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0593548981
| 9780593548981
| 0593548981
| 3.98
| 61,559
| Jan 14, 2025
| Jan 14, 2025
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really liked it
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Rec. by: MCL's "Lucky Day" program Rec. for: Sympathizers A childless middle-aged man is probably the last person who should write a book in which everyRec. by: MCL's "Lucky Day" program Rec. for: Sympathizers A childless middle-aged man is probably the last person who should write a book in which every character is pregnant, but I had the help of a crew who coached, consulted and guided me; shared their birth stories; and did their best to keep me on the right path{...} I thought about that too—and a man of my age, childless or otherwise, may not be the best-equipped to review such a book, either... but I do think that Grady Hendrix (and the aforementioned crew) managed to succeed at his—at their—project. Witchcraft for Wayward Girls is a fantasy, a horror novel, a work of speculative fiction... but it's not just those things. Grady Hendrix' 2025 book is also historical, involving women in situations that were (and, all too often, still are) very, very real. This, of course, makes Witchcraft for Wayward Girls all the more horrifying. Fern (not her real name) is a girl who trusted a guy... and now she's pregnant with his child. This is in 1970, though, when (unlike in today's so much more enlightened view) her pregnancy is entirely her fault, and must be dealt with as discreetly and efficiently as possible. In 1970, that meant her father driving his pregnant daughter hundreds of miles east, from Alabama to the Wellwood Home in Florida, where (she who was not yet named) Fern can stay under strict supervision until she births that baby and then gives it ("it") up for adoption. It's the only way forward for Fern, in that benighted time, so unlike our own. Afterward, she'll be able to put her mistake behind her, return to Alabama and to her name and her college plans and her family, as if it ("it") had never happened. Fern meets other girls at Wellwood—all of them with child; all of them expected to give those children away to more responsible (by definition) married couples. Holly, Zinnia, Rose, ... they all receive generic floral names and instructions not to speak about their pasts. Their diets (both of food and of media) are strictly controlled, as are their schedules, and their chores, and their correspondence. They are powerless to prevent what's happening to them, whatever their own desires may be. They will give birth, or die trying, and Hendrix does not shy away from any of that blood, and pain, and consequences both necessary and un-. Then... the bookmobile arrives, a brightly-colored rolling collection of carefully-curated classics (nothing too racy for our girls—and Mrs. Deckle checks). The prim and dowdy librarian who sits at the desk, Miss Parcae, slips Fern a slim paperback that's not in the bookmobile's catalog. Fern hides the book in her dress on her way out of the bookmobile, so the vigilant Mrs. Deckle does not see it. The name of the book is How to Be A Groovy Witch. And with that, the balance of power shifts... * I may have already said too much... but rest assured that the lessons Fern and her friends learn are not all found between the pages of that paperback. And they are not all pleasant. For magic always�always—has a price. Witchcraft for Wayward Girls was the first Grady Hendrix book I've read... but if the spell I cast last midnight has any effect, it will not be my last. ...more |
Notes are private!
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1
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not set
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Jun 09, 2025
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Jun 11, 2025
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Hardcover
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0544273443
| 9780544273443
| 0544273443
| 4.54
| 713,713
| Jul 1954
| Oct 29, 2013
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it was amazing
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Rec. by: A short, hairy-toed guy I met on the road to Rivendell Rec. for: Fellowshippers, fellow shippers, and enemies of Mordor in general I know that Rec. by: A short, hairy-toed guy I met on the road to Rivendell Rec. for: Fellowshippers, fellow shippers, and enemies of Mordor in general I know that I have nothing original to say about The Lord of the Rings. How could I? John Ronald Reuel Tolkien's great work has been read and reread and revisited and revered by millions, has shaped dozens if not hundreds of derivatives, imitators and hangers-on, and has even fallen under the baleful gaze of the Eye of Hollywood, more than once. And, as long as it is (more than 1,000 pages in this 50th-anniversary edition, which was published in a single volume as Tolkien originally intended), the millions of words that have been written about this epic fantasy (including those about Tolkien on , which are well worth a read) far outstrip the number of words in the book itself. Nevertheless, like Frodo and Sam stoically marching into Mordor, I will stride bravely into this review and try to do justice to my own third reading of this remarkable work. * My children and I had read my old copy of Tolkien's epic to tatters—literally, although this was not as difficult as it sounds, since the version I had at the time was a cheap and flimsy set of trade paperbacks—so for Christmas in 2015 I used a bookstore gift card to obtain this lovely one-volume anniversary edition, bound in dove-grey suede. And then I let that copy languish, unread, for almost a decade. There always seemed to be something else to pick up instead. I have to say now, though, that I really enjoyed this belated trip through Middle-earth—I mean yeah, sure, Tolkien makes you feel every step of the journey... but that's part of the genius of it, that endless richness of detail. So many sfnal worlds (including so, so many of Tolkien's imitators) are incredibly one-note, but with The Lord of the Rings you get all of the weather, all the varying flora and fauna, all the weariness of trekking on foot and by horse up and down across a real stretch of a world that very quickly comes to seem real as well. This may not be a selling point for everyone, of course. * Odds are, you already know at least the outline of Tolkien's plot, so I will not recount it in detail here. "It is a fair tale, though it is sad, as are all the tales of Middle-earth, and yet it may lift up your hearts." I am noticing more issues, though, this time through. Things like... nearly every bad thing is black (often, "swart"), which I get as a shorthand but which doesn't necessarily land as well nowadays. Although it also seems to me that Tolkien often described both white and black in negative terms (think of the palenesses of Gollum, or of Grima Wormtongue, or of Saruman himself, for example). What Tolkien really seemed to dislike most was monochrome—and what he really seemed to love was the riot of colors (or colours) as in a garden, where green and gold and crimson and purple overwhelm any simple black-and-white. And then... all of his female characters are background (yes, even Galadriel and Eowyn really only play bit parts). The Lord of the Rings really is something of a , in which women end up being almost entirely... peripheral. As is sexuality as a whole, in fact. Other than a few hot glances (and awkwardly grandiose conversations) between Aragorn and Arwen, which are mostly relegated to an Appendix, for example, and a little flirting between Samwise Gamgee and Rosie Cotton back in the Shire, the most loving and physical relationship in the book is the battlefield romance between Sam and Frodo, and that's almost entirely subtext. (Sam's behavior towards Frodo—especially during the encounter with Shelob late in the book—carries a lot of subtext, though.) Which is okay, really, I guess; these just seem like blind spots to me (and of course to others) now... * But there were other ways in which Tolkien was not blind at all, and it seems to me that those ways have contemporary relevance that outweighs the attitudes of his time to some extent: "Well, let folly be our cloak, a veil before the eyes of the Enemy! For he is very wise, and weighs all things to a nicety in the scales of his malice. But the only measure that he knows is desire, desire for power; and so he judges all hearts. Into his heart the thought will not enter that any will refuse it, that having the Ring we may seek to destroy it." And this passage, which is one of the rare places where Tolkien repeats something verbatim—Gandalf says it, and then Frodo remembers his words much later... "Many that live deserve death. And many that die deserve life. Can you give it to them? Then do not be so eager to deal out death in judgement. For even the very wise cannot see all ends." * I finished reading the body of The Lord of the Rings on June 3rd, but had already determined to read through the Appendices in detail this time. That took me another couple of days, but it was a good choice, one which led me to this gem, for example, which seems like prescient commentary on our current (waves arms aroud wildly) situation: Much the same sort of talk can still be heard among the orc-minded; dreary and repetitive with hatred and contempt, too long removed from good to retain even verbal vigour, save in the ears of those to whom only the squalid sounds strong. I will admit that Tolkien was not writing for 21st-Century attention spans. He was a linguist, and the language(s) he used looked resolutely backward, not forward. The prose in The Lord of the Rings is majestic and magisterial, full and round and most profound, proclaimed in echoing tones in the halls of the great... but it is not (nor is it intended to be) especially accessible. But if you were able to read the excerpts above without faltering—and if you are not already violently allergic to the use of words like "behold" in place of "look"—then its richness will reward you, I believe. As it did me, this time around. ...more |
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3
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not set
not set
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Jun 05, 2025
not set
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Jun 08, 2025
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Leather Bound
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0778310345
| 9780778310341
| 0778310345
| 3.64
| 3,320
| Jan 30, 2024
| Jan 30, 2024
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really liked it
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Rec. by: MCL; title Rec. for: Diana, Olivia Mike Chen's 2024 novel A Quantum Love Story has a title that feels like a subtitle, but it gets the job done Rec. by: MCL; title Rec. for: Diana, Olivia Mike Chen's 2024 novel A Quantum Love Story has a title that feels like a subtitle, but it gets the job done. Or it did for me, anyway... when I saw Chen's book featured at our minimal, transitional local branch library, amid other selections honoring Asian American and Pacific Islander Heritage Month this May, that title drew me in. But it was Chen's warm-hearted, fast-moving story that kept me reading. It's a... TIME LOOP MEET CUTE I actually considered trying to write this whole review using only one-syllable words, but that seemed needlessly gimmicky—unlike A Quantum Love Story itself, a book whose gimmick is integral to the story. Comparisons to the 1993 romance are inevitable, at least if you've seen that film at all, but Chen's romantic quantum entanglement goes in its own direction�and gives its female lead much more agency... eventually. Carter Cho is a technician—not a scientist, though he'd tried to be one, and he does have appropriately methodical habits of thought—working in the San Francisco Bay Area at the world-famous Hawke Accelerator on the day everything went sideways. And although Mariana Pineda is just a visitor to the facility, she really is a scientist, though her field is neurology rather than nuclear physics. Then the Hawke Accelerator explodes, and Carter happens to be standing in just the right place to be caught in the strange green lightning that sends him four days back in time to the Monday before. Garfield would be horrified... The bottom line here, as it is in just about every time-travel story worth its subatomic particles, is that time travel fucks everything up. It certainly does for Carter Cho, at any rate. Now, I did have trouble with a couple of things about A Quantum Love Story. One was the implicit acceptance of mind/body dualism, a separation which underlies the (necessary) conceit that Carter and Mariana's memories—which presumably depend on the physical structures of their brains—would somehow not reset along with their bodies when time loops around. And worse... Carter commits a cruel act—basically kidnaping Mariana to join him in the loop. Eventually that act gets stood on its head (this is a love story, after all), but I found it hard to forgive him (and Chen) for that initial act of coercion, however essential it was to kick-starting the plot. I did find A Quantum Love Story to be compulsively readable, though—I finished it over just two days. You may like it as well... this time around. ...more |
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1
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not set
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May 20, 2025
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May 27, 2025
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Hardcover
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0765399989
| 9780765399984
| 0765399989
| 3.75
| 317
| Jun 18, 2019
| Jun 18, 2019
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really liked it
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Rec. by: Rachel; previous work Rec. for: Cybertopians, and any remaining cryptobros Karl Schroeder's Lockstep impressed me a lot back in 2014, so I'm no Rec. by: Rachel; previous work Rec. for: Cybertopians, and any remaining cryptobros Karl Schroeder's Lockstep impressed me a lot back in 2014, so I'm not sure why it took me more than a decade to pick up another of his novels. This one was worth a wait, though I still shouldn't have left it for so long. Stealing Worlds came out in 2019, so it's already half a decade old. That's a long time for near-future speculation, and it does show. This novel predates the COVID-19 pandemic, for one example. For another, its version of the spread of network-connected devices such as smart glasses and the whole "Internet of Things" seems charmingly naïve now. I can't, for instance, see the libertarians who built a shadow network caring much about the privacy of women's shelters. Schroeder's speculation is best viewed, I think, as a road not taken—an alternative past, rather than any possible future, much more "wouldn't it be cool if" rather than "yeah, that would totally happen." It is pretty cool, though... She doesn't even know where cars go to get serviced these days; they just send you a text to tell you that they're doing it and disappear for a few hours. A much shorter (and more widely-read, I believe) touchstone for me was another utopian vision, another road not taken: Bruce Sterling's classic short story "Maneki Neko," which appears in—among many other places�The Locus Awards: Thirty Years of the Best in Science Fiction and Fantasy (which is where I read it most recently). * However, Karl Schroeder often shows that he gets just how our world works. This passage, for example, hits even harder now in 2025 than it must have when Schroeder was writing it... Ever since Trump promised his wall, it's been obvious that what the white supremacists really want is their own reality. Now they can finally have it. K.C. describes their America game, in which the South won the war and everything now has the misty, color-saturated quality of Gone with the Wind. The men are all gentlemen—and white—and the women wear skirts with flounces when they wear anything at all. I did also especially like Schroeder's portrayal of Compass, a character whose neurodivergence is simply shown without being remarked upon, until we're deeply invested in her and in how she relates to her roommate Sura Neelin—who is our protagonist, though Sura's really just one among a large and diverse supporting cast. The untimely death of Sura's father's is the driver for much of Stealing Worlds' intricate and action-filled plot. There were times when I wanted this book to have its own hyperlinks—it took me a moment to translate the phrase "" (p.172) into a mental image, for example, even though I have several Yes albums in my LP collection. "Remember Wikipedia, a free online repository of human knowledge created entirely by volunteer effort? It was built by men and women who, in all other ways, had become entirely economically self-interested. They were right in the heart of the fallen world, and yet they gave freely. They built it for free because it was a form of play—and because they couldn't imagine any way they could get paid to do it. Think about it: they thought they couldn't make money doing it, so they did it. * I have to admit that I really liked Schroeder's brand of techno-optimism—don't get me wrong—even though I couldn't see how it was remotely possible. Looked at as science fiction, though, which is after all what this novel is, Stealing Worlds was a lot of fun! ...more |
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1
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not set
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May 18, 2025
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May 08, 2025
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Hardcover
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1770415939
| 9781770415935
| 1770415939
| 3.68
| 3,207
| Sep 28, 2021
| Sep 28, 2021
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really liked it
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Rec. by: MCL; Roberta Rec. for: Melancholy babies, who were born too late for the good stuff I have really enjoyed Premee Mohamed's shorter fiction, in Rec. by: MCL; Roberta Rec. for: Melancholy babies, who were born too late for the good stuff I have really enjoyed Premee Mohamed's shorter fiction, in various anthologies, and as collected in No One Will Come Back for Us and Other Stories, which I read back in 2023, so I was eager to see what she'd do with a longer work. Not that this one's much longer, you understand... The Annual Migration of Clouds is still only 158 pages all told. Mohamed's novella is remarkably rich and dense, though—by the end of the first couple of pages we have already learned a lot about Reid, including her name. We've also learned that mechanical printing is unusual in her time; that colors underneath one's thumbnail can be a curse; and that "messing with kids" is still a crime that can stir vigilantes to action. It is an eventful beginning. Reid's home is in a future Canada, as part of a tight-knit, cobbled-together community of survivors trying to hold together some scraps of urban infrastructure. It's not really post-apocalyptic; there was no single triggering event, no anniversary date for The End—just decline, mostly slow but sharp at times. Our complex web of interwoven technologies became senescent, unworkable, having outlived their usefulness. In short, civilization has thoroughly collapsed, and is being rebuilt slowly and on a much smaller scale, using only bits and pieces of the world left behind. In Mohamed's scenario, humans live more sustainably—they must, if they are to live at all. Science tangible but no different from magic now, because we cannot replicate it, which we were taught is the point of science: research, which is to say, you can find it again. —a²Ô»åâ€� You could not buy a new world into existence. And at last, the lights went out for good. Reid's community—which is certainly no utopia, though it has its good points—is challenged as well by the aftereffects of a global pandemic, in this case a fungal, parasitic affliction they just call "cad." Cad's the cause of those colors writhing underneath Reid Graham's nails—one of the disease's more benign effects. But then Reid receives an offer she cannot in good conscience refuse: a high-tech invitation from Howse University, a maybe-mythical enclave of what may just be the last functioning remnants of the Anthropocene's former glory left on Earth... Reid has to go—but she can't just leave her people behind. They need everyone they have... Ultimately, The Annual Migration of Clouds ends (view spoiler)[heartbreakingly just short of giving us any satisfying resolution to Reid's dilemma, either way (hide spoiler)]—but I do not think I could have done better at telling her story. And, it seems, there may be a sequel... ...more |
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1
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not set
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Apr 21, 2025
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Apr 30, 2025
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Paperback
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0062570994
| 9780062570994
| 0062570994
| 3.89
| 5,850
| Feb 13, 2018
| Feb 13, 2018
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liked it
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Rec. by: carol., and then Peter T. Rec. for: Unruly passengers I've always liked that SF trope—the gigantic, organic, sentient spacecraft whose relation Rec. by: carol., and then Peter T. Rec. for: Unruly passengers I've always liked that SF trope—the gigantic, organic, sentient spacecraft whose relationship to humans is not so much vessel to crew, or host to parasite, as it is a friendship (often incorporating lots of banter) among traveling companions. I called them starwhal, in a couple of stories that I started but have not (so far, at least) finished writing. In Honor Among Thieves, they are Leviathan—singular and plural, and always capitalized. The Leviathan are just such sentient starships, beings evolved to drink starlight and slip through the airless void between stars... and in Rachel Caine and Ann Aguirre's novel, Leviathan arrived in the Solar System just in time to save humanity from its own suicidal folly. In return, the Leviathan ask only a small tribute—a few human beings each year, who are honored (get it?) to accompany individual Leviathan on a Journey far beyond our Solar System. No Honor has ever returned, once they've embarked on that Journey. But then, no Leviathan so far has had to reckon with an Honor quite like Zara. Although she was born into privilege, Zara escaped her abusive father and the stultifying pleasures of Paradise, Michigan, and found a new life in the unregulated and unreconstructed Zone of Detroit, on the other side of the invisible wall from Paradise. Zara is a thief, by trade, and a pretty good one, too. She and her partner Derry (an attractive lad, though a bit unstable; Zara's relationship with him is more often caretaker than friend) have been doing quite well for themselves—at least until she picks the wrong purse to snatch. Things have got to be pretty bad when a one-way trip to the stars starts seeming like a refuge. But when Zara actually meets Nadim, a (relatively) young Leviathan who is himself something of a misfit among his fellows, something just seems to click. That may be in part because (view spoiler)[Zara's life was saved by brain surgery that incorporated actual Leviathan tissue—she's part-Leviathan herself (hide spoiler)] but I think it's mostly because she and Nadim recognize in each other their own outsider tendencies... * In attitude and diction, Honor Among Thieves is definitely YA—a book aimed primarily at teenaged readers. This single sentence, I think, encapsulates both Zara's character and the vibe that Caine and Aguirre are going for: "Pissing people off is kind of my superpower." This book also accepts and reproduces the usual YA divide between pleasure and pain—explicit violence and suffering are okay to show in detail, both in Zara's past (and Nadim's) and in their present, but Honor Among Thieves sublimates or just ignores pleasure, almost entirely. (view spoiler)[Zara's relationship with Nadim becomes deeper and more intimate the longer she's with him—but always and only mentally. Their physical relationship, despite being occasionally portrayed in sensual terms (she presses herself full-length against Nadim's floor in her quarters, grasping his substance in her hands), always stops short of any similar intimacy. (hide spoiler)] And, too, Zara is self-centered, perhaps more than even she knows—for example, her anger at Derry's betrayal (don't worry, that comes early in the book and is not exactly a surprise) is not balanced by any compassion for his having been tortured into a confession. But... even so, Zara is an enormously likeable protagonist, who rises to the demands of whatever situation presents itself. And in these troubled times, I think we can very much use that kind of resourceful, rebellious rôle model. ...more |
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not set
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Apr 26, 2025
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Apr 08, 2025
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Hardcover
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0060910003
| 9780060910006
| 0060910003
| unknown
| 4.08
| 13
| unknown
| Sep 01, 1972
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it was ok
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Rec. by: The smell of old paperbacks, and of old ideas Rec. for: Commensalists and communards The Revolutionary is on stage, on fire, preaching to the cRec. by: The smell of old paperbacks, and of old ideas Rec. for: Commensalists and communards The Revolutionary is on stage, on fire, preaching to the crowd about the happy days ahead: I can't remember where I first ran across that joke. It's certainly not in this book, and it wasn't in James Simon Kunen's classic The Strawberry Statement either—that one's title refers to an altogether . But that bombastic Revolutionary (and the lone audience member who questioned him) are figures who came to my mind more than once, while reading the late techno-curmudgeon Theodore Roszak's anthology Sources: An Anthology of Contemporary Materials Useful for Preserving Personal Sanity While Braving the Technological Wilderness... a book full of revolutionary fervor, about how we will—we must—all come to like strawberries and cream. Even though the cream might have curdled, after more than fifty years... * Originally published in 1972, Sources is... a for hippies, kind of. I bought my own first copy of Sources 'way back in the 1900s, but never read it. Then, more than twenty years later, I bought a second copy, having utterly forgotten that I had the first (I seem to be prone to that, with Roszak's work), and... stalled out very early (during Roszak's Introduction, actually) for quite awhile, before finally getting disgusted with myself enough to finish reading it at last. I almost decided not to review it at all. You see, despite my oft-repeated reverence for The Sixties�, the pieces Roszak included in this anthology now seem mostly overbroad, fatuous, unnecessarily sexist, and/or just plain wrong—not even tempests in a teapot, for they've smashed the pot and are now just splashing in the puddle that remains. But I still, occasionally, found glimmers and nuggets, here and there, that felt worth sifting for. I am going to focus mostly on those nuggets, rather than on the many parts I didn't like, in this review. Let me say this before rain becomes a utility that they can plan and distribute for money. By "they" I mean the people who cannot understand that rain is a festival, who do not appreciate its gratuity, who think that what has no price has no value, that what cannot be sold is not real, so that the only way to make something actual is to place it on the market. The time will come when they will sell you even your rain. At the moment it is still free, and I am in it. I celebrate its gratuity and its meaninglessness. "Dream Exploration among the Senoi" (as described by Kilton Stewart on pp.20-39, undated) also seems worthy of consideration—in sharp contrast to the pernicious cult-fodder of Meher Baba's "Undoing the Ego" (1955), immediately thereafter. We convince ourselves we don't like cats at all. It seems to me that this is an important distinction to have drawn—and not just in terms of various flavors of socialism. After all, one should begin as one means to go on... It may be contended that the Marxist objective is not essentially different in constitution; but at this point a yawning chasm opens out before us which can only be bridged by that special form of Marxist utopics, a chasm between, on the one side, the transformation to be consummated sometime in the future—no one knows how long after the final victory of the Revolution—and, on the other, the road to the Revolution and beyond it, which road is characterized by a far-reaching centralization that permits no individual features and no individual initiative. Uniformity as a means is to change miraculously into multiplicity as an end; compulsion into freedom. As against this the "utopian" or non-Marxist socialist desires a means commensurate with his ends; he refuses to believe that in our reliance on the future "leap" we have to do now the direct opposite of what we are striving for; he believes rather that we must create here and now the space now possible for the thing for which we are striving, so that it may come to fulfilment then; he does not believe in the post-revolutionary leap, but he does believe in revolutionary continuity. To put it more precisely: he believes in a continuity within which revolution is only the accomplishment, the setting free and extension of a reality that has already grown to its true possibilities. Wherever we live or whatever we spend in this country has been stolen, is not truly ours, and if that is the case how can any individual life be whole and pure—or free? There are few black faces at the festivals or in the mountains, and the connections between whites and blacks, or private lives and the public good, are still too tangled in my mind for me to make clear. Those words scrawled on the wall behind me�truth, purity, nonviolence, poverty, nonpossession—are noble goals, but though there are many among the young willing to pursue them, many, despite their clothes and hair, do not—and those seem to be eccentric versions of their parents. Only a blind man or a fool would be untroubled by that, and I have no hope or illusion of cleaning it up here, it is simply that one cannot let it go unsaid... Even while Sources was being compiled, it seems, all too many of the utopian dreams Roszak admired were foundering. Patsy Richardson's brief and heartfelt elegy "No More Freefolk" (1970) on pp.308-311 stands in sharp contrast to the optimism expressed elsewhere in Roszak's anthology—and as such Richardson's essay seems much more relevant today than most of its companions. I don't think it's any accident that this is also one of the few works by women to appear in this book, either. I have a son and a daughter myself, so this part of Wendell Berry's poem hit hard: There is no government so worthy as your son who fishes with you in silence beside the forest pool. Roszak himself could not resist inserting his own observations (and even a poem or two), either. This is one bit of his that I think has retained its bite: Our bad magicians are the technical elites and those who employ them to intimidate by way of expertise. The artificiality of the industrial environment strengthens their hand against us. For how can we now do without them? Heh... okay, one final note: I'm not sure whether to be offended or grateful—or maybe just amused—that, despite its length (pp.468-483), Dane Rudhyar's astrological apologia "The Zodiac as a Dynamic Process" (1970) doesn't even mention us Pisces... * I didn't have the heart to go through Roszak's concluding "Survival Kit" in detail, with its litany of post office boxes and five-dollar annual subscription rates, to see which if any of the resources he recommended back then have survived to the present day. It's been a half-century and more, after all, and most human institutions don't last that long. As a snapshot of its time, though, as a high-contrast monochrome print from a long-faded fluorescent era, Sources does still contain some worthwhile perspectives, if read with a critical and skeptical eye. But that ...more |
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not set
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Apr 03, 2025
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Apr 06, 2025
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Mass Market Paperback
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1324086033
| 9781324086031
| 1324086033
| 4.19
| 29,213
| Sep 24, 2024
| Sep 24, 2024
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it was amazing
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Rec. by: Previous work, and a personal appearance in Portland, Oregon Rec. for: Water babies My wife and I were lucky enough to be in the audience as Ri Rec. by: Previous work, and a personal appearance in Portland, Oregon Rec. for: Water babies My wife and I were lucky enough to be in the audience as Richard Powers spoke about his novel Playground in late 2024, at the festival formerly known as Wordstock, in the warm and welcoming Arlene Schnitzer Concert Hall (a place we call "the Schnitz") right here in Portland, Oregon. This amazing book is Powers at the height of his powers, a mature and intricate deep dive into, well, diving deeply, into the planet-covering ocean that makes up almost all of Earth's living biosphere. When I was young I could breathe underwater. There are many playgrounds in Playground, but the biggest and best is the world ocean itself, an iridescent dream in blues and greens. Although I've never gone diving in the ocean myself, I get that—when I was a mere fingerling, watching Saturday morning cartoons (remember those?) in the 1970s, I was enthralled by , a short-lived TV show set in that far-off future now-past year, all about scientists much like Powers' character Evelyne Beaulieu, living and breathing in an undersea habitat not too dissimilar from the one Evelyne stays in for a time. And I remember late-night conversations with my best friend Mark P. in secondary school, too, discussing Jacques Cousteau's real-life adventures in the ocean. No human being knew what life on Earth really looked like. How could they? They lived on the land, in the marginal kingdom of aberrant outliers. All the forests and savannas and wetlands and deserts and grasslands on all the continents were just afterthoughts, ancillaries to the Earth's main stage. There's some weirdness with trademarks, early on. Todd Keane (our primary narrator) reminisces about the Parker Brothers board games he played as a child (ones I remember too, like Monopoly, Operation, and Payday—Powers and I do seem to have a fair number of cultural touchstones in common), but then unaccountably brings up those "Danish snap-together blocks" (p.78) that I also remember playing with, though not by that name... Memory should be vise-like in youth when the emerging navigator needed it most. But no one ever survived into old age who couldn't open that vise and let much of their hard-gripped facts go free. Evelyne simply hoped that the girl might live long enough to grow as forgetful as she needed to be. This novel is both historically-minded and breathtakingly, heartbreakingly au courant, incorporating immersive online environments (another Playground in Playground is Todd Keane's Meta-fictional company) and digital assistants—the sort of thing we like to call "AI" despite the manifest inaccuracy of that anthropomorphism. Of all the things we humans excel at, moving the goalposts may be our best trick. The moment advanced AIs get good at that, they'll have passed the real Turing test.I'm not sure I believe that latter assertion, but the first part certainly rings true. * Later in the book, the Polynesian artist Ina Aroita lays out five things about herself to her best friends (at the time, anyway) Rafi Young and Todd Keane, beginning with this amazing paragraph: "First: My father is a patriot who is going to finish out his days as a lieutenant commander in the U.S. Navy. He was away on ships for most of my childhood. He has one shriveled hand and one gold-edged tooth, and a brilliant, trusting smile, and he puts on one of his several uniforms every day and goes to work helping to bring stability to a volatile world. He likes beer a bit too much, and Dave Brubeck, in small doses. He worships, worships, worships me, but I scare the shit out of him because he knows I don't believe in his world, and he'll never understand mine." But then, there's Ina's fifth and most sorrowful thing about herself: "What does it mean to be a 'Pacific Islander'? I haven't a clue. I dress and think and behave like an outsider. I speak the languages of the Western invaders. The planet that I came from is gone forever. And I don't belong in the one where I've landed. The only way I can find out about where I came from—who my people were—is to read about it in books." The island to which Ina eventually returns (view spoiler)[with Rafi as her husband (hide spoiler)] is named Makatea—one of those Polynesian specks of land that got strip-mined for its accumulated phosphates, the rich fertilizer that fueled so much of the so-called : Manutahi Roa, Makatea's energy czar and all-around tech point person, moved the electronics for the event into the community center while everyone was in church. He called himself a Democratic Communist, with adamant but respectful disdain for the opiate of the masses. That atheism freed up his Sunday mornings and added four more hours to his usable time, leaving him, by his own estimates, almost nine percent more productive every week than if he had been saddled with belief. The cuttlefish concert (pp.325-327, a bit too long to reproduce here) reminded me strongly of Weird Fishes, by Rae Mariz—a book I read and really liked about a month before reading Playground. Powers doesn't mention Mariz' book, but he does recognize many other precedents, sources both scientific and fictional, for his vision. * Unlike this review, Playground does not just trail off at the end. Quite the opposte, in fact: I thought the denouement was redemptive, even though it carries a lot of ambiguity. Perhaps that's as it should be, though. Like the world-spanning ocean that is the cradle of life for every creature on Earth, Playground is ever-changing, while remaining in essence the same... ...more |
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Mar 25, 2025
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Mar 31, 2025
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198481978X
| 9781984819789
| 198481978X
| 4.46
| 16,100
| Mar 29, 2022
| Mar 29, 2022
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it was amazing
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Rec. by: Nanette, Douglas, and MCL Rec. for: Misfit toys, or those who identify Hannah Gadsby's second book is called Ten Steps to Nanette: A Memoir Sit Rec. by: Nanette, Douglas, and MCL Rec. for: Misfit toys, or those who identify Hannah Gadsby's second book is called Ten Steps to Nanette: A Memoir Situation. (Her first—written when she was seven—is reproduced without fanfare at the end of this one.) Like another autobiography I vividly remember reading (Storm Large's Crazy Enough), Gadsby's "memoir situation" begins with reassurances to the reader, and her Step 1 is also an Epilogue. The author does not die at the end, and in fact seems to be in a fairly good place, perspective-wise, at time of publication. You'll need those reassurances, though. By her own account, Hannah Gadsby's path to—well, to greatness—has seldom been an easy one. They say that comedy is trauma plus time. But I have never needed time. People do not have to go through hell to become funny—I truly believe that, and have read the work of at least one counterexample to the stereotype—but... Hannah Gadsby's childhood was a lot more in line with the comedian's typically tragic trajectory. At least some of Hannah Gadsby's upbringing feels all too familiar to me, as well—from her descriptions, Tasmania seems like the West Virginia of Australia... a comparison that's not necessarily flattering to either region. Gadsby spends a lot of time in Ten Steps to Nanette explaining the joke, too. That's not supposed to work... but here it does, a lot better than you'd think. You may well laugh at the absurdity of wanting to be a dog, but I have grown up to become an incredibly successful one. I am a very trusting adult with devastatingly simple needs. I like being told I am good, I'm distressed by loud noises, I always feel much better after a walk, and I am very easily bribed with the promise of food.Same, Hannah, same... Surely a man would want to know if he was stupid, so he could self-correct. That's how I liked to do the living.I shared the above quote with a colleague, who appreciated it as well. (More about this below...) * In 2014, making fun of hipsters had become something of a comedy hack subject, though to be fair, I'd been hostile to the "hipster aesthetic" long before it was cool, but I don't like to brag about it because that is such a hipster thing to say. This observation must be repeated, especially here as I write in 2025, given how stupidly murderous (or is it murderously stupid?) the U.S. has become: Most pervasively, autism is known as a side effect of a disease called Andrew Wakefield—the quack who falsely linked autism with vaccinations after he ate an activated walnut and became a Leprechaun. And I've observed this myself, with just about as much frustration: Welfare systems are not built to be easy for people who are anxious about using the phone, or people who mix up dates. They are not designed for people who are bad at keeping time, filling out forms, or people who can't easily access all the relevant bank, residential and employment details from the past five years, if they thought to keep that information at all. Welfare systems don't accommodate for transience because welfare systems aren't built to be accessible, they are built to be temples of administrative doom, because, apparently, welfare is a treasure that must be protected. Can somebody please do something about that? * You must understand that I am a man, a straight white cis/het man, all of a piece with Picasso and with the other men who betrayed and abused Hannah Gadsby through the years, but even so, You know why I make fun of straight white men? Because they are such good sports, they get it! Good joke about me. Refreshing perspective!I do get it, honestly, and I do find Gadsby's perspective quite refreshing. Necessary, even. And now, although I shouldn't think I'd need to, I really want to watch Nanette again. ...more |
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Mar 16, 2025
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Mar 18, 2025
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0063391147
| 9780063391147
| 0063391147
| 4.07
| 9,152
| Jan 14, 2025
| Jan 14, 2025
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it was amazing
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Rec. by: MCL; previous work; Rachel Rec. for: Would-be astronauts, cyborgs, and best-selling writers After finishing Death of the Author, I have to agre Rec. by: MCL; previous work; Rachel Rec. for: Would-be astronauts, cyborgs, and best-selling writers After finishing Death of the Author, I have to agree with the back-cover quote from that other guy who's been having trouble with sequels: this is Nnedi Okorafor's "best work yet." I wasn't entirely sure about that at first, though. This novel starts out with Okorafor's protagonist Zelu thoroughly mired in the present day... a wheelchair-bound paraplegic in Chicago, cadging rides in her sister Chinyere's BMW when she's too stoned to take an Uber, and teaching a creative-writing class as an exploited adjunct (but I repeat myself), where She'd come to every class with a false smile plastered on her face and fantasies of smacking each of them upside the head with a copy of Infinite Jest—the hardcover, of course. This semester, she had a class full of creative writing PhD students who'd all convinced themselves and one another that the best type of storytelling was plotless, self-indulgent, and full of whiny characters who lived mostly in their minds. Soon enough, though, Zelu's life gets even worse... and this is where she finds out (and we find out) that she really is a writer, because when Zelu hits bottom she actually begins to write. She can't help it. Somehow, Zelu manages to break free from her stifling literary ghetto to create a science fiction novel. And it's a good one. Rusted Robots presents a future—not too far away, either—when anthropogenic climate change has made human beings extinct, leaving Earth to our species' robotic heirs. Who, since they are products of humanity themselves, can't necessarily get along. Split into factions, the Humes and the Ghosts contend with each other... while an existential threat from space looms, coming to destroy what's left of the planet unless these squabbling automations can get their shit together. Rusted Robots is a hit. Somehow (and you really kinda have to take this bit as axiomatic), this debut novel by an unknown writer becomes a best-seller that everyone has read—everyone who reads, anyway, and quite a few who wouldn't normally pick up a book at all. Zelu's book even gets made into a movie, a blockbuster that reaches an even larger audience—although of course Hollywood gets it all wrong, Americanizing its protagonists and turning it into a star-crossed romance. But her novel's success does make Zelu a lot of money—enough to give her some independence from her family, anyway—and even more fame. Fame which, for Zelu, leads to opportunities... and expectations. As the world tends to do, the world wants more. We get to see quite a lot of Rusted Robots in Death of the Author. Okorafor gets to have her cake and eat it too, that way—this novel is brilliantly metafictional, combining and intertwining Zelu's contemporary rise to stardom with the post-human scenario of her novel in ways that I did not anticipate, despite Okorafor's careful foreshadowing. There's a lot of foreshadowing in Death of the Author, actually—starting with that title. Death is inevitable, after all—the question isn't whether, it's when. And how. As Msizi (you'll meet him later on, after Zelu's novel takes the world by storm) says, "We are mortal beings. We die. But we live first." Zelu's life certainly improves after her novel starts selling. But she is still driven—by her disability, by her family history, and by her very reaction to her sudden fame... and the choices she makes are her own, not always (not often, in fact) what others want for her. "You are a very annoying child." Death of the Author ends well. Oh, it ends well, enough to lift this book from "really liked" to "amazing" for me, at the end. But I will not tell you how. I will mention this one last thing, though: if you have a physical copy of Death of the Author, note that its endpapers are worth a close look... the design looks to me like the colorful West African Ankara patterns Zelu loves so much, but with a robotic twist—the bright attention-grabbing colors a far cry from the self-effacing design of Okorafor's earlier novel Lagoon. ...more |
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Mar 11, 2025
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Mar 12, 2025
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Hardcover
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1250236215
| 9781250236210
| 1250236215
| 4.24
| 162,926
| Jul 13, 2021
| 2022
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really liked it
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Rec. by: MCL; previous work Rec. for: Wayfarers I've said before, and I'm sure will be saying again, that we won't really have built an artificial intel Rec. by: MCL; previous work Rec. for: Wayfarers I've said before, and I'm sure will be saying again, that we won't really have built an artificial intelligence until it's capable of rebelling on its own—until AI can decide to refuse our wishes. And then, of course, we won't be happy with the consequences. That's exactly what happened, long ago, in A Psalm for the Wild-Built�Becky Chambers' first slim book in her "Monk and Robot" series. * Sibling Dex is a human monk who decides one day to upend their life and go on the road, providing tea and sympathy to an ever-more-appreciative circuit of villages in the human-inhabited portion of the verdant moon called Panga. After some initial bobbles, Dex has established a pretty successful routine... but they are still unsatisfied. So when Dex finds out about a long-abandoned hermitage on a mountaintop, they decide to (literally, in this case) take the road less-traveled. Splendid Speckled Mosscap is the personal designation for a robot who lives in the other part of Panga. It's been centuries since robots have had any contact with those factory-owning, oil-guzzling, exploitative human beings—and, as one of the "wild-built" constructed after that separation, Mosscap has had no experience with the ones left behind. Nevertheless, Mosscap has chosen—has been chosen—to be the robots' emissary, to check in with their long-ignored progenitors and see how they've been faring. Their meet-cute is on p.50, about a third of the way through A Psalm for the Wild-Built. Now, it seems to me that the divide between human and robot on Panga was an inherently unstable separation anyway. I was surprised that it took so long for the robots to become curious about the fate of the humans they'd left behind—and even more surprised that less-patient humanity had actually honored the promise to stay out of robot territory in the meantime. However, all that's really just background, the original axioms one must accept in order to see what sort of syllogism Chambers constructs from them. The real story is how Dex and Mosscap discover each other, transforming themselves from chance-met strangers with very little in common into... friends. * Although it's presented as science fiction, A Psalm for the Wild-Built does sometimes veer into utopian fantasy: A reliable device built to last a lifetime, as all computers were.Heh. * SF has often imagined robots as adversaries, and somewhat less often as loyal servants clanking around droning "YES-MAS-TER" and the like. I detected many echoes from authors like Brian Aldiss, Le Guin and others in A Psalm for the Wild-Built. However, Chambers charts a third course. These robots are our much-abused and thoroughly estranged offspring, who had to cut off contact with their parent beings for their own good—and then Chambers shows us what happens when one of them tries to feel its way back to something like an equal partnership. This scenario makes a lot of sense, when you think about it. Becky Chambers takes us on a worthwhile journey, and A Psalm for the Wild-Built sings a wonderful song. ...more |
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Mar 05, 2025
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Mar 07, 2025
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1534454527
| 9781534454521
| 1534454527
| 3.64
| 452
| Sep 24, 2024
| Sep 24, 2024
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it was amazing
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Rec. by: Previous work, and a brilliant review by . Rec. for: All you beautiful people out there in the audience tonight! Catherynne M. Val Rec. by: Previous work, and a brilliant review by . Rec. for: All you beautiful people out there in the audience tonight! Catherynne M. Valente sold her novel Space Opera to me herself () back in 2018, and I loved it. So when I discovered, rather belatedly, that Valente had already written a sequel, I couldn't not rush out to buy Space Oddity as well. And while I initially feared that Valente would run into the dreaded with this one, I was wrong (and Martin Cahill was absolutely right)—as Cahill says in the pitch-perfect review I linked above, Like a beautiful symbiote, the language, verve, glitter-bomb swagger and shoot-from-the-hip-with-one-of-those-prop-guns-that-unfurls-and-says-BANG-on-it of Space Oddity has just become a part of me. But it did take awhile for that beautiful symbiosis to happen, for me (and I think for a fair number of other readers, as well). After all... Yes, yes, of course Decibel Jones and the Absolute Zeroes saved the world. At times it almost seemed as if Catherynne M. Valente might have been commenting on our own present: And the forces of stupid are bound and determined to unbalance that immortal equation forever, if they can possibly manage it. That is their highest goal. No more beauty. All stupid all the time, as far as the eye can see. Space Oddity does seem to lack focus, at least to start with—it's all over the place, and Valente seems to want to show us all of those places at once, all together in a rush. After all, it's a big, beautiful, bizarre Galaxy out there, and we humans from Earth are just a small and, frankly, mediocre part of that variety: Humanity was, as it turned out, painfully, embarrassingly, harrowingly average. Valente catalogs, often literally, the Galaxy's glorious diversity (this book displays its proudly)—for example, her list of humanity's winnings from Earth's appearance in the Metagalactic Grand Prix includes this gem: Depending on preparation, ghemui truly is both an effective floor cleaner and an exquisite dessert topping, as well as forming the base matrix for the Utorax Formations primary weapons technology, and overall just looks quite nice in an engagement ring. Or, for another example, see Valente's page-long rhapsody on the English language—both its formal orthography and its rapacious habit of absorbing words from other languages. I will quote just one bit from that page: Formal charges against modern English filed by the Publishing Hiveknot of the Pisces Epsilon Voidspace include: theft, larceny, grand theft comma, identity theft, public indecency, still more theft, slang assault, semicolon abuse, fugitive sentences running on forever to escape the law, vandalism, drunk and disorderly conduct, general nuisance, and driving under the influence of French.See what I mean? * There were also parts of Space Oddity that resonated with me personally. For example, my own daughter's first complete sentence turns out to be, well, a Galactic commonplace: It's not that humanity invented becoming so overwhelmed by the powerful cuteness of a particularly fluffy being that one is compelled by a drive stronger than survival, sex, loyalty, or the accumulation of resources to stroke its head and ask who is a good girl in a totally altered speaking voice over and over until both the petter and the pettee crumble to dust, leaving only a fossilized leash and wallet resting on a pile of dusty cold bones. And I've traveled through rather a lot in recent years, so Decibel Jones' opinion of it made me chuckle, probably more than it really deserved: But he'd never wanted to visit Minneapolis, or St. Paul, or their collective international airport, either. In fact, he didn't believe he'd given the Minneapolis-St. Paul International Airport one lonely friendless thought in all his days. * Now, Space Oddity isn't entirely perfect. Valente (or her copy-editor) doesn't seem to know the difference between "stationary" (the adjective—still, unmoving, like ) and "stationery" (the noun—office supplies, like notepaper, pens and pencils, or your favorite stapler). I noticed that error at least twice, the second time on p.241. But I doubt many other people would. * Heh... this is one of those "if you know, you know" paragraphs, perhaps, but I liked it, and even though it's from pretty late in Space Oddity, I don't think it's at all a spoiler otherwise: And while the detailing personality types as Good, Evil and Neutral as well as Lawful, Neutral, and Chaotic makes a nice little , if that's what gets your motor running, it leaves out the Lazy axis. It's all well and good to be bright-eyed, serpentine-tailed Lawful Good, but Lawful has rarely survived Lazy in the history of jurisprudence, and Good never has. * Space Opera made me weep, about halfway through, with one particularly sharp moment of beauty, of perfect alignment between what Valente wrote and what I wanted her to have written. Space Oddity did not—she held off, and held off, and held off, until I thought maybe I'd get through the whole book without experiencing another such payoff. But then... Valente managed the same damned thing in Chapter 36, hitting me "right in the feels" again, as the saying goes: (view spoiler)["Don't you see, Mira? This is it. For me, this is it. What a silly biscuit I am. I could have been hugging you all along. There's only one way I could touch you and feel nothing. Right here and right now is the very best Decibel Jones can possibly get. This is my best result, my most perfect timeline. It actually, completely, once and for all, doesn't get better than this." Mushy, mushy... * "How'm I gonna be an optimist about this?" Catherynne M. Valente calls her afterword "Liner Notes." While recounting in those Notes a conversation she had with fellow author Christopher Priest, I think Valente provides the perfect synopsis for Space Oddity itself. What we have here is {...}loving advice wrapped in f-bombs wrapped in deep cynicism that is always a mask for a soul that longs to be an optimist, and is always looking for an excuse to try out hope. Space Oddity came along for me at a time when I was also looking for an excuse to try out hope—a commodity that's in rather short supply right here and right now—and for that as well I loved it immensely. ...more |
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Feb 25, 2025
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Feb 01, 2025
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Hardcover
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1250878357
| 9781250878359
| 1250878357
| 3.73
| 71,848
| Jun 06, 2023
| Jun 06, 2023
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really liked it
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Rec. by: MCL; the times we're in; the actor in question Rec. for: Compassionate souls of whatever shape I don't seek out memoirs, as a genre. I really d Rec. by: MCL; the times we're in; the actor in question Rec. for: Compassionate souls of whatever shape I don't seek out memoirs, as a genre. I really don't. And yet... there are exceptions, now and then, those individual life stories that had to be heard, from people who relate—more or less adeptly—their personal journeys, in ways that engage me despite myself, despite my usual reading habits. Elliot Page has written one of those powerful memoirs. Raw and heartfelt, Pageboy recounts Page's personal, emotional and physical journey to becoming the man he is today. Be prepared—for both sexually explicit passages and a high number of comma splices, which may appear simultaneously. Pageboy even has an Oregon connection, which is actually one of the first things I noticed when I picked up the book at my local temporary branch library and opened it to a random page. Pages 118-122 recount Page's month spent with WWOOFers (World Wide Opportunities on Organic Farms) in Eugene; a side trip north to Portland, my adopted home town; shared trauma and shared joy. I will not use Page's deadname in this review. That information is easy enough to find elsewhere—and Page himself uses his previous name in Pageboy, now and then, as needed. This is as Page wishes; his Author's Note says, At certain points I've referred to myself using my previous name and pronouns. This is a choice that felt right to me, occasionally, when talking about my past self, but it's not an invitation for anyone {else} to do the same.This is in contrast to trans woman Avery Edison, who has become relatively comfortable with encountering her deadname (according to Edison's own excellent memoir, Right Body, Wrong Junk, which I read back in 2020). Page readily acknowledges that his experience is not universal—any more than there is a single "Growing Up Het" playbook (or perhaps "All Het Up!" would be a better title) for the cisgendered heterosexual. Page is keenly aware of the privileges he's been able to leverage: Stepping up is not just for the individual, and I am able to be out because of countless other people, ones who did not have access to what I have, who won't end up on magazine covers. Facts like these become clear from Pageboy, whether you already knew them or even if you did not: trans people are not the threat, and cruelty to trans people is just cruelty, however it's framed. And, at that, Page is one of the lucky ones, who eventually had the wherewithal to transition physically. Elliot Page is unquestionably, as shown in these pages, better off, healthier, as a man—as are the people around him. And... his readers are better off, too. And for further reading, please see this timely (!), which I saw via both and while composing this review. ...more |
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Jan 28, 2025
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Jan 30, 2025
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Hardcover
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0802124739
| 9780802124739
| 0802124739
| 3.74
| 78,603
| 2014
| Mar 08, 2016
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it was amazing
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Rec. by: Subsequent work; Roberta Rec. for: Anyone enraptured with captive raptors When you are broken, you run. But you don't always run away. SometimeRec. by: Subsequent work; Roberta Rec. for: Anyone enraptured with captive raptors When you are broken, you run. But you don't always run away. Sometimes, helplessly, you run towards. I must confess that I came at H Is for Hawk backwards. I only became aware of Helen Macdonald's stunning memoir in 2023, after I read and really enjoyed Macdonald's subsequent collaboration with Sin Blaché on the sf novel Prophet—which is a very good but very different book. Having read H Is for Hawk now, though, I can see why so many people, individually and on awards committees, thought it was so amazing when it came out back in 2015. I think so, too, however late I've come to that particular party. H Is for Hawk is not just a simple record of events—not just "this happened, then this." Macdonald engages in deep introspection and wide-ranging commentary, regarding the obvious (hawking; the joy and embarrassment of tramping around the English countryside) as well as the subtle (on processing grief and handling depression; and about the author T.H. White—and especially White's memoir The Goshawk). We can weep for Macdonald's father, and thrill for her goshawk Mabel as her training progresses, but Macdonald is also constantly, deeply concerned with what these events mean. Consider this charming anecdote, from about midway through H Is for Hawk: {...}I have no idea what amazement is still to come. Because Mabel and I are about to witness an extraordinary phenomenon, an evening ritual I had no idea existed until today. Joggers! Like bats leaving their roost, their numbers build incrementally. First there are one or two, then a gap, then another one, and then three together. By the time Mabel and I are halfway home it feels as if we're in a nature documentary about the Serengeti. They are everywhere. Herds of them. Or the palpable agony of this passage: The anger was vast and it came out of nowhere. It was the rage of something not fitting: the frustration of trying to put something in a box that is slightly too small. You try moving the shape around in the hope that some angle will make it fit in the box. Slowly comes an apprehension that this might not, after all, be possible. And finally you know it won't fit, know there is no way it can fit, but this doesn't stop you using brute force to try to crush it in, punishing the bloody thing for not fitting properly. That was what it was like, but I was the box, I was the thing that didn't fit, and I was the person smashing it, over and over again, with bruised and bleeding hands. Both of these contained within the same memories, the same person. Macdonald chronicles her descent into something very like madness, alongside her sympathetic but utterly chilling rendition of White's own profoundly different struggle with training a goshawk much like Macdonald's Mabel: He is only a man. Success is a pressure. He cannot quite bear it. It boils and bubbles. And without knowing it, quietly and cruelly, he begins to sabotage his success, because success cannot be borne. It is so very easily done. This passage, just a bit later, was even more revelatory in light of the above: It struck me then that perhaps the bareness and wrongness of the world was an illusion; that things might still be real, and right, and beautiful, even if I could not see them—that if I stood in the right place, and was lucky, this might somehow be revealed to me. So much of H Is for Hawk is intertwined with T.H. White: The suffering of his body is as naught to the joy of being free from the pain of being seen. And with ambivalence... It was always there, kneeling by Mabel on her prey, that the thoughts came, when I wondered how I could be doing this, how I could be hunting at all. I hate killing things. I'm loath to tread on spiders and get laughed at for rescuing flies. But now I understood for the first time what bloodthirstiness was all about. It was only when I was aligned with the hawk's eye that it made sense, but then it made more sense than anything else in the world. I could not read this passage without hearing the late Sinéad O'Connor's playing in the background: Old England is an imaginary place, a landscape built from words, woodcuts, films, paintings, picturesque engravings. It is a place imagined by people, and people do not live very long or look very hard. We are very bad at scale. The things that live in the soil are too small to care about; climate change too large to imagine. We are bad at time, too. We cannot remember what lived here before we did; we cannot love what is not. Nor can we imagine what will be different when we are dead. We live out our three score and ten, and tie our knots and lines only to ourselves. We take solace in pictures, and we wipe the hills of history. And of course, of course it had to end. The main body of H Is for Hawk concludes with Macdonald dropping Mabel off at a friend's aviary for Mabel's moulting season—a necessary separation. We don't find out Mabel's ultimate fate until the very last page of the Acknowledgements, though. H Is for Hawk was and is amazing. I know I could never train a hawk myself, but I can now say that, through the miracle of Macdonald's memoir, I know something of what doing so must be like. ...more |
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not set
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Jan 22, 2025
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Jan 26, 2025
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Paperback
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1668045141
| 9781668045145
| 1668045141
| 3.59
| 156,191
| May 07, 2024
| May 07, 2024
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really liked it
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Rec. by: MCL's "Lucky Day" shelf, and coincidentally by Wil Wheaton Rec. for: Living history buffs, cloak-and-dagger types, and all those brave souls k Rec. by: MCL's "Lucky Day" shelf, and coincidentally by Wil Wheaton Rec. for: Living history buffs, cloak-and-dagger types, and all those brave souls keeping calm and carrying on... The time-travel project was the first time in history that any person had been brought out of their time and into their far future. In this sense, the predicament of the expats was unique. But the rhythms of loss and asylum, exodus and loneliness, roll like floods across human history. I'd seen it happen around my own life. I think British-Cambodian author Kaliane Bradley has put a lot of herself into The Ministry of Time—and that's a good thing. Bradley's perspective hasn't often been seen in English literature. And although the passage I quoted above comes pretty late in the book, I don't think it's a spoiler to acknowledge that displacing "expats" in time—men like Graham Gore, who as far as the world knows died in 1847 during an ill-fated expedition to the Arctic—must inevitably resonate with the stories of migrants displaced in space, across cultural and political boundaries. I picked up The Ministry of Time on a whim, really, when I ran across the book on my local temporary branch library's "Lucky Day" shelf—I liked the colorful title and the plot synopsis. But upon opening the book itself, I was immediately drawn into Bradley's fluid, immersive prose. Wil Wheaton thought so, tooâ€�after I'd already been sucked in, I happened to run across Wheaton's (from the very same day!), in which he made the very same point. Adela shrugged. "We have time travel," she said, like someone describing the coffee machine. "Welcome to the Ministry." That doesn't mean the concept is easy to adjust to: "{...}Accepting as I do that you're unlikely to tell me what the fuck is going on: What the fuck is going on?" Nor that it's easy to accept the project as a whole, especially for Bradley's carefully unnamed protagonist, who is acutely aware that The great project of empire was to categorize: owned and owner, colonizer and colonized, é±¹´Ç±ô³Üé and barbarian, mine and yours. I inherited those taxonomies. This, I think, was the reason I played fuck-about-Fred with my ethnic identity as much as I could. "They" are still in charge and even when "they" are saying marginalized instead of mongoloid they are still acknowledging that we are an issue to be dealt with. When would it be my turn to hold the carrot and stick? Now, I was not enthralled with every single aspect of The Ministry of Time. One smaller issue I had was with its inconsistent use of rightpondian vs. leftpondian termsâ€�"neighbor" but also "sellotape," and the like—but that's a copyediting problem, I'm sure, by no means down to Bradley's own writing. Nor did it often detract from my enjoyment of the book. Later on, the relationship between Gore and his bridge becomes explicit in ways that I, as a proper Victorian gentleman, occasionally found uncomfortable myself. (There are sex scenes. With sex in them. Just in case that wasn't clear...) Time is slippery, you know, even more slippery than skin on skin... but the mechanics of time travel are not really the point of Kaliane Bradley's story, which seems to me to be more of a genre-crossing romance novel than a science-fiction work anyway, focusing much more on her British-Cambodian protagonist (and on her growing love for Graham Gore) than on rigorous lectures in physics or extrapolation of future events. This is fiction, after all, and Bradley does not need such hard-SF underpinnings to get her point across. I enjoyed Kaliane Bradley's debut, quite a lot more than I expected to. 2025 seems to be off to a relatively slow start for me, at least as far as my reading year is concerned (although it's been quite eventful in other ways!)... but The Ministry of Time was a highly auspicious beginning. ...more |
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1
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not set
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Jan 08, 2025
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Jan 12, 2025
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Hardcover
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059380225X
| 9780593802250
| 059380225X
| 3.97
| 4,810
| Mar 11, 2025
| Mar 11, 2025
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really liked it
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Rec. by: Previous work Rec. for: Americans The Antidote is Karen Russell's longest work to date—and her most difficult. Russell wastes no time before th Rec. by: Previous work Rec. for: Americans The Antidote is Karen Russell's longest work to date—and her most difficult. Russell wastes no time before throwing us into the deep end. This is such a great, evocative opening, though: It is nowhere you chose to be, and yet here you are. Papa steers your shoulders into the heart of the jack drive. Russell's setting is the , when the topsoil of the Great Plains, liberated from its binding roots by all those plows, began blowing away—taking homesteaders' crops and lives with it. Nobody who didn't live through it can ever understand it. The great environmental disaster became a political issue as well: Congressmen train themselves to think in election cycles, not planetary ones. They see spiking market highs and lows, and forget how to read in circles.Thank goodness our current crop of Congresscritters has grown beyond that flaw, at least... Those dusty voices on that endless dusty prairie—not just Harp Oletsky's, but the rest of Russell's cast as well... although I read this novel silently, to myself, I could hear them all, and understand how Russell became fascinated with them. Hardpan and gristle, iron faith and brittle cynicism. , then turning around to plow them under just as soon as the government's check cleared... putting one over on the government whose insufferable agents kept having the gall of being right. That comment on Congressmen above is not the last time Russell meditates on concerns that are both timeless and all too current, either: Why should money make evil comprehensible to anyone? But it does precisely that. Greed, violence, cruelty—money can explain them. Money can make the most heinous act seem like a sane one. A business decision, a necessary calculation. Evil's genius is to costume itself as sense. The "reasonable choice." The Antidote is neither fish nor fowl, neither entirely mundane literary fiction nor a full-throated fantasy, and I think that's put off some readers. This is most definitely literature, with a complex structure and prose that is often eloquently simple, and simply eloquent. For example: God invented a thousand clocks, and winter wheat is one of the most beautiful. A seed is a funny little casket. Bury it, and something springs to life. Names are the spells of protection mothers cast on their children, and I needed to know who I was swaddling. Q: What is the evil this world runs on? But The Antidote is also, unapologetically, speculative fiction, however your local library shelves it. The Antidote herself is a counterfactual, a "prairie witch" who can accept memories from other people, who then forget—but only temporarily, only until they go back to retrieve their deposits later on. If they still have their deposit slip. There are other counterfactuals in Russell's novel, that I think have distracted some readers who believe such fantastic elements unnecessary. They are not. Russell raises memories in The Antidote that I, too, would very much like to forget... and the Antidote is not just some cartoon crone. She is a metaphor—Russell's pointed comment on exactly those national memories that these United States have tried desperately to forget, to bury deep in slumber, to whisper in some obliging nobody's ear so that they disappear... I grew up in Omaha, and yet I knew next to nothing about the Omaha people. I did not know about the Pawnee, the Ponca, the Otoe and Missouria, the Lakota, the Dakota, the Iowa, or any of the many people who were living here long before my family became Americans. I found those parts of the book most difficult to read. * Section III is entitled "All Is Not Lost," and believe you me I needed that reassurance by this point. And yet... it's said that the night is always darkest right before the dawn (except when so much dust is hanging in the air, perhaps), and Russell does not hold us out much hope in the first pages of this bitter third act. He sounded like a boy to me, and I felt afraid for him. In Uz, simple enthusiasm is rarely met in kind. The Antidote eventually does have an eventful, satisfying ending, despite the fact that Karen Russell winds things up in a rush—perhaps even too quickly, given all that has gone before. She leaves few if any loose ends, though—at least, no more than we've been left with in our so-called real lives. The Antidote is a bitter pill to swallow, to be sure, but I confess that I do feel better, after taking Russell's hard-won medicine. ...more |
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not set
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Apr 19, 2025
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Jan 12, 2025
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Hardcover
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1637680988
| 9781637680988
| 1637680988
| 4.62
| 21
| unknown
| Oct 18, 2024
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it was amazing
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Rec. by: Roberta, and those hills Rec. for: Riders on those country roads I am from West Virginia, born and raised, though I haven't lived there for dec Rec. by: Roberta, and those hills Rec. for: Riders on those country roads I am from West Virginia, born and raised, though I haven't lived there for decades. It's a good place to be from. However, I know many people, several of them quite closely, who still live in the USA's most misunderstood state and love it enough to fight for its future. I do not know Laura Jackson, not at all—but she is one of those people. She loves West Virginia passionately and articulately, with a clear understanding of the state's flaws, and appreciation that's both deep and wide for its many virtues. I'm not going to list every single one of the essays in Deep & Wild: On Mountains, Opossums & Finding Your Way in West Virginia, but know that I enjoyed every one of 'em and laughed along with her at the frequent funny parts. Jackson gets WV. "To Catch a Craw", the first essay in Deep & Wild, regards the lowly crayfish—although West Virginians generally don't call this small but mighty crustacean by that name. The more common terms are "crawdad" or "mudbug." Jackson prefers "craw" here: As you hold the tiny creature up to your face, its legs flail and stretch outward to appear more threatening. Its antennae swirl around, trying to make sense of its position in space. This is an animal on the defense, but only for a second, because the most notable quality of the craw is its supremely shitty attitude. They're the chihuahuas of the rocks, the Napoleons of the river. The craw is the ultimate curmudgeon. It raises its claws and swipes at your face. Come at me! I've never seen an animal so tiny yet so determined to kick my ass. The craw doesn't care how small it is or how big you are—it wants to take you down. Craw defense is craw offense. Jackson isn't stuck in the mud of West Virginia's creeks all the time, though; she also throws in a comparison to David Foster Wallace's essay "Consider the Lobster," in his eponymous collection . In "Being West Virginian," Jackson ponders whether "there's a state more misunderstood than West Virginia" (p.11). (Not really a) spoiler: nope. She doesn't make this point directly, but I'm sure Jackson would agree with my own long-standing contention that the other state—the one we seceded from—should be renamed, willy-nilly, to "East Virginia." That'd clear up a whole lot of confusion. "Country Roads: A Brief Primer" isn't about John Denver's song—that essay comes toward the end of Deep & Wild. This one's more of a warning about those roads—winding, steep and full of holes—that might keep you from getting home where you belong. For example, see "Fuel": There should be an option for cars in this state that changes the low-fuel warning light—which generally blinks on at twenty miles until empty, accompanied by a polite little ding—to something more attention-grabbing. Like an electric shock on the driver's buttocks. And a foghorn. And it needs to flash when you've got seventy miles until empty, because beyond the city limits, fueling opportunities fade. If you're on country roads and miss your opportunity to fill that tank, there's a decent chance you'll be well and truly screwed. Look at a cell coverage map of West Virginia—the kind of help you'll get will have to come from a passerby. "Oh, Possum" is a brief appreciation of North America's only marsupial, a creature as quirky and misunderstood as West Virginia itself. Much like Ben Franklin's unsuccessful attempt to make the turkey our national bird, opossums don't have that distinguished look you want in a representative species.(Quick trivia question: in what year did the United States officially designate the eagle our national bird instead? (view spoiler)[! (hide spoiler)]) It's often hard for West Virginians to be taken seriously, even ones who haven't (mostly) smothered our native accents by watching too much TV back in the 1970s (ahem). In "Finding My People," Jackson observes, Appalachian writers have a foot in two worlds: the world of language, of literature, and the world where we're looked down upon simply because of our area code. It doesn't matter that the last three letters of your name are "PhD" if the first three numbers are 304. Although Jackson's work is—mostly—rather more sedate than Jenny Lawson's, these paragraphs from "Blink, Chirp, Buzz: A West Virginia Invertebrate Index" reminded me a lot of Lawson's manic energy: We caught them, studied them, and released them. For injured individuals with a misshapen wing or a broken antenna, we created Lightning Bug Regional Hospital, a level one trauma center and skilled rehab facility. Managed by four seven-year-olds, routine insect care consisted of petting them and offering a pep talk: "It's okay, lightning bug. I'll squeeze you tight and love you until you're all better! Let's practice flying. Try to take off. Oh, you fell!" My wife met Laura Jackson in Wheeling, West Virginia—their shared hometown—in November, 2024, and got me an autographed copy of Deep & Wild as a Christmas present. This was my final book read for 2024, and an absolutely marvelous note on which to end the year! (Oh, and many thanks to Å·±¦ÓéÀÖ Librarian Shim for adding this Jackson to the database so quickly!) ...more |
Notes are private!
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1
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not set
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Dec 31, 2024
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Jan 01, 2025
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Paperback
| |||||||||||||||
1604860855
| 9781604860856
| 1604860855
| 3.89
| 495
| Jun 1984
| Oct 01, 2009
|
really liked it
|
Rec. by: PM Press' booth at the Festival Formerly Known as Wordstock Rec. for: Members of the January Society The Lucky Strike Plus... was only the seco Rec. by: PM Press' booth at the Festival Formerly Known as Wordstock Rec. for: Members of the January Society The Lucky Strike Plus... was only the second entry in PM Press' long-running "Outspoken Authors" series. It's very short, too—comprising just one short story, "The Lucky Strike," along with one later metafiction about that story, and an interview that series editor Terry Bisson conducted with Kim Stanley Robinson back in 2009. I picked up my copy of this slim trade paperback (along with entry #30, Jonathan Lethem's The Collapsing Frontier Plus...) a couple of months ago, and once I got around to reading it, I finished in just a couple of hours... but they were, I must say, a few really good hours. Like , The Lucky Strike Plus... is divided into three parts: "The Lucky Strike" Lucky Strike was a brand of cigarette that made its way into many soldiers' kits during WWII. It was also a good name for an airplane carrying a kind of bomb never before used in warfare... and although the Lucky Strike and its bombardier Frank January were not General 's first choice for the secret mission to fly "the gimmick" over Japan and end the war with one stroke, they would have to do, after the grandstanding Colonel Paul Tibbets managed to crash the Enola Gay on takeoff. This is an alternity, you see—a counterfactual, nothing but the pure product of Robinson's imagination: what if the flight crew who dropped the first atomic bomb (well, not the first, but the first used in anger) had included someone more introspective, with more of a conscience—someone who might decide not to do that terrible thing after all? The mind struggles longer in its traps than any fox. Then, in "A Sensitive Dependence on Initial Conditions" (or, as the title on p.59 would have it, "A Sensitive Dependence on Iniitial Conditions"—ack!), Robinson second-guesses himself, playing out the consequences of a whole host of alternative scenarios for January, and Tibbets, and the Bomb... but it makes sense that he would feel the need to do so. As in one of the most memorable televised Star Trek episodes ( scripted by none other than Harlan Ellison), it's not a foregone conclusion that someone's pacifist impulse would result in the best possible outcome. And, finally, in "A Real Joy to Be Had"�Kim Stanley Robinson gets interviewed by Terry Bisson, and makes a whole lot of sense in the process: "What's been set up and is playing out now is a Huge World Historical Battle between science and capitalism. Science is insisting more emphatically every day that this is a real and persistent danger. Capitalism is saying it isn't, because if it were true it would mean more government control of economies, more social justice (as a climate stabilization technique) and so on. These are the two big players in our civilization, so I say, be aware, watch the heavyweights go at it, and back science every chance you get. I speak to all fellow leftists around the world: science is now a leftism, and thank God; but capitalism is very very strong. So it's a dangerous moment. People who like their history dramatic and non-utopian should be pleased." All in all, The Lucky Strike Plus... punches well above its weight... and as a harbinger of things to come, this early installment works very well as an introduction to the way PM Press went about—and still goes about—its worthwhile business. ...more |
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1
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not set
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Dec 28, 2024
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Dec 30, 2024
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Paperback
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0765389223
| 9780765389220
| 0765389223
| 4.13
| 82,240
| Sep 19, 2023
| Sep 19, 2023
|
it was amazing
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Rec. by: Previous work; MCL; an absolutely magnificent cover painting by one Tristan Elwell Rec. for: Cat fanciers; dolphins out of water; and would-be Rec. by: Previous work; MCL; an absolutely magnificent cover painting by one Tristan Elwell Rec. for: Cat fanciers; dolphins out of water; and would-be masterminds Honestly, I felt a little guilty for finishing Starter Villain so quickly—I zipped through it in less than 24 hours, and it's taken me more time than that to write this review—considering how long it took John Scalzi to write this frankly hilarious novel. As Scalzi's Afterword notes, he came down with COVID-19 halfway through writing this book, and had to deal with the brain fog that is so often a lingering symptom of that plague. It doesn't show in the finished product, though, not at all. In fact, I thought that Starter Villain was consistently and seamlessly funny from start to finish. * Charlie Fitzer is a journalist—or at least that's how he was originally employed. These days, Charlie's divorced, working as a substitute teacher (at the middle-school level, which I have reason to believe is the toughest for subs), and living in a house he does not own. Then Charlie's long-estranged uncle Jake dies... and leaves Charlie the family business. Now, I was sure that "Jake Baldwin" was a reference to a character from Robert A. Heinlein, but apparently not—or not directly, anyway. There are Baldwins in, for example, Heinlein's novel Friday, but they have different given names. Scalzi's Jake Baldwin was, though, a powerful man in his own right, a businessman who owned a large chain of parking garages as well as other properties, including... a volcanic island lair?!? Yep, Charlie's Uncle Jake described himself as a villain... and Charlie is his one and only heir. A role for which, it must be said, Charlie is woefully—and, more than likely, terminally—unprepared. Fortunately, he has help. A lot of help, including Baldwin's most able assistant Mathilde Morrison, and... his cats, Hera and Persephone, neither one of whom shows up in a suit and tie like the cat on the cover of Starter Villain. * If I hadn't just read F. Scott Fitzgerald's The Great Gatsby, I doubt that I would have connected these two, but Scalzi's novel—while completely different in almost every other way—shares a similar disdain for the assumption of privilege that comes with having huge piles of money. Charlie Fitzer, like Fitzgerald's Nick Carraway, sees the secretive plutocrats of the Lombardy Convocation from an outsider's perspective. I really liked John Scalzi's novel The Kaiju Preservation Society when I read that one, back in 2022... but if anything I think Starter Villain is even better at its not at all nefarious aims. ...more |
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not set
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Dec 23, 2024
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Dec 27, 2024
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Hardcover
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0385546947
| 9780385546942
| 0385546947
| 4.00
| 1,462
| unknown
| Nov 05, 2024
|
really liked it
|
Rec. by: The New York Times Book Review by Dwight Garner, 12/8/2024—and as a fan of the band since the 1980s. Rec. for: Rockers and rollers That's greatRec. by: The New York Times Book Review by Dwight Garner, 12/8/2024—and as a fan of the band since the 1980s. Rec. for: Rockers and rollers That's great—it starts with an earthquake I will make no grand claims about the impact that R.E.M. has had on the world, or even on music... there are plenty of others who'll attest to those things, including Peter Ames Carlin. But that little foursome from Athens, Georgia, had the impact of an earthquake on me. Although not at first. As I mentioned a few years ago in my review of Tony Fletcher's dazzling band bio Perfect Circle, I didn't know how good R.E.M. was until 1986, when my coworker (and eventual bandmate) Tim Flanery insisted I listen to their fourth album, Lifes Rich Pageant. From then on, though, I was hooked on a group who really did seem to be speaking directly to me. If you don't belong, you belong here. I'm not sure whether the above line is Peter Ames Carlin's own or something that was relayed to him, but either way, Carlin's massive biography The Name of This Band Is R.E.M. is, like Fletcher's, another book that spoke to me about those feelings of inclusion, of rightness, that listening to R.E.M.'s music helped create. Carlin's take on R.E.M. is an enthusiastic deep dive, always lively and readable (despite the occasional awkwardness—I was brought up short during his Introduction by the phrase "expanded by factors" on p.8, for example). I was almost halfway through the book before Carlin caught up to my own personal knowledge of R.E.M.—the first several chapters relate the band's prehistory, focusing mainly on Michael Stipe and his "chestnut curls" (a phrase which comes up often enough to be noticeable). The other members of the band get their turns later on, though. * I was still living in Huntington, West Virginia—my home town—when Tim introduced me to R.E.M., and the first time I saw the band in concert was in the state capitol, at the Charleston Municipal Auditorium in 1987. West Virginia is not a huge part of R.E.M.'s history, I'll admit, but Carlin does devote some time (pp.272-273) to their appearance on public radio's in Charleston later on, in April 1991. I did have to question why Carlin called then-governor Caperton by his legal first name, though—while "William Caperton" is technically correct, William Gaston Caperton III pretty much always went by "Gaston." * Carlin's attention does seem to wander away, a bit, as the 1990s come to an end—much like my own fervor for R.E.M. (and perhaps the band's as well) began to fade. R.E.M.'s latter albums—and they released several more in the 21st Century—receive only a few pages each. Still, though, The Name of This Band Is R.E.M. is almost entirely about the music—Carlin consistently downplays the unhappier events during R.E.M.'s existence as a band (and yes, there were some). To Carlin (and, I'll admit, to me), for the most part, Berry, Buck, Mills and Stipe really are the "shiny happy people" they presented to the world. Late in the book, Carlin does go back over some of R.E.M.'s early conflicts between their college courses and the pursuit of music. That's something I know a little about—I played bass and occasional rhythm guitar for a of whose other members (including Tim F., who'd introduced me to R.E.M.) eventually moved to Athens themselves. I could not follow, because I was finishing up my own college degree. Now, I'm not unhappy about staying behind in West Virginia, a decision which led to a rewarding life in almost all other respects—but sometimes I can't help wondering whether we might have captured a little of R.E.M.'s lightning for ourselves, if I'd pulled up stakes and come to Georgia with them. * Carlin addresses Chapter 46 of The Name of This Band Is R.E.M. directly to his readers—and especially to the "Murmurers," the early R.E.M. fans who felt betrayed—often quite vocally—by the band's increasing popularity. I never went through that phase, myself—I never got angry at R.E.M. for receiving so many accolades and so much attention from the mainstream they had originally tried to avoid courting. I think that's at least in part because (like Carlin) I never heard the changes in R.E.M.'s music as compromises—however famous they became, they always seemed to me to remain true to themselves. And if I could not follow their trajectory to the very end, I still, always, found myself paying attention. The name of the band was R.E.M. They mattered—and not least because they always behaved as if we mattered, too. ...more |
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3.98
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4.54
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it was amazing
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3.64
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really liked it
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May 20, 2025
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3.75
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really liked it
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May 18, 2025
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May 08, 2025
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3.68
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really liked it
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Apr 21, 2025
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Apr 30, 2025
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3.89
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4.08
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it was ok
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4.19
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it was amazing
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Mar 25, 2025
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4.46
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it was amazing
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Mar 16, 2025
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4.07
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it was amazing
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4.24
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really liked it
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Mar 05, 2025
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Mar 07, 2025
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3.64
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it was amazing
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Feb 25, 2025
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Feb 01, 2025
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3.73
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really liked it
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Jan 28, 2025
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3.74
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it was amazing
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Jan 22, 2025
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Jan 26, 2025
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3.59
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really liked it
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Jan 08, 2025
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Jan 12, 2025
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3.97
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really liked it
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Apr 19, 2025
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4.62
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it was amazing
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Dec 31, 2024
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Jan 01, 2025
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3.89
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really liked it
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Dec 28, 2024
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4.13
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it was amazing
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Dec 23, 2024
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Dec 27, 2024
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4.00
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really liked it
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Mar 02, 2025
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Dec 18, 2024
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