The Seep

Now we’re out of my non-English vacation reading and back into English territory with The Seep, the Austin Feminist Sci Fi Book Club’s selection for October.

Straight off, I really liked The Seep. The only reason I didn’t finish it in one marathon session was because I started reading it in the middle of the night and exhaustion eventually overtook me. To get into slightly more detail, The Seep uses the framework of first-contact and utopia genres to examine grief, how it feels to be left behind by seismic shifts in society, and which struggles are worth having. It’s also very queer, very trippy, and very short: the perfect book for getting out of a reading slump.

Perfect, no notes.

Sisters of the Vast Black

Sisters of the Vast Black was a long-time suggestion from one member of the Austin Feminist Sci-Fi Club and it finally made it to the agenda for our July meeting last Sunday.

Sisters of the Vast Black cover art
Image courtesy Tor

Science fiction is usually pretty critical of religion, especially contemporary established religions like Roman Catholicism, so it’s interesting to see a book take it seriously. Not so much for its cosmology or morality, but for the importance it plays in people’s lives, the good it can inspire them to do, and the soft power it can wield in the name of international (or in this case, interstellar) relations and colonization.

Sisters follows a small spaceship of nuns who find themselves caught up in political intrigue, with a potent biological weapon (and its cure) at stake. Also, their ship is a giant sentient slug who has suddenly imprinted on a mate and needs to change course drastically. And because they’re nuns, of course there’s at least one crisis of faith and a character on the run from a very sinister past.

This was a fun read because the world was so creative and rife with interesting thought experiments, but in the end there were a few too many ideas crammed into the space of one novella. (Rather mentions in her acknowledgments that this started as a short story, which must have been very crowded indeed!) A longer book, or fewer plot threads, would have allowed Rather to give each idea the consideration it deserves and to tie everything together a bit more seamlessly. Maybe the sequel will do just that.

A Desolation Called Peace

This was another pick for the Austin Feminist Sci Fi Book Club, one of the few times we decided on a sequel. I touched on the first book, A Memory Called Empire, in my most recent GoodReads Roundup post. I wish I’d found the time to write a more in-depth review, but so it goes.

Cover of A Desolation Called Peace
Image courtesy Tor

Desolation follows fast on the heels of  MemoryVery fast. Memory focused on intrigue and the politics of empire and national sovereignty; Desolation takes that conflict and then throws it into a first contact scenario. Considering how much of a plot point the alien threat ended up being in Memory, part of me suspects that they started out as one single volume. If this is indeed the case, then I think the surgical separation went well. Memory had a satisfying, clearly demarcated ending. I would have been perfectly satisfied if I never got around to reading Desolation.

But I still loved A Desolation Called Peace.

Desolation takes our ambassador Mahit, freshly returned from the events of Memory, and throws her into acting as a negotiator and xenolinguist alongside her former cultural liaison, friend, and maybe-lover. The alien threat, meanwhile, is a good ol’ fashioned hivemind with an incomprehensible spoken language so hideous it induces vomiting. As if that weren’t enough, tensions are high at Mahit’s home station and she might not be welcome back. Like Memory, there is still plenty of casual bisexuality, intrigue, and lesbians.

Martine left herself an opening in the end of Desolation. Several openings. Maybe that’s job security on her part, or a cash grab on the part of her publisher. I choose to see them as a gift to the reader. Sometimes the vast imaginary potential of a story is better than any follow up.

The Space Between Worlds

I normally don’t discuss covers much, but this time I will.

The anglophone books available to me are more often than not UK editions.  Sometimes there’s no difference from the US covers, sometimes there’s a huge difference, but never before have I encountered such a mood whiplash between the two.

US edition of The Space Between Worlds by Micaiah Johnson
US cover, courtesy Crown

Going strictly by the cover, I would assume that we were looking at a fluffy romantic comedy in a sci-fi setting. Either that or a parallel lives kind of story, similar to My Real Children but more light-hearted. Compare that with the UK edition:

UK edition of The Space Between Worlds by Micaiah Johnson
UK cover, courtesy Hodder & Stoughton

The latter more accurately encapsulates the mood of the book for me. I’m not sure what the thinking was behind the US cover, but I have a feeling that it’s probably led to a lot of disappointed readers. Is there fluffy romantic comedy hijinks? Not really! Is there a lot of grappling with the unknown and with morally repellent choices? Yes!

Is there a fair chunk of domestic violence? Also yes.

There is a lot going on in this multiverse story and my brain isn’t really built to handle those kinds of ins and outs. I’ve seen The Big Lebowski I don’t know how many times at this point, and I still can’t string together the chain of events surrounding Bunny’s disappearance, the ransom note, and her reappearance without sitting down and drawing a lot of diagrams and timelines. And that’s a story where the intrigue is just the background plot for brilliantly executed scenes and snippets of dialogue—in The Space Between Worlds the intrigue is basically the entire story.

Guess I need to adhere to a stricter drug regimen to keep my mind even more limber.

Getting back to The Space Between Worlds, all of this is potentially a Me problem and not a Book problem. In addition to my troubled relationship with intrigue, I also took a break from the book for almost a whole week, which couldn’t have helped. Keeping track of the different multiverse versions of characters wasn’t necessarily the hard part, but keeping track of all the different Earths and their politics was a lost cause for my addled brain. Earth 0 is the prime, principal Earth on which the bulk of the intrigue plays out, but events on Earths 22 and 175 are also important. Not to mention I think there’s a third Earth that our traverser protagonist Cara visits, but I don’t think it had much to do with the actual plot.

Likewise there are some world-building elements that were not really laid out cleanly for my addled brain, or that were introduced way too late in the story, or that maybe I just happened to skim over. Unfortunately those elements are kind of plot-essential, so from a technical standpoint I wish they had been made clearer earlier on in the story. (Assuming that I just didn’t miss them, which I totally might have!)

But I was able to overlook all of that because I could see that the point for Johnson wasn’t “wow multiverses sure are cool.” Instead, it was more “how would multiverse traveling get integrated into the world as we experience today” and “how can the idea of parallel lives and parallel selves be used as a metaphor for Real Life Stuff,” and I was along for that ride. It seems, judging by other reviews, that some people weren’t along for that ride. And that’s okay! But since one of my own paradigms for years has been the idea of alternate universe versions of myself, Johnson’s take on the multiverse was a lot of fun for me.

Into the Drowning Deep

“If you don’t have anything nice to say, don’t say anything at all.”

Cover of Into the Drowning Deep by Seanan Maguire, writing as Mira Grant.
Image courtesy Orbit Books

So I won’t be saying anything at all about Mira Grant’s Into the Drowning Deep, except that the quality of writing on display in this book makes her childish Twitter tirade in 2017 about the awful (“awful”) job her copy editor did even more cringe-inducing.

Shoutout to Storygraph, now my preferred choice over GoodReads, for allowing me to give a full-on 0-star review.

The Best Books of 2021, According to GoodReads

I could have sworn that I did one of these posts for 2019 and 2020, but apparently not? I usually enjoy looking at the “My Year in Books” feature on GoodReads, but they seem to have revamped it and made it uglier so I won’t even bother including it here.

During the fiery hellscape that was 2021, I read 59 books. The most popular book I read was The Art of War and the least popular was a re-read of a Swedish civics textbook that I can assure you is very rough going.  The five-star books of the year were:

I’m excluding from the list books in an extremely selective niche that are of huge personal importance to me and are not a “public” or “objectively” 5-star book the way that these are. (Would everyone benefit from reading The Human Condition? Yes. Would everyone benefit from reading a collection of ghost stories from my hometown? Probably not, no.) I’ve included links to blog posts for books that I wrote about during the year and will provide brief nutshell reviews of the remaining six books here.

Literature

The Deep

This was an Austin Feminist Sci-Fi Book Club pick. I didn’t care for my first tango with Solomon, An Unkindness of Ghosts, but The Deep was as polished and needle sharp as Unkindness should have been. Genre fiction doesn’t have to use fantastical conventions as a way to externalize complex psychological elements of our lives to justify its existence as a genre qua genre, but it certainly is uniquely equipped for doing so.

Agrippa (A Book of the Dead)

This one’s a bit of an easy title to knock out. It’s not really purely text, or available in any kind of dead tree form—my encounter with it was in a 15? 25? minute YouTube clip, captured footage of the original program being run in an emulator. At the end of the year (or the beginning of the next one), I don’t know that I can remember any concrete lines or images from Gibson’s poetry (I do recall the rather fuzzy, janky sound effect of a single gunshot), but I remember the overall effect and I appreciate the novel approach with form and media. It all felt inherently tied to the content rather than just a cheap gimmick.

A Memory Called Empire

Another Austin Feminist Sci-Fi Book Club pick, this time a more traditional galactic empire intrigues and high-tech tale. I think this one would pair really well with Ancillary Justice as two examinations of empire: one from relatively deep within the beating heart of empire and one from the outside.

Philosophy and Current Issues

Människans villkor

Who am I to review a Hannah Arendt book? Who is anyone to review a Hannah Arendt book? All I can say is: as the years go by, I get angrier and angrier over the fact that we never covered any of her work in my philosophy undergrad career.

Project Censored’s State of the Free Press

This collection is a nice round-up of important but overlooked journalism, sourced from university journalism programs and advised, filtered and vetted by a board of professional journalists. I consider this collection an essential part of my yearly reading.

Who Do You Serve, Who Do You Protect?

Another collection, this time of essays on policing and police violence. Sitting here doing my annual write up, I can remember that it was a compelling read full of new information but none of that new information specifically. This is not criticism of the collection, but rather a reflection of the fact that 1) I read it on Kindle, which doesn’t seem to ever stick in my memory, 2) much of it was (probably) grimmer information that I realized so I think my brain is kind of choosing to forget, and 3) 2021 was, as mentioned, a fiery hellscape, so I wouldn’t be surprised if I was experiencing some kind of stress-induced brain fog.

Catfishing on Catnet

The bulk of my reading seems, more and more, to be taken up by the Austin Feminist Sci-Fi Book Club. I’m not complaining; merely observing. The book for November was the underwhelming and skimmable Catfishing on Catnet.

Cover of Catfishing on CatNet by Naomi Kritzer.

I went in cheering for this book. The original short story, “Cat Pictures Please,” is a fun and flawless gem of a short story. The voice is pitch-perfect. The way Kritzer is able to build the lives of the people in the story through the wake of their internet activity is masterful.

The novel ruins everything by adding teenagers.

I know, I know. Insert the Simpsons meme here:

Two shots of Principal Skinner from the Simpsons. In the top he looks concerned, and the text reads,
Have I inadvertently rendered myself even MORE old and out of touch by referencing The Simpsons, a show that is no longer funny? Oh well.

Let me say what I would have wanted to see in a full-length novel before I complain about what I read. I think that will maybe serve to highlight why I disliked this book so much, if I can properly sketch out my expectations.

First and foremost, I would have preferred to spend all of my time with the AI narrator. Maybe the premise would have worn thin, but then again, maybe it wouldn’t. I also would have preferred it to not be YA. The original story featured grown-up humans, after all, and I also can’t stand YA.

On a more substantive level, I would have wanted to see a complex, philosophical and slow-burn character-driven story: maybe a coming out bildungsroman, maybe a queer romance…you get the idea. That kind of approach would have been truer to the spirit of the original story and a more interesting thing to do with the premise. Something with nuance, something with depth, something that made you work a little bit to infer what was going on off page. Off screen?

And I name queer aspects specifically because 1) that was the focus in one of the three vignettes in the original short story, and 2) because queer themes make perfect sense: the internet is where a lot of, well, everything happens these days, including awful Trans Discourse TM, and at the same time, it’s a place where trans and queer people of all ages can find support and information in a world that’s not quite ready to support them yet. An AI character is also a great means of examining social norms from oblique angles, like in the Ancillary Justice  and Murderbot series.

If Kritzer had written a book like that, it would have been amazing.  But alas, she didn’t! Instead she wrote a Wacky Spielbergian Young People Doing Scary Things adventure, where our gang of misfits all neatly check off a panoply of GLBTQ+ and racial identities in a way that feels like a white cishet writer trying to play representation Bingo.

The teenagers aren’t nearly as fun to spend time with as Alice, and I skimmed the human chapters as fast as I could without losing the plot. (Needless to say, I did not enjoy the portion of the book where Alice is taken offline.) Not only were the humans just naturally last interesting than Alice, but…

Look. I was once a weird teenager on the internet among many other weird teenagers on the Internet. Some of us did, indeed, form a tightly-knit “found family” of life-long friends. What Kritzer is attempting to capture here was basically my life from age 15 to 23, and since I know it so well, I can see all the more clearly where she failed.

The cloying syrupy sweetness between the teenagers in Catfishing doesn’t read as “genuine emotional connection” so much as “desperate fawning for approval.” The two or three mild-mannered interpersonal conflicts that arise, presumably Kritzer’s attempt to make the group dynamics more realistic, are all resolved within less than a paragraph of dialogue and thus have the exact opposite of the (presumably) intended effect. Where is the shitposting? Where is the trolling? Where are the Problematic Opinions? Where are the memes?

This failure to capture the sense of being at home on the internet is what ultimately tanked this book for me. If you’re like me and you want a thought-provoking story about how our lives, relationships and identities play out on the internet, give this one a pass. But if you want something mindless that won’t take a lot of focus or emotional investment, I suppose you could do a lot worse.

On Earth We’re Briefly Gorgeous

On Earth We're Briefly Gorgeous

Right before the pandemic broke out, I stumbled my way into the neighborhood book club—loudly and awkwardly, because I’m an American and unable to stumble into anything except loudly and awkwardly. My original intent was to make sure I kept up with my Swedish reading, but more often than not any given selection will originally be in English. Their Swedish translations are of theoretical interest for me, even practical, and sometimes I read them (Dödsynden) and sometimes I don’t (The Fifth Season). This was one of the latter.

I was tempted to tag this as memoirs but chose not to, since the book is classified as fiction above all else—its (purported?) origins as a letter to Vuong’s mother notwithstanding. Since I don’t know Vuong personally and am hardly in a state to speak to the details of his personal life, taking it as fact feels presumptuous. Fiction it is.

This was an excellent book to follow The Crying Book, as their structures are rather similar. This might be another reason why I was tempted to tag On Earth We’re Briefly Gorgeous as memoirs; it nestled into my memory alongside The Crying Book almost immediately. Vuong and Christle both favor short, brief scenes that are not necessarily in chronological order and are instead connected more by theme. Nonetheless, they both manage to keep narrative tension sustained throughout the book, so you don’t feel like you’re reading a random jumble of unrelated events. Maybe Christle was inspired by Vuong, in the end, since On Earth We’re Briefly Gorgeous was published a few months before The Crying Book. Maybe they’re in some of the same writing groups. Maybe they’ve been inspired by the same writers. Maybe it’s an artifact of being poets. Maybe it’s just coincidence. Maybe, since both books also deal with similar subject matter, this sort of float-like-a-butterfly approach to tackling grief and too-young, too-tragic deaths.

That’s about the the only original thought I have about On Earth We’re Briefly Gorgeous. It won an incredible amount of prestigious awards; I’m sure book reviewers and judges and all the rest have exhausted anything else there is to say. But that’s my thought and I’ve shared it.

Amatka

Amatka was the last selection of 2018 for the Austin Feminist Science Fiction Book Club. I read the Swedish original; the others theoretically read the English translation, but this year is such a busy time for everyone that I might have been the only one to read it.

Swedish cover of Karin Tidbeck's Amatka
Image courtesy Mix Förlag

Author: Karin Tidbeck

My GoodReads rating: 2 stars

Average GoodReads rating: 3.82 stars

Language scaling: N/A, read in Swedish

Summary: Vanja, a government worker, is sent to the distant colony of Amatka for a new project. Things are not what they seem, and language starts distorting reality in unsettling ways.

Recommended audience: Dystopia fans

In-depth thoughts: The first thing I did after I finished Amatka was to text my friend and fellow book club member in Austin: “Amatka was weird…thought I didn’t get some parts because Swedish, but nope. It’s weird. I’d love to rep Swedish baked goods and sci fi, but….not missing much maybe with this one.”

And that about sums it up for me. Tidbeck signals towards a very ominous past but never really clarifies it. I spent the majority of the book taking this to be a “real world” dystopia (based on real Earth and real history and set in this universe, more or less), but the ending makes it very clear we’re in an entirely different universe with very different rules, which then seems to defeat the purpose of it being a dystopia. In the end you’re left with a handful of powerful scenes (a librarian being ordered to destroy everything but the “useful” books; parents longing for affection from their communally raised children who clearly don’t seem to pay them much mind) that have no real skeleton connecting them, no unifying purpose.

Gena/Finn: Book Review

Generally positive reviews of Gena/Finn were making the rounds through some of my favorite book bloggers and BookTubers (still not sure what the capital letters rule is for that one…), so I added it to my TBR and included it in my suggestions for my Discord book club. It ended up being our selection for August and like with My Real Children I decided to get ahead of the agenda.

The cover of "Gena/Finn" by Hannah Moskowitz and Kat Helgeson

Author: Hannah Moskowitz, Kat Helgeson

My GoodReads rating: 2 stars

Average GoodReads rating: 3.37

Language scaling: B1+*

Summary: Gena and Finn are two fans of the same cop drama show, and become close friends offline.

Recommended audience: People who have made friends on the Internet thanks to fan culture

In-depth thoughts: I had really personal reasons for being interested in this book and for recommending it for my Discord book club. Most of my friends in high school were of the Internet variety, out of a group of fans of a particular TV show. Even though I was never really active in “fandom” as such (I don’t write or read fanfiction, I don’t hoard fanart, I’m not really interested in making the things I like the be-all, end-all of my identity), the way those friendships formed online were really important to how I grew up and where I ended up in life. I don’t think there are many books that really tackle the importance (and also weirdness) of online friendships; the last time I’d read about that sort of thing was in Pattern Recognition of all things, and that was just a brief aside in what was otherwise a cyberpunk thriller.

I was expecting a story that chronicled the kind of awkward budding friendships I was cultivating in front of the computer screen in high school, and what I got was something else. Those were the bits Moskowitz and Helgeson skipped right over in favor of the kind of melodrama that could happen between any two friends, regardless of where or how they met, but with a sprinkling of unrealistic lefthand turn plot points for good measure (former child actors! shoehorned romance! tragic deaths!).

And the nail in the coffin for me was reading the book summary after I had read the book.

Gena (short for Genevieve) and Finn (short for Stephanie) have little in common. Book-smart Gena is preparing to leave her posh boarding school for college; down-to-earth Finn is a twenty-something struggling to make ends meet in the big city.

If I need the book description to tell me that Gena and Finn have nothing in common, and that one is “book-smart” while the other is “down-to-earth,” then you’ve failed in your writing. In the book they come across as quite samey, except that one of them has a history of mental health issues.

I wouldn’t recommend this for ELL readers except maybe ones who are already knee deep in fandom anyway (hence the asterisk in the language scaling). It seems the book I want to read about Internet friendships has yet to be written.