Take a photo of a barcode or cover
3.74 AVERAGE
3.74 AVERAGE
Gyen Jebi lives in a country that lost a war and has been colonised by the winners six years previous. Because of this, there are careful decisions to be made about names, food, clothing, where to live, and so on, which displays either your obedience to the new laws and leaders or your defiance and thus, apparently, the need to be watched to ensure you’re not a troublemaker.
Money is tight though, so Jebi obtains a new name in line with what the colonisers like to see, and attempts to pass the Ministry of Art examinations in order to obtain a decent job, to get the money needed for the various debts they and their sister have endured.
Jebi’s sister, Bongsunga, is furious when she finds out. She hates the Razanei – the conquers – and the fact that Jebi is not only bowing and impersonating them but the insult that it brings to her deceased wife, Jia, who died in the very war against the Razanei six years ago. So much so that she throws Jebi out of their home.
And that’s the set up. Jebi is an interesting and complex protagonist. They are non-binary and it’s refreshing to see such flawless and easy representation – nothing is made of it at any stage. Nor in the other characters, such as Jebi’s sister having a wife, or another character being in a polyamory relationship, and this being shown in various mentions of dress, haircuts, and in a very deliberate way a sex scene is written that is respectful yet quite romantic and sensual. It’s good to see this being treated like a norm, and not something that makes Jebi or the other characters as distinctively other.
As the tale progresses we find Jebi backed into a corner, trapped by poverty and their respect and the honour they owe to their sister, even with the tiny thoughts of how if she threw them out do they really owe them this after all (the answer is always yes). Jebi finds themselves working for the Ministry of Armor of all places, as an artist, at least, but in something truly terrible. Practically a prisoner they live underground working on a weapon and are only allowed back to the surface with a guard for company. From there they discover even more terrible and interesting things, gain friends and meet other curious characters, and throughout the notions of polite and guarded speech are shown throughout to denote hierarchy and so forth as demanded by age and experience and so forth.
The worldbuilding is effortless, which is making this hard to review. There’s so much going on and so much shown in so few words that it’s difficult to get across just what everything means, from the wanton destruction of artefacts from the country’s past by the Razanei, to the philosophy throughout, to how otherwise fluffy this can sometimes be… and then there’s the dragon, too, of course.
Overall this was an excellent tale that I devoured in two sittings and only because one was on a lunch break which I couldn’t really ignore, otherwise I’m sure I just would have kept reading – work be damned. I look forward to reading more of the author’s work in future.
Money is tight though, so Jebi obtains a new name in line with what the colonisers like to see, and attempts to pass the Ministry of Art examinations in order to obtain a decent job, to get the money needed for the various debts they and their sister have endured.
Jebi’s sister, Bongsunga, is furious when she finds out. She hates the Razanei – the conquers – and the fact that Jebi is not only bowing and impersonating them but the insult that it brings to her deceased wife, Jia, who died in the very war against the Razanei six years ago. So much so that she throws Jebi out of their home.
And that’s the set up. Jebi is an interesting and complex protagonist. They are non-binary and it’s refreshing to see such flawless and easy representation – nothing is made of it at any stage. Nor in the other characters, such as Jebi’s sister having a wife, or another character being in a polyamory relationship, and this being shown in various mentions of dress, haircuts, and in a very deliberate way a sex scene is written that is respectful yet quite romantic and sensual. It’s good to see this being treated like a norm, and not something that makes Jebi or the other characters as distinctively other.
As the tale progresses we find Jebi backed into a corner, trapped by poverty and their respect and the honour they owe to their sister, even with the tiny thoughts of how if she threw them out do they really owe them this after all (the answer is always yes). Jebi finds themselves working for the Ministry of Armor of all places, as an artist, at least, but in something truly terrible. Practically a prisoner they live underground working on a weapon and are only allowed back to the surface with a guard for company. From there they discover even more terrible and interesting things, gain friends and meet other curious characters, and throughout the notions of polite and guarded speech are shown throughout to denote hierarchy and so forth as demanded by age and experience and so forth.
The worldbuilding is effortless, which is making this hard to review. There’s so much going on and so much shown in so few words that it’s difficult to get across just what everything means, from the wanton destruction of artefacts from the country’s past by the Razanei, to the philosophy throughout, to how otherwise fluffy this can sometimes be… and then there’s the dragon, too, of course.
Overall this was an excellent tale that I devoured in two sittings and only because one was on a lunch break which I couldn’t really ignore, otherwise I’m sure I just would have kept reading – work be damned. I look forward to reading more of the author’s work in future.
This is an amazing political thriller set in a fantasy Asia (the three named countries code as Korea, Japan, and China based on my understanding of the geography and the history of the region) that didn't get bogged down in the political machinations -- because our protagonist is extremely politically naive, and has been protected by their older sister.
I loved that there were three clear gender specifications, and that the main viewpoint character was a) the non-binary gender and b) not the only one we meet in the story (and that there was an older such character who was both named and relevant )
The two siblings, with their contrasting pragmatism and innocence about war, allowed the author to present a range of thoughts about war without being didactic, which I greatly appreciated. Our artist protagonist does a lot of thinking about the differences between art and reality when thrown in the deep end.
how the automata work, and the similarity of programming (and the risks of adding nuance/complexity increasing the potential for disaster), particularly with the detail that if there were conflicting instructions then the automata effectively have free will was interesting too. And the dragon was fabulous.
Interesting that again there was at least one gumiho in the story. At this point I'm not familiar enough with Lee's body of work to know if that is a signature detail, or just the works I've read of theirs have that similarity.
Truly an incredible book. A beautiful world, intriguing characters, a nonbinary main character who is not defined by their gender (!!!), a MECHANICAL DRAGON. I mean, what more could you want.
I’m having great luck with my reading this year! This book was original and engaging throughout! The ending was a tiny bit strange to me but other than that it was fantastic!
Me, having read the inner flap and seeing a conversation about interacting with immortals on the moon: "Ah, the ink must be either made of immortals, or made of people. Thanks, I'm done."
Just felt very YA, even though all the characters were adults and dealing with adult problems. They just didn't feel like they were interacting like adults about it or something; I'm not sure quite what.
Definitely appreciate the "WWII-adjacent experiences of Japanese occupation and colonization were also fucked up yo" subgenre of English-language fantasy though (RF Kuang's first book does this too).
Just felt very YA, even though all the characters were adults and dealing with adult problems. They just didn't feel like they were interacting like adults about it or something; I'm not sure quite what.
Definitely appreciate the "WWII-adjacent experiences of Japanese occupation and colonization were also fucked up yo" subgenre of English-language fantasy though (RF Kuang's first book does this too).
adventurous
mysterious
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
The magic in this story is so interesting, and I love the main character and also the DRAGON who is very very great. Highly recommend if you're looking for something with a mix of magic and science and tactics, plus great relationships.
Content Warnings
Graphic: Colonisation
I received this ebook arc from Netgalley in exchange for an honest review.
This book was not what I expected it to be. From what I had heard, I expected mechanical dragons, revolutionaries, and art. I got some of these things. I feel like this book was more about our main character Jebi and their relationships than anything else.
We didn’t actually get to the dragon part until nearly 40%. There’s a gigantic dragon on the cover, I expect more dragon. There was revolution, but again, not until over halfway through the story was that even part of the plot. The main character didn’t concern themself with the political machinations. The concept of magical art was really cool!! But again…. We barely got any of it. And what we did get wasn’t explained well. I found myself very confused on how and why this magical paint was working and what exactly it did.
What this book does well is Jebi and their relationships with friends, their sister, and a romantic partner. Given that I didn’t care about the romance, I didn’t particularly enjoy it.
This book was not what I expected it to be. From what I had heard, I expected mechanical dragons, revolutionaries, and art. I got some of these things. I feel like this book was more about our main character Jebi and their relationships than anything else.
We didn’t actually get to the dragon part until nearly 40%. There’s a gigantic dragon on the cover, I expect more dragon. There was revolution, but again, not until over halfway through the story was that even part of the plot. The main character didn’t concern themself with the political machinations. The concept of magical art was really cool!! But again…. We barely got any of it. And what we did get wasn’t explained well. I found myself very confused on how and why this magical paint was working and what exactly it did.
What this book does well is Jebi and their relationships with friends, their sister, and a romantic partner. Given that I didn’t care about the romance, I didn’t particularly enjoy it.
This novel was the first I have read with a non-binary protagonist, and while it took a bit to get used to the they/them pronoun usage, it was a welcome change of pace.
With a character line-up reminiscent of the Netflix show Sense8, this narrative perfectly captures a wide range of LGBTQ+ perspectives lacking in the book community.
The writing style reminded me of Ken Liu’s poetic but precise prose and kept me captivated from the beginning. With both lovable characters (I.e., Arazi) and flawed characters, Yoon Ha Lee makes it effortless to both root for and relate to many individuals.
I loved the often overlooked subject matter of art in conflict throughout this story’s discussions of vital positions. Additionally, we see how war takes its toll on society in other ways, as through the destruction of precious artworks. Jebi’s dedication to art shines through in moments like the following when they go so far as to injury themself when dismantling a piece of art to feel the true loss.
“It’s supposed to hurt. Destroying something ought to make you bleed, even if it was a damaged piece, and not especially rare.”
We find Jebi the perfect character to debate the ethics of a passive but essential part of a war. They have stated that they are not interested in politics despite being affected by political choices at every turn. It was captivating to see how their alignment changed throughout the story.
Overall, I thoroughly enjoyed this story, my only gripe being the ending felt abrupt. Provided the conclusion had been twenty additional pages, I’m sure the author would have been able to wrap up the story satisfactorily.
I highly recommend this book to anyone looking for a new, stunning, and diverse read.
*Thank you to Netgalley for providing me with a digital copy for review.
With a character line-up reminiscent of the Netflix show Sense8, this narrative perfectly captures a wide range of LGBTQ+ perspectives lacking in the book community.
The writing style reminded me of Ken Liu’s poetic but precise prose and kept me captivated from the beginning. With both lovable characters (I.e., Arazi) and flawed characters, Yoon Ha Lee makes it effortless to both root for and relate to many individuals.
I loved the often overlooked subject matter of art in conflict throughout this story’s discussions of vital positions. Additionally, we see how war takes its toll on society in other ways, as through the destruction of precious artworks. Jebi’s dedication to art shines through in moments like the following when they go so far as to injury themself when dismantling a piece of art to feel the true loss.
“It’s supposed to hurt. Destroying something ought to make you bleed, even if it was a damaged piece, and not especially rare.”
We find Jebi the perfect character to debate the ethics of a passive but essential part of a war. They have stated that they are not interested in politics despite being affected by political choices at every turn. It was captivating to see how their alignment changed throughout the story.
Overall, I thoroughly enjoyed this story, my only gripe being the ending felt abrupt. Provided the conclusion had been twenty additional pages, I’m sure the author would have been able to wrap up the story satisfactorily.
I highly recommend this book to anyone looking for a new, stunning, and diverse read.
*Thank you to Netgalley for providing me with a digital copy for review.
This novel was the first I have read with a non-binary protagonist, and while it took a bit to get used to the they/them pronoun usage, it was a welcome change of pace.
With a character line-up reminiscent of the Netflix show Sense8, this narrative perfectly captures a wide range of LGBTQ+ perspectives lacking in the book community.
The writing style reminded me of Ken Liu’s poetic but precise prose and kept me captivated from the beginning. With both lovable characters (I.e., Arazi) and flawed characters, Yoon Ha Lee makes it effortless to both root for and relate to many individuals.
I loved the often overlooked subject matter of art in conflict throughout this story’s discussions of vital positions. Additionally, we see how war takes its toll on society in other ways, as through the destruction of precious artworks. Jebi’s dedication to art shines through in moments like the following when they go so far as to injury themself when dismantling a piece of art to feel the true loss.
“It’s supposed to hurt. Destroying something ought to make you bleed, even if it was a damaged piece, and not especially rare.”
We find Jebi the perfect character to debate the ethics of a passive but essential part of a war. They have stated that they are not interested in politics despite being affected by political choices at every turn. It was captivating to see how their alignment changed throughout the story.
Overall, I thoroughly enjoyed this story, my only gripe being the ending felt abrupt. Provided the conclusion had been twenty additional pages, I’m sure the author would have been able to wrap up the story satisfactorily.
I highly recommend this book to anyone looking for a new, stunning, and diverse read.
With a character line-up reminiscent of the Netflix show Sense8, this narrative perfectly captures a wide range of LGBTQ+ perspectives lacking in the book community.
The writing style reminded me of Ken Liu’s poetic but precise prose and kept me captivated from the beginning. With both lovable characters (I.e., Arazi) and flawed characters, Yoon Ha Lee makes it effortless to both root for and relate to many individuals.
I loved the often overlooked subject matter of art in conflict throughout this story’s discussions of vital positions. Additionally, we see how war takes its toll on society in other ways, as through the destruction of precious artworks. Jebi’s dedication to art shines through in moments like the following when they go so far as to injury themself when dismantling a piece of art to feel the true loss.
“It’s supposed to hurt. Destroying something ought to make you bleed, even if it was a damaged piece, and not especially rare.”
We find Jebi the perfect character to debate the ethics of a passive but essential part of a war. They have stated that they are not interested in politics despite being affected by political choices at every turn. It was captivating to see how their alignment changed throughout the story.
Overall, I thoroughly enjoyed this story, my only gripe being the ending felt abrupt. Provided the conclusion had been twenty additional pages, I’m sure the author would have been able to wrap up the story satisfactorily.
I highly recommend this book to anyone looking for a new, stunning, and diverse read.