When one is trained to read far darker offerings from the writers of the era, one forgets that sometimes, dense, uncanny stories about the dark depths of mental health can and do have happy endings. Spoilers would really do this one a disservice, but I just loved how everything was brought together, not in a restoration of the status quo but in a genuine resolution, light but not easy. ...more
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