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If Mexican Gothic left you craving more South American fantasy horror, Our Share of Night by Mariana Enriquez of Argentina (translated from Spanish by Megan McDowell) has you covered. This is a family epic intertwined with the dark machinations of a macabre cult and its impact. It's also a splendid allegory for the evils of colonialism and generational trauma. This book was #15 from the "Women in Translation" rec list.
The book begins with Juan, a powerful but ill man who acts as a "medium" for the cult to commune with its dark god. Juan, struggling with the health of his defective heart, the wear-and-tear of years as the medium, and the grief and rage of his wife's recent death (he suspects, at the orders of the cult he serves) is desperate to keep his son Gaspar from stepping into his shoes, as the cult wants. Juan's opening segment of the book is about his efforts to protect Gaspar.
From there, the book branches off into other perspectives which give background to both the cult and the family. This is a great way of giving us a holistic and generational view of the cult, but it does drag occasionally. Gaspar's sections--in his childhood and then later in his teens/young adulthood--together make up the majority of the book, and while enjoyable, do amble off into great detail about his and his friends' day-to-day lives, such that I did wonder sometimes when we were getting back to the plot. I don't like to cite pacing issues, because I think that gets thrown around a lot whenever someone didn't vibe with a book, but the drawn-out length of these quotidian sections doesn't fit well with how quickly the climax of the book passes and is wrapped up. I would have liked to have spent less time with Gaspar at soccer games and more on his plans for addressing the cult.
However, on the whole, the book is a fun, if very dark read. It also serves well as a critique of Argentina's moneyed class and of colonialism in general, and how money sticks with money even across borders. Here, Argentina's wealthy have more in common with English money than with the Argentine lower classes (and that's how they want it). The cult, populated at its upper echelons by the privileged, is an almost literal blight on the land, willing to sacrifice an endless amount of blood, local and otherwise, to beg power off a hungry and unknown supernatural entity.
It brutalizes its mediums, which it often plucks from poverty to wring for power and then discard. Juan was adopted away from his own poor family at six, under the insistence his parents would not be able to pay for the medical care he needed, and he is the least-abused of the cult's line of mediums. As soon as the cult sets their eye on his son, Juan must begin scheming how to keep Gaspar away from them.
Although he acts out of love of his son, Juan is also a deeply flawed person. He is secretive, moody, lies constantly (there is actual gaslighting here) and doesn't hesitate to knock Gaspar around to make him obey. The more he deteriorates--a common problem with all cult mediums--the less human he becomes. Part of this is his work, but much of it is also attributable to years of being used by the cult for its ends and the accumulated emotional trauma. This, of course, is then inflicted on Gaspar through his father's tempers and secrets.
Similarly flawed are the other members of the immediate family. Juan's wife Rosario, despite a better nature than her parents, still supports this cult and is eager for Gaspar to follow in his father's footsteps as a cult medium, in part for the prestige it will bring her as his mother. Gaspar, although far more empathetic and gentle than either of his parents, eventually grows up with his father's temper. Watching him grow from a sweet-natured little boy into the troubled young adult he becomes after years of his father's abuse and neglect is painful, but realistic.
The book is also unexpectedly queer. It's not often a book surprises me with its queerness, because that's usually what landed it on my radar in the first place, but this one did. Juan and Rosario are both bisexual and later in the book we spend some active time in Argentina's queer scene, including during the AIDS crisis in the 1980s.
An ambitious novel that for the most part, pulls off what it's trying to do. As mentioned, I wish the ending had gotten more room to breathe, and I would not have minded this coming at the cost of some of the middle bits of navel-gazing, but I still felt the story was satisfying.
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The book begins with Juan, a powerful but ill man who acts as a "medium" for the cult to commune with its dark god. Juan, struggling with the health of his defective heart, the wear-and-tear of years as the medium, and the grief and rage of his wife's recent death (he suspects, at the orders of the cult he serves) is desperate to keep his son Gaspar from stepping into his shoes, as the cult wants. Juan's opening segment of the book is about his efforts to protect Gaspar.
From there, the book branches off into other perspectives which give background to both the cult and the family. This is a great way of giving us a holistic and generational view of the cult, but it does drag occasionally. Gaspar's sections--in his childhood and then later in his teens/young adulthood--together make up the majority of the book, and while enjoyable, do amble off into great detail about his and his friends' day-to-day lives, such that I did wonder sometimes when we were getting back to the plot. I don't like to cite pacing issues, because I think that gets thrown around a lot whenever someone didn't vibe with a book, but the drawn-out length of these quotidian sections doesn't fit well with how quickly the climax of the book passes and is wrapped up. I would have liked to have spent less time with Gaspar at soccer games and more on his plans for addressing the cult.
However, on the whole, the book is a fun, if very dark read. It also serves well as a critique of Argentina's moneyed class and of colonialism in general, and how money sticks with money even across borders. Here, Argentina's wealthy have more in common with English money than with the Argentine lower classes (and that's how they want it). The cult, populated at its upper echelons by the privileged, is an almost literal blight on the land, willing to sacrifice an endless amount of blood, local and otherwise, to beg power off a hungry and unknown supernatural entity.
It brutalizes its mediums, which it often plucks from poverty to wring for power and then discard. Juan was adopted away from his own poor family at six, under the insistence his parents would not be able to pay for the medical care he needed, and he is the least-abused of the cult's line of mediums. As soon as the cult sets their eye on his son, Juan must begin scheming how to keep Gaspar away from them.
Although he acts out of love of his son, Juan is also a deeply flawed person. He is secretive, moody, lies constantly (there is actual gaslighting here) and doesn't hesitate to knock Gaspar around to make him obey. The more he deteriorates--a common problem with all cult mediums--the less human he becomes. Part of this is his work, but much of it is also attributable to years of being used by the cult for its ends and the accumulated emotional trauma. This, of course, is then inflicted on Gaspar through his father's tempers and secrets.
Similarly flawed are the other members of the immediate family. Juan's wife Rosario, despite a better nature than her parents, still supports this cult and is eager for Gaspar to follow in his father's footsteps as a cult medium, in part for the prestige it will bring her as his mother. Gaspar, although far more empathetic and gentle than either of his parents, eventually grows up with his father's temper. Watching him grow from a sweet-natured little boy into the troubled young adult he becomes after years of his father's abuse and neglect is painful, but realistic.
The book is also unexpectedly queer. It's not often a book surprises me with its queerness, because that's usually what landed it on my radar in the first place, but this one did. Juan and Rosario are both bisexual and later in the book we spend some active time in Argentina's queer scene, including during the AIDS crisis in the 1980s.
An ambitious novel that for the most part, pulls off what it's trying to do. As mentioned, I wish the ending had gotten more room to breathe, and I would not have minded this coming at the cost of some of the middle bits of navel-gazing, but I still felt the story was satisfying.
Frieren: Beyond Journey's End, Vol. 14 by Kanehito Yamada
Spoilers ahead for the earlier ones.
( Read more... )
Spoilers ahead for the earlier ones.
( Read more... )
Earlier this week I finished another commute audiobook, Looking for Smoke by K.A. Cobell. This is a crime thriller/murder mystery that takes place on the Blackfeet Indian Reservation. When a teenage girl is found strangled at the Indian Days summer powwow, four of her classmates become the prime suspects in her murder.
I would say this is a solid entry in the murder mystery genre. The book alternates perspectives between the four classmates, which allows the author to do some fun things keeping the reader on the hook. One character will make a big discovery only for the POV to pop over to another who doesn't have that information, so Cobell can keep information from the reader without it feeling too forced. The audiobook has a separate narrator for each POV, which was also fun (although I didn't care for Eli's reader) and if you're prone to picking up and putting down your audiobook in the middle of a chapter, this helps you keep track of whose POV you're in.
Cobell uses the format of the crime thriller, like Marcie Rendon in Where They Last Saw Her, to draw attention to the crisis of Missing and Murdered Indigenous Women (MMIW), but the book still feels like a novel its own right; it never feels like just a tool for explaining the MMIW issue. And it's an important issue that deserves a lot more attention. The statistics on violence against Native American women are shocking--even if you think they're bad, they're probably worse than you're imagining--and specific stats get highlighted in the text and in the author's note at the end. In this way, I think the book has enormous social value. Cobell uses her characters to personalize the problem and show the comorbid impacts of poverty and drug use on the reservation.
Outside of its interest in the MMIW crisis, I don't think the book does much that's particularly groundbreaking. The teens band together to try to solve the mystery and absolve themselves, as you'd expect. At various times they suspect each other, family members, law enforcement. Cobell keeps you on the hook while offering reasonable suspicion for a number of characters. She avoids my least favorite move in the murder mystery genre, which is pinning it on some rando at the last minute.
The ending is pretty explosive and I enjoy some of the things she does with perspective here as well. We the readers know what the killer thinks of their crimes because the text tells us. But the other characters never hear that explanation except third hand, and many of them simply don't believe it. And that feels real--they end the story with their own version of the truth and there's simply no space for that to be corrected (and why would they believe the word of a killer anyway?) The killer feels a little one-dimensional, but the motives make sense, if they're unsurprising. The motivations behind most violent crimes are pretty repetitive.
The prose is fine. We're reading from the perspective of teenagers, so expect a lot of melodramatic metaphors and jumping to conclusions based on minimal evidence.
Overall, this book tells an important story. It was entertaining as a narrative and sheds light on a community that deserves a lot more attention.
I would say this is a solid entry in the murder mystery genre. The book alternates perspectives between the four classmates, which allows the author to do some fun things keeping the reader on the hook. One character will make a big discovery only for the POV to pop over to another who doesn't have that information, so Cobell can keep information from the reader without it feeling too forced. The audiobook has a separate narrator for each POV, which was also fun (although I didn't care for Eli's reader) and if you're prone to picking up and putting down your audiobook in the middle of a chapter, this helps you keep track of whose POV you're in.
Cobell uses the format of the crime thriller, like Marcie Rendon in Where They Last Saw Her, to draw attention to the crisis of Missing and Murdered Indigenous Women (MMIW), but the book still feels like a novel its own right; it never feels like just a tool for explaining the MMIW issue. And it's an important issue that deserves a lot more attention. The statistics on violence against Native American women are shocking--even if you think they're bad, they're probably worse than you're imagining--and specific stats get highlighted in the text and in the author's note at the end. In this way, I think the book has enormous social value. Cobell uses her characters to personalize the problem and show the comorbid impacts of poverty and drug use on the reservation.
Outside of its interest in the MMIW crisis, I don't think the book does much that's particularly groundbreaking. The teens band together to try to solve the mystery and absolve themselves, as you'd expect. At various times they suspect each other, family members, law enforcement. Cobell keeps you on the hook while offering reasonable suspicion for a number of characters. She avoids my least favorite move in the murder mystery genre, which is pinning it on some rando at the last minute.
The ending is pretty explosive and I enjoy some of the things she does with perspective here as well. We the readers know what the killer thinks of their crimes because the text tells us. But the other characters never hear that explanation except third hand, and many of them simply don't believe it. And that feels real--they end the story with their own version of the truth and there's simply no space for that to be corrected (and why would they believe the word of a killer anyway?) The killer feels a little one-dimensional, but the motives make sense, if they're unsurprising. The motivations behind most violent crimes are pretty repetitive.
The prose is fine. We're reading from the perspective of teenagers, so expect a lot of melodramatic metaphors and jumping to conclusions based on minimal evidence.
Overall, this book tells an important story. It was entertaining as a narrative and sheds light on a community that deserves a lot more attention.
The Silver Bullet, and Other American Witch Stories by Hubert J. Davis
A selection of folktales gathered in the 1930s. A number of people claimed to have been the actual victims, others to know the people involved. A number are just told without a connection. Two are recognizable fairy tales.
It has sections about how to become a witch, how they worked, how to counter them, and tales of their witchery for money or mischief. Many references to witch doctors (or white witches).
A selection of folktales gathered in the 1930s. A number of people claimed to have been the actual victims, others to know the people involved. A number are just told without a connection. Two are recognizable fairy tales.
It has sections about how to become a witch, how they worked, how to counter them, and tales of their witchery for money or mischief. Many references to witch doctors (or white witches).
A Memory Called Empire left me in such a place that I of course had to rush after the sequel, A Desolation Called Peace by Arkady Martine. In the second book of this duology, we're tackling the bomb dropped at the end of the last book: that a hostile alien force has been picking at the borders of Teixcalaanli space.
This became a first contact story, which delighted me, because I love first contact stories. The book posits another interesting philosophical question to the readers. Darj Tarats wants Teixcalaan to go to war with these new aliens, because it would likely drag on for quite some time, sucking up Teixcalaan's resources and keeping them focused on something other than colonizing Lsel Station, and might even destroy them in the end. Mahit does not want Teixcalaan to go to war with these new aliens because it would be an unnecessary and vast loss of life on both sides, and because in spite of its nature as an empire, there's so much Mahit likes about Teixcalaan, even though peace allows Teixcalaan much more time and resources to potentially conquer Mahit's home.
Book 2 breaks into a mulit-POV style, which works very well I think for giving us a 3D view of the situation when first contact is made and what happens after. Emotions, naturally, are running very high on all sides, so getting to see many characters' thoughts is helpful to understanding this house of cards.
Martine does a great job I think of presenting us with aliens that are alien, but still people. The question is whether they and the Teixcalaanli can work that out before someone does something fearful.
She also does well with layering Mahit and Yskander here. There are a few conversations Mahit has that hit so much harder now that we have a full picture of Yskander and how long the ambassador to Teixcalaan has been kicked around the Lsel council like a football as they all pursue their own best course for keeping away from Teixcalaan. Knowing that that fragment of Yskander is there, seeing the fallout of his own death and how it came about makes these conversations especially powerful.
The story is laid out gradually and builds to a believable conclusion. The ending is slightly abrupt--there's not really any denouement--but it didn't shortchange the story.
One of the perspectives we see in this book is imperial heir Eight Antidote, now 11. And he's either quite precocious, or Six Direction was a genius, which is possible. This kid's a regular Johnny-on-the-spot, but he is also a narrative tool representing a very different future for Teixcalaan than Emperor Nineteen Adze represents. He is Six Direction unencumbered by years of war and politicking; he is Six Direction without the grim, dog-eat-dog-world attitude of an adult raised by Empire. But he's also young and vulnerable; he represents a Teixcalaan that could be--but also one that could so easily be smothered in its crib, a fate Nineteen Adze is desperate to avoid.
Mahit and Three Seagrass continue to struggle, even more than in the last book, with the nature of their relationship. Three Seagrass is pure Teixcalaanli, and can frequently be insulting without meaning to, but Mahit is also primed by years of Teixcalaan's cultural chauvinism to see insult even where none was intended. I felt like they landed, by the end of the book, somewhere believable--although I would absolutely read more about them if Martine was offering!
I didn't notice this book having the issue with repetition that I found in book 1, so that was a nice improvement as well.
I was worried at the end of the last book how the story would handle this shocking, massive plot drop, but I think Martine did it very gracefully. It feels like a natural continuation of book 1 while still expanding the focus of the story. I would love to see more of this universe, but I'm also satisfied with where we've left things. There are no easy answers to what to do about Teixcalaan, but that doesn't feel unrealistic either. Well done all around!
This became a first contact story, which delighted me, because I love first contact stories. The book posits another interesting philosophical question to the readers. Darj Tarats wants Teixcalaan to go to war with these new aliens, because it would likely drag on for quite some time, sucking up Teixcalaan's resources and keeping them focused on something other than colonizing Lsel Station, and might even destroy them in the end. Mahit does not want Teixcalaan to go to war with these new aliens because it would be an unnecessary and vast loss of life on both sides, and because in spite of its nature as an empire, there's so much Mahit likes about Teixcalaan, even though peace allows Teixcalaan much more time and resources to potentially conquer Mahit's home.
Book 2 breaks into a mulit-POV style, which works very well I think for giving us a 3D view of the situation when first contact is made and what happens after. Emotions, naturally, are running very high on all sides, so getting to see many characters' thoughts is helpful to understanding this house of cards.
Martine does a great job I think of presenting us with aliens that are alien, but still people. The question is whether they and the Teixcalaanli can work that out before someone does something fearful.
She also does well with layering Mahit and Yskander here. There are a few conversations Mahit has that hit so much harder now that we have a full picture of Yskander and how long the ambassador to Teixcalaan has been kicked around the Lsel council like a football as they all pursue their own best course for keeping away from Teixcalaan. Knowing that that fragment of Yskander is there, seeing the fallout of his own death and how it came about makes these conversations especially powerful.
The story is laid out gradually and builds to a believable conclusion. The ending is slightly abrupt--there's not really any denouement--but it didn't shortchange the story.
One of the perspectives we see in this book is imperial heir Eight Antidote, now 11. And he's either quite precocious, or Six Direction was a genius, which is possible. This kid's a regular Johnny-on-the-spot, but he is also a narrative tool representing a very different future for Teixcalaan than Emperor Nineteen Adze represents. He is Six Direction unencumbered by years of war and politicking; he is Six Direction without the grim, dog-eat-dog-world attitude of an adult raised by Empire. But he's also young and vulnerable; he represents a Teixcalaan that could be--but also one that could so easily be smothered in its crib, a fate Nineteen Adze is desperate to avoid.
Mahit and Three Seagrass continue to struggle, even more than in the last book, with the nature of their relationship. Three Seagrass is pure Teixcalaanli, and can frequently be insulting without meaning to, but Mahit is also primed by years of Teixcalaan's cultural chauvinism to see insult even where none was intended. I felt like they landed, by the end of the book, somewhere believable--although I would absolutely read more about them if Martine was offering!
I didn't notice this book having the issue with repetition that I found in book 1, so that was a nice improvement as well.
I was worried at the end of the last book how the story would handle this shocking, massive plot drop, but I think Martine did it very gracefully. It feels like a natural continuation of book 1 while still expanding the focus of the story. I would love to see more of this universe, but I'm also satisfied with where we've left things. There are no easy answers to what to do about Teixcalaan, but that doesn't feel unrealistic either. Well done all around!
